Podcasts about cultural affairs

TRANSCRIPT Robertson: [00:00:00] Gissele: Hello and welcome to the Love and Compassion podcast with Gissele. We believe that love and compassion have the power to heal our lives and our world. Gissele: Don’t forget to like and subscribe for more amazing content. And if you’d like to support the podcast, please go to buy me a coffee.com/love and compassion. Today we’re talking about how to become a more compassionate civilization in light of the world’s most recent events. Robertson Work is a nonfiction author, social ecological activist, and former UNDP policy advisor on decentralized government, NYU Wagner, graduate School of Public Service, professor of Innovative Leadership and Institute of Cultural Affairs, country Director, conducting community organizational and leadership initiatives. Gissele: He has worked in over 50 countries for over 50 years and is founder of the Compassionate Civilization Collaborative. He has five published books and has [00:01:00] contributed to another 13. His most well-known book is a Compassionate Civilization. Every week he publishes an essay on Compassionate Conversations on Substack. Gissele: Please join me in welcoming Robertson work. Hi Robertson. Robertson: Hi Giselle. How are you? Gissele: I’m good. How about yourself? Robertson: I’m good, thank you. I here in the Southern United States. I’m glad you’re in wonderful Canada. Robertson: great admiration for your country. Gissele: Ah, thank you. Thank you. Gissele: I wanted to talk about your book. I got a copy of it and it was written in 2017, but as I was reading it, I really found myself listening to things that were almost prophetic that seemed to be happening right now. What compelled you to write Compassionate Civilizations at this moment in history. Robertson: Yes. Thank You you so much, and thank you for inviting me to talk with you today. Robertson: And I wanna say I’m so touched by the wonderful work of the Matri Center for Love [00:02:00] and Compassion. I have enjoyed looking at your website and listening to your podcast and hearing Pema Chodron speak about self-love. If it’s okay, I’d like to start with a few moments of mindful breathing Gissele: Yes, definitely. Robertson: okay. I invite everyone to become aware of your breathing, being aware of breathing in and breathing out. Breathing in the here and in the now. Breathing in love. Breathing in gratitude. I have arrived. I am home. I’m solid. I am free breathing in, breathing out here now. Robertson: Love [00:03:00] gratitude. Arrived home solid free. Okay. And to your question, after working in local communities and organizations around the world with the Institute of Cultural Affairs and doing program and policy work with UNDP and teaching grad school at NYU Wagner, I felt called to articulate a motivating vision for how to embody and catalyze a compassionate civilization. Robertson: So each of us can embody, even now, even here, we can embody and catalyze a compassionate civilization in this very present moment. We don’t have to wait, you know, 50 years, a hundred years, a thousand years. we can embody it in the here and the now. So I was increasingly aware of climate change, climate disasters, [00:04:00] the rise of oligarchic, fascism, and of course the UN’s sustainable development goals. Robertson: I also had been studying the engaged Buddhism of Thich Nhat Hahn for many years, and practicing mindfulness and compassionate action. As you know, compassion is action focused on relieving suffering in individual mindsets and behaviors, and collective cultures and systems. The word that com it means with, and compassion means suffering. Robertson: So compassion is to be with suffering and to relieve suffering in oneself and with others. So, I gave talks about a compassionate civilization in my NYU Wagner grad classes and in speeches in different countries. Then in 2013, I started a blog called The Compassionate Civilization. So in 2017, there was a [00:05:00] new US president who concerned me deeply and who’s now president again. Robertson: So a Compassionate Civilization was published in July of that year, as you mentioned, 2017. The book outlines our time of crisis and provides a vision, strategies and tactics of embodying and catalyzing a compassionate civilization, person by person, community by community. Moment by moment it it includes the movement of movements, mom that will do that. Robertson: Innovative leadership methods, global local citizen, and practices of care of self and others as mindful activists. So there’s a lot in it. Yeah. The Six strategies or arenas of transformation are environmental sustainability, gender equality, socioeconomic justice, participatory governance, cultural tolerance and peace, and non-violence, socio. Robertson: So since then [00:06:00] I’ve been promoting the Compassionate Civilization Collaborative, as you mentioned, to support a movement of movements. The mom, Gissele: thank you for that. I really appreciated that. And I really enjoyed the book as well. It’s so funny that, the majority of people see a world that doesn’t work and they want things to change, but they don’t do something necessarily to change it. When did compassion shift from a private virtue to a public mission for you? Robertson: Great question. Thank you. I think it began the private part began very early in my Christian upbringing. I was raised by loving parents to love others. You know, love of neighbor is the heart of Christianity. And understand that love is the ultimate reality. You know, that you know, as we say in Christianity, God is love. Robertson: So then when I went off to college at Oklahoma State University, I found myself being a campus activist. So I shifted to activism for civil rights. We were [00:07:00] demonstrating for women’s rights and for peace in Vietnam. As you know, the Vietnam War was raging. And after that, I attended Theological Seminary at Chicago Theological Seminary, but. Robertson: My calling happened when I was still in college, and it was in a weekend course, just a one weekend in Chicago. Some of us drove up and attended a course at, with the ecumenical Institute in the African-American ghetto in Chicago. And my whole life was changed in one weekend. I mean, I woke up that I could make a difference and I could help create a world that cared from everyone, you know? Robertson: And here I was. I was what? I was a junior in college. So then after that, I worked after college and grad school. I worked in that African American ghetto in Chicago with the Ecumenical Institute. And then in Malaysia, I was asked to go to Malaysia and my wife and I did [00:08:00] that, Robertson: And then. We were asked to work in South Korea, which we did. And then the work shifted from a religious to secular is we now call our work the Institute of Cultural Affairs. And from there we worked in Jamaica and then in Venezuela, and then back in the US in a little community in Oklahoma Robertson: And then I also worked in poor slums and villages. So then with the UNDP. I worked in around the world giving policy advice and starting projects and programs on decentralized governance to help countries decentralize from this capital to the provinces and the cities and towns and villages to decentralize decision making. Robertson: Then my engaged Buddhist studies particularly with Han and his teachers and practice awakened me to a calling to save all sentient beings. what [00:09:00] an outrageous calling, how can one person vow to save all sentient beings? But that’s what we do in that tradition of the being a BofA. Robertson: So through mindfulness and compassionate actions. So then I continue my journey by teaching at NYU Wagner with grad students from around the world. I love that so much. Then to the present as a consultant, speaker, author, and activist locally, nationally, and globally. So Gissele has been quite a journey, and here we are in this moment together, in this wild, crazy world. Gissele: Yeah, for sure, One of the things that I really loved about your book that you emphasize that we need to have a vision for the world that we wanna create. If we don’t have a vision, then we can’t create it, right? many of us are, focusing on anti, anti-oppressive, anti crime, anti this, anti that. Gissele: But we’re not really focusing on what sort of world do we wanna create? and I’ve had conversations with so many people, and when I ask the question, if people truly [00:10:00] believe. The human beings could be like loving and compassionate, and we could create a world that would be loving and compassionate for all many people say no. Gissele: And so I was wondering, like, did you always believe that civilization could be compassionate or did you grow into that conviction? Robertson: Great question. I definitely grew into it. Yeah. even as a child, I was awakened, you know, by the plight of African Americans in my country, in our little town in Oklahoma. Robertson: So I kind of began waking up. But I wasn’t sure, how much I or we could do about it. So I really grew into that conviction through my journey around the world working in over in 55 countries, it’s interesting the number of people your podcast goes to serving people and the planet. Robertson: So. Everywhere I worked Gissele, I was touched by the local people, that people care for each other, you know, in the slums and squatter settlements, in villages, in cities, the, the rich and the [00:11:00] poor. everywhere I went regardless of the culture, the language, the races, the issues the, the local people were caring. Robertson: So my understanding is that compassion is an action. It’s not just a feeling or a thought. It’s an action to relieve suffering in oneself and in others. but suffering is never entirely eliminated. You know, in Buddhism, the first noble truth is there is suffering, and it continues, but it can be relieved as best we can with through practices, through projects, through programs, and through policies. Robertson: So what has helped me is to see, again, a deep teaching in Buddhism that each person is influenced by negative emotions of greed, fear, hatred, and ignorance. And yet we can practice with these and to become aware of them and just, and to let them go, you know, and to practice evolving into loving kindness as [00:12:00] you, as you do in in your wonderful center. Robertson: Teaching more loving, kindness, trust and understanding. We can embrace inner being that we’re all part of everything. We’re all part of each other. You know, we’re part of the living earth. We’re part of humanity. I am part of you, you are part of me. And impermanence, you know, that there is no separate permanent self. Robertson: Everything comes and goes, and yet the mystery is there’s no birth and death. ’cause you and I. we’re part of, this journey for 13.8 billion years of the universe, and yet we can, in each moment, we can take an action that relieves our own suffering and in others. So, as you said, a vision is so, so important. Robertson: I’m so glad you touched on that, that a vision can give us a calling to see where we can go. It can motivate us, push us, drive us to do all that we can to realize it, you know, if I have a vision for my family. To care for my family. If [00:13:00] I have a vision for my country, if I have a vision for planet Earth, that can motivate me to do all I can do to make that really happen. Robertson: So right now there are so many challenges facing humanity, climate disasters. Oh my, I’m here in Swanno where we’ve had a terrible hurricane in 2024. We’re still recovering from it. Echo side, you know, where so many species are dying of plants and animals. It’s, it’s one of the great diebacks of in evolution on earth, oligarchic, fascism. Robertson: Right now, we’re in the midst of it in my country. I can’t believe it. You know, you’re, you’re on 81. I, I thought I was, gonna die and still live in a country that believed in democracy and freedom and justice. And so now here we, I have to face what can I do about oligarchic, fascism and social and racial and gender injustice. Robertson: Other challenges, warfare. And here we are in this crazy, monstrous war [00:14:00] in the Middle East. You know, what can we do? What can I unregulated? Artificial intelligence very deeply concerns me. we’ve gotta regulate artificial intelligence so it doesn’t hurt humans and the earth. Robertson: It doesn’t just take care of itself. So, you know, it’s easy Gissele to be despairing and to give up, you know, particularly at this moment. But actually at any time in our life, we’re always tempted to say, oh, well, things will be okay, or There’s nothing I can do, you know, but neither of those is true. Robertson: There are things we can do. We can stop and breathe and continue doing what we can where we are. with what we have and who we are. We do not have to be stopped by despair or by cynicism or by hopeism. We don’t. So thank you for that question about vision. I vision still wakes me up every day and calls me forward. Robertson: I’m sure it does. You as well. Gissele: Yeah. I [00:15:00] mean, without vision, it’s like you don’t have a map to where you’re going to, right.what’s our destination if we don’t have a vision? And so this is for me, why I loved your book so much. you are helping us give a vision Gissele: I mean, the alternative is what is the alternative? there’s my next question. What happens to a society that abandons compassion? Robertson: Exactly. Well, I sort of touched on it before. it falls into ignorance and into greed. Wanting more wealth, more power. for me for my tribe and, and falls into hatred, falls into fear, falls into violence, and that’s happening now, she said. Robertson: But I love what Thich Nhat Hahn reminds us of, of is that if there is no mud, there is no lotus. And that, that means is, you know, if there is no suffering, there can be no compassion . So without suffering and ignorance, there is no compassion or wisdom, because suffering calls us to relieve it. when I see [00:16:00] my wife or children in pain, I want to help them. Robertson: or when I see others, neighbors, you know, during the pandemic, our neighbors took food and water to each other. You know, after the hurricane, neighbors brought us water. suffering calls the best from us, it can, it can also call, call other things. But again, there’s no mud. Robertson: The lotus cannot grow. So we can continue the journey step by step and breath by breath. So that’s what I’d say for now. but that’s an important question. Gissele: you said some key things including that, people have a choice. They can choose to be compassionate, or they can choose to use that fear for something else, right. Gissele: But I often hear from people, well, you know, they want institutions to change. why are the institutions more, equitable, generous, compassionate and you know, like. I don’t know if we have a vision for what compassionate institutions look like, [00:17:00] what would compassion look like at that level? Robertson: Oh, that’s where those six areas you know, the compassion would look like practicing ecological regeneration or sometimes called environmental sustainability. You know, that we we’re part of the living Earth gazelle, We’re not separate from the earth . We breathe earth air, we drink earth water. Robertson: We you know, the earth. Hurricanes come. The earth. Floods come We are earthlings. I love that word, earthlings, and so, how do we help regenerate the earth as society? And that’s why, you know, legislation aware of climate change, you know, to reduce carbon emissions. Robertson: The Paris Accord, and that’s just one example, how do we have all laws for gender equality so that women receive the same salaries as men and have the same rights. as men, we gotta have the laws, the institutions you know, and the participatory democracy, that we have a constitution. Robertson: a constitution is a vision. of what we are all about. Why are, we’re [00:18:00] together as a country, so that we can each vote and express our views and our wishes, and that government is by foreign of the people. It is. So it’s, it’s critical, you know, that we vote and get out the vote again and again and again. Robertson: And to create those laws, those institutions they care for everyone. And the socioeconomic justice. we need the laws and institutions that give full rights to people of color to people of every culture and every religion, and every gender every transgender, every human being, every living being has rights. Robertson: That’s why the Universal Declaration of Human Rights is so important. I’m so grateful that it was created earlier in the last century in my country our country cannot go to war without congressional approval. Robertson: Aha. did that just not happen? Yes. But it’s in the Constitution. the law says that we must talk about it [00:19:00] first. We must send the diplomats. We must doeverything we can before we harm anyone. War is hell. there are other ways of dialogue and diplomacy. Robertson: we can do better. But again, it takes the laws and institutions. Gissele: thank you for that. I do think that we have some sort of sense in terms of what we find doesn’t work for us, right? these institutions don’t work, they’re based on separation, isolation, punishment, and we see that they don’t work. We see that, like inequality hurts everyone. Gissele: We see that all of these things that we’re doing have a negative impact, including war. And yet we don’t change. What do you think prevents societies from becoming more compassionate? Robertson: if we’re in a society that if harming people through terrible legislation and laws and policies that makes it hard for people then have to either rebel and then they can be you know, killed. Or they have to form movements peaceful movements like the [00:20:00] Civil Rights Movement in my country, you know, with Martin Luther King leading peace marches and our peaceful resistance, in Minneapolis, the peaceful resistance to ice, so what one big thing that’s, that makes people think they can’t be compassionate again, is the, larger society, you know, the institutional frameworks and legislations and laws and government practices. Robertson: But even then, as we’re seeing, you know, in Minneapolis and everywhere, and Canada is leading in so many ways, I think I, I’m so grateful for the leadership of your, your prime minister, calling the world thatwe must not let go of the international rules rules based international practices that we’ve had for the last 80 years, my whole life. Robertson: You know, we’ve had the, the UN and the international rules and now some powers want to throw those out, but no, no, we are gonna say no. we’re [00:21:00] surrounded by forces of wealth and power as we know. And however we can each do what we can to care for those near hand, far away, the least the last, and the last for ourselves, moment by moment. Robertson: Breath, breath by breath. And sometimes we, the people can change history and the powerful can choose compassion. And, we’ve changed history many times. We’ve created democracy. We, the people who have created civil right. Universal education and healthcare of the UN and much more. Robertson: you touched a moment ago on the pillars of a compassionate civilization. You know, there are 17 UN sustainable development goals, as you know, but I decided 17 was a big number, so I thought, why don’t we just have six? That’s why my book, it has six arenas of transformation for ease of memory and work. Robertson: and they are environmental sustainability, gender equality, socioeconomic justice, participatory governance, cultural tolerance, peace and nonviolence. So modern [00:22:00] societies can be prevented from being compassionate also by Negative emotions as we were talking about, of ignorance, greed, hatred, and violence. Robertson: Greed thinking, I need more wealth. I’m a billionaire, but I need another billion. You know, I’m the richest billionaire in the world, but I wanna buy the US government hatred, violence. So these all for me, all back into the Buddhist wisdom of the belief that I’m a separate self. Robertson: Therefore, all that’s important is my ego. Hell no, that’s wrong. You know, my ego is not separate. When I die, my ego’s gone. You know, all that’s gonna be left when I die, or my words and my actions, my actions will continue forever. my words will continue forever. May I, ego? No. So the, if I believe my ego is all there is, and I can be greedy and hateful and fearful and violent, but ego, unlimited pleasure and narcissism, fear of the other, ignorance of cause and effect, these don’t have to drive us. So [00:23:00] structures and policies based on negative emotions and the delusion of a separate self and harm for the earth. We don’t have to live that way. We don’t have to believe propaganda and misinformation and ignorance, and we can provide the education needed and the experience. Robertson: We don’t have to accept wealth hoarding. You know, why do we have billionaires? Why isn’t $999 million enough? Why doesn’t that go to care for everyone and to care for the earth? So again, we have to let go of wealth hoarding of power hoarding. Robertson: we don’t need all that wealth. We don’t need all that power. We can, we can care for each other. We can care for the earth. Gissele: There, there are so many amazing things that you said. I wanted to touch on two the first one is that I was having a conversation with an indigenous elder, and he said to me, you know, that greed is just a fear of lack, right? Gissele: And it really stopped me in my tracks because, when we see people hoarding stuff in their [00:24:00] house, we think, well, that’s abnormal. And yet we glorify the hoarding of wealth. But it isn’t any different than any sort of other mental health issue in terms of hoarding. And so that really got me to think about the role of fear. Gissele: And, if somebody’s trying to hoard money, it’s not getting to the root of the problem, issue. It’s never gonna be enough because they’re just throwing it into an empty hole. It’s a a billion Jillian, it’s never gonna be enough because it’s never truly addressing the problem. Gissele: But one of the things that you said as we were chatting is, that the wealthy, the elite, they can choose compassion, they can always choose it, which is an amazing insight. And yet I wonder, you know, in terms of people’s perspectives of compassion and power, do you think that the two go hand in hand or can they go hand in hand? Gissele: Because I think there might be some worries around, well, if I’m more compassionate, then I’m gonna be, taken advantage of, I’m gonna be, a mat. what is your [00:25:00] perspective? Robertson: Oh, I agree with everything you said and your question is so, so important. Thank you so much. Robertson: there are billionaires and then there are billionaires like Warren Buffet. Look, he’s given. Tens of billions of dollars away, hundreds of billions of dollars away, and other billionaires have done that. And then there are the billionaires, who think 350 billion isn’t enough. Robertson: You know, I need more. Well, that’s crazy. That is sick. That is sad that, that is a disease. And we have to help those people. I feel compassion for billionaires who think they need another 10 billion or another a hundred billion, or they need five more a hundred million dollars yachts, or they need another 15 $200 million houses around the world and that that is very sad. Robertson: And that they’re really suffering. They’re confused. Yeah. They forget what it means to be human. They’ve forgotten what it needs to be. An earthling that we’re just here for a moment. Gissele: Agree. Robertson: We’re just here for a moment, for a [00:26:00] breath, and we’re gone. Breathe in, we’re here, breathe out, we’re gone. And so we can stop. Robertson: We can become aware of that fear, as you said. We can take good care of that fear. I love the way Thich Nhat Hahn says. He says, hello, fear, welcome back. I’m gonna take good care of you. Fear. I’m gonna watch you take care of you. You’re gonna Evolve. ’cause everything is impermanent. Everything changes. So fear will change. Robertson: Fear can change. Fear always changes It evolves into Another emotion, another feeling, So let it go. Let it go. In the truth of impermanence. ’cause everything is impermanent. Fear is impermanent. So we also can remember the truth of inter being that I am part of what I fear, I am part of. Robertson: This current federal administration. You know, I’m part of the wealthy elite, and it is part of me. I fear of the US administration right now, but it is part of [00:27:00] me and I’m part of it. I fear climate change, but it is part of me. I’m part of it. I fear artificial intelligence , unregulated. I fear old age, but boys, I’m 81 and a half, it’s here. Robertson: So I’m gonna take care of it. I’m gonna say, Hey, old man, I’m gonna take care of you. And they’re all me. There’s no separation. I love Thich Nhat Hahn’s word. We enter are, we enter are now, how can I stop, become aware of fear, breathe in and out, and know the truth of inter being and impermanence and accept it. Robertson: Care for it. get out to vote, care for the self, write , speak, do what I can to care for what I can. My family, my neighbors, my city, my county, my country, my world. And everything changes. Everything passes away. Everything comes in and out of [00:28:00] being, what happened to the Roman Empire? Gissele: Mm, Robertson: what’s happening to the American Empire. Everything comes in and goes out like a breath, breathing in and breathing out. And then everything transforms into what is next? What is next? what is China going to bring? Ah, there is so much that we don’t know, Robertson: I love Thich Nhat Hahn’s teaching that. when we become aware of a negative emotion, we should Stop, breathe, smile. And then say, oh, welcome. Fear. Welcome back. Okay, I’m gonna take care of you. Okay, we’re in this together. Robertson: And then you just, you keep breathing in awareness and gratitude and things change. Your grandkid calls you, your baby calls you, your dog, your cat. You see the clouds, you see the earth, the sun. You see a star. You realize you’re an [00:29:00] animal. You know the word animal means breath. Robertson: We are animals. ’cause we breathe. We’re all breathing. So I love that. You know it. I love to say I am an animal. ’cause I, you know, we, human beings are often not, we’re not animals. We’re superior To animals, you know? Right. we are animals, that’s why we love our dogs and cats and we can love our, the purposes and the elephants and the tigers and the mountain lions and, and the cockroaches and the chickpeas and the cardinals we are all animals. Robertson: We’re all breathing. So I love that. Gissele: Yeah. Yeah. Oh, that was so beautiful. I felt that also, I really appreciated the practice too. In this time when we, like so many us are, are feeling so much fear and so much uncertainty and not knowing how things are gonna pan out, to just take a moment to breathe and reconnect to our true selves, I think is so, so fundamental. Gissele: And I hope that listeners are also doing it with us. you know, as I have [00:30:00] conversations with people around the world we talk a lot about, the way that the systems are set up, the institutions. Gissele: And it took a lot of hard work for me to realize that we are the institutions, just like you said, so the institutions are made up of people. And I was so glad to see that in your book, that you clearly say, you know, like it’s about people. It’s about us. It’s like we make up these institutions, you know? Gissele: And when I’ve looked at myself, I’ve asked myself, who do I wanna be? What do I really, truly wanna embody? And my greatest wish for this lifetime is to embody the highest level of love and to truly get to the point where I love people like brothers and sisters, that I care for them and that we care for one another. Gissele: And yet, there are times when I wanna act from that place, but the fear comes up, the not wanting or not trusting or believing when the fear comes up, how can compassion really help us change ourselves so that we can create a [00:31:00] different world? Robertson: What you said is so beautiful, and your question is so powerful. Thank you. Yes. And I’m gonna get personal here. we can do what we can, we can take care of ourselves, we can take care of others as we can, but we shouldn’t beat ourselves up when we can’t. You know? Robertson: So I, here I’m 80, I’m over 81, and I have issues with balance and walking, and I have some memory issues and some low energy issues. So I have to be kind to myself. I, so I’ve just decided that writing is my main way of caring for the world. That’s why I publish one or two essays a week on Substack, on Compassionate Conversations for 55 countries in 38 states. Robertson: And so I said, you know, I used to travel around the world all the time. Not anymore. I don’t even want like to travel around the county. Robertson: Anyway, I’m an elder , so I have to say , okay, elder, be kind to [00:32:00] yourself, but also do everything you can, write everything you can speak with Gazelle if you can. Robertson: I also have to decide who I’m gonna care for. I’ve decided I’m gonna care for my wife who just turned 70 and my two kids and my two grandkids, my daughter-in-law, my cousins and nieces and nephews, my neighbors here and North Carolina. Robertson: The vulnerable, you know, I give to nonprofits who help the hungry and the homeless to friends and to people around the world through my writings and teachings And so the other day I drove to get some some shrimp tacos for my wife and me for dinner. Robertson: And a lady came up and she had disheveled hair. And she just stood by my car and I put the window down a little and she said. can you drive me to Black Mountain? that’s not where we were. I was in another town. ‘ cause I’m out of my medicine. Robertson: She just, out of the blue said, stood there and said that. And I thought, [00:33:00] oh, oh, hmm. Oh, so, oh yes. So I, I wanted to say, but who are you? How are you? Do you live here? Do do you have any friends or family? Do you, you, can I give you some money? Do you have, but I was kind of, I was kind of struck dumb, you know? Robertson: I thought, oh, oh, what should I do? And so I said, oh, I’m so sorry I don’t live in Black Mountain. And she said, oh. And she just turned and walked away and she asked two other cars and they said no. And then she walked away. And then she walked away. I thought, oh, Rob, Rob, is she okay? Does she have a family? Robertson: Did she have a house? What if she doesn’t get her medicine? How can she walk to that town? Could you have driven her and delayed taking dinner home to your wife? And then I said, but I don’t know. And then I thought, oh, but she’s gone. And I then I said, okay, Rob. Okay, Rob, [00:34:00] you’ve lived 81 years. You’ve cared for people in the UN in 170 countries. Speaker 3: Yeah. Robertson: And you’ve been in 55 countries, you’re still writing every week, you’re taking care of your neighbors and family and friends. Don’t beat yourself up. Old guy. Don’t beat yourself up. But next time, you know what Rob, I’m gonna say, Hey, my dear one, are you okay? I don’t have any money, but I can I buy you? Robertson: We are here at the taco shop, Can I buy you dinner? I would, I’m gonna say that next time, Rob. I’m gonna say that. and then I also gazelle,I’m gonna support democratic socialist institutions. You know, some people are afraid of that word, democratic socialist. Robertson: But you know, the happiest countries in the world are democratic socialist countries. Finland is the world’s happiest country. Denmark, Sweden, Norway, the Netherlands, Iceland, those are in the top 10 [00:35:00] when they’ve, when there have been analysis of, if you, if you Google happiest countries in the world, Robertson: those Nordic countries come up every year. Why? They are democratic socialist countries. You pay high taxes and everybody gets free college. You know, free education, free college, free health everybody gets taken care of in a democratic socialist country in the Nordic countries and New York City. Robertson: I’m so proud that our new mayor in New York City Zoran Mai is a democratic socialist. He is there to help everybody, but particularly those who are hurting the poor, the hungry , the sick, or the people of color, women, the elderly, the children. I’m so proud of him and I write about him on my substack and I write him Robertson: I he’s one of my heroes just like Bernie Sanders is one of my heroes. And Alexandria Ocasio Cortes, a OC is one of my, my heroes, CA [00:36:00] Ooc. So, and you know, I used to never tell anybody I was a Democratic socialist ’cause I was afraid. I thought, oh, they’ll think I’m a socialist. Hell no. I am now proud to say I’m a democratic socialist. Robertson: I’m a Democrat. I vote the Democratic ticket, but I’m always looking for progressives, progressive Democrats, you know, democratic socialist Democrats. because, you know, our country can be more like Finland, Denmark, Sweden, Norway, the Netherlands, Iceland New York City. New York City is showing us the way America can be like a New York City. Robertson: I’m so proud of New York City and I used to live in New York City so as an old person. I can only do what I can do. and I’m not saying, oh, I poor me. I can’t do anything. No, no. I’m not saying that. I’m saying I can do a hell of a lot as this 81-year-old, it’s amazing what I can do, but that is why I write and speak and care for my family, neighbors, friends, the poor. Robertson: [00:37:00] Donate to nonprofits for the homeless and the hungry vote. Get out the vote. So yes, that’s my story. Gazelle. Gissele: I totally relate. I mean, I’ve been in circumstances like that as well, where you wanna help. But the fear is like, what if a person kills you? What if they don’t really have medication? Gissele: What if you get hurt or they try to rob you or they have mental health problems? Mine goes to protection and it is very human of us to go there first. And so, so then we get stuck in that ping pong in that moment and then the moment passes and you’re like, you know, was it true? Could I have driven that person? Gissele: And that would’ve been something I wanted to do for sure. But in that moment, you are stuck in that, yo-yo, when the survival comes in. And so helping ourselves shift out of that survival mode, understanding and learning to have faith and trust. And for me that’s been a work in progress. Gissele: It really has been a work in [00:38:00] progress. The other thing I wanted to mention, which I think is so important that we need to touch on. It’s the whole concept of socialism. So I was born in South America before I came to Canada and so I remember lots of my family members talk about this, there’s many South American countries that got sold communism, as socialism we’re talking about approaches that instead of it being like a democratic socialism that you’re talking about, which is the government, make sure that people are taking care of and that the people are probably taxed and provided for what would happen in those countries was that. Gissele: Everything got taken away. People were rationed certain things, and, it was horrible. it was not good, but it was not socialism. And there was many governments that took the majority of the money, then spent it on themselves, left the country, took it themselves, and so especially the Latin American community is very much afraid of socialism because they think back to that, the [00:39:00] rationing of electricity, the rationing of food, the rationing of all of that stuff, it wasn’t provided openly. Gissele: It was, everybody gets less. And so you have these people with this history that then have come to the US and think they don’t want socialism. They think democracy means that people aren’t gonna take stuff away from them, but that’s not what it means either. ’cause I don’t even know if like in North America we have a true democracy. Robertson: so thinking about reframing of how we think or experience democratic socialism, that it doesn’t mean less for everybody and in everything controlled by the government. It means being provided for abundantly and, also having the citizens be taxed more, which means we are willing to share our money so that we can all live well, Beautiful. Beautiful. Oh, thank you. Hooray. Wonderful. What country are you? May I ask where you coming? Gissele: Yeah, of Robertson: course. Gissele: Peru, I Gissele: [00:40:00] Yeah. Robertson: Wonderful. I’ve been to Peru a few times. A wonderful, beautiful country. And I, I lived in Venezuela for five years. ‘ cause I love, I have many friends in Venezuela. Robertson: But anyway I agree with everything you just said. That’s why I said what I said that I now can, I can confess that I am a democratic socialist. And that’s not socialism. It’s a social democracy is what it’s called. Yeah. That’s what they call it in Finland and Denmark and so on. Robertson: They call it social democracy. It’s democracy. But it, as you say, it’s cares for everyone and for the earth. We have to always add and the earth, ’cause you know, all the other species and, and the other life forms and the ecosystems, the water, the soil, the air, the minerals the plants, the animals. Robertson: and we have the money, as you said. I mean, if I had $350 billion, think of what taxes I could pay if the tax rate was, you know, 30%. [00:41:00] And rather than nothing, some of these, some of these folks pay, Gissele: well, I think we have glorified that we all wanted that, right? Like we got sold this good that oh, we should all want to be as wealthy as possible, right? And so we normalize the hoarding of money. Not the hoarding of other stuff, right? Gissele: And so we have allowed that, which gets me to my, next point, you talk about the environmental impact as part of a compassionate society, which absolutely is necessary. Gissele: And as human beings, we can be so lazy. We want convenience. We want to, have our package the next day. We don’t wanna wait. are we willing to pay higher wages? Are we willing to wait? Longer for our packages, like, are we willing to, invest in our wardrobe instead of buying fast fashion? Gissele: We don’t do these things and these have environmental impacts, and it also have human impacts, and at the end, they have impact on us. What can we do to ensure that, that we address that [00:42:00] complacency so that we are creating a fair, affordable , and compassionate world. Robertson: So important. Thank you. Robertson: It’s, it’s a life and death question. So yes, we should always ask about ecological and social impacts and take actions accordingly. That’s why I recycle every day. You know, some people say, oh, recycling is stupid. What do they really do with this, with it? You know, are they, are they really careful when you, they pick it up? Robertson: but I recycle religiously every day That’s why I support climate and democracy through third act. There’s a group that Bill McKibbon has started here in the US called Third Act. It’s a group of elder activists, activists over 60 who are working on climate and democracy issues. Robertson: So I’m doing that. That’s why I vote and get it out to vote. And as I said, I vote for Democrats and Democratic socialists. That’s why I write and speak and vote for ecological regeneration for social justice, for peace, for [00:43:00] democratic governance. It’s so critical that we keep questioning our actions like. Robertson: Okay, why am I recycling? Is it really worth the time? You know, deciding about every item, where it goes, and then putting out it out carefully and rinsing it first. And is that really going to help the world? ’cause you also know we need systemic changes, because you can always say, oh, but what the individual does doesn’t matter. Robertson: We need laws, we need institutions of ecological regeneration, and we need laws on caring for the climate and stopping climate change. So you can talk yourself out of individual responsibility when you realize that we need laws and institutions that protect the environment. Robertson: But it’s both. It’s both. what each person does, because there are millions of us individuals. So if there are millions of us act responsibly, that has, is a huge impact. And then if we [00:44:00] also have responsible laws and institutions that care for the environment as well as all people, then that’s a double win. Robertson: So I agree with you. We have to keep asking that question over and over and making those decisions and they’re hard decisions. We have to decide. Gissele: Yeah, I’ve had to look at myself like one of the commitments I’ve made to myself is not buying fast fashion. And so, investing in pieces, even though sometimes I feel lack oh my God, spending that much money on this, you know? Gissele: Yeah. It all comes back to me. if I am not willing to pay a fair wage, that means that the next person doesn’t get a fair wage, which means they don’t wanna pay a fair wage and so on and so forth. And then it comes back to me, you know, my husband has a business and then, you get people that don’t also wanna pay a fair wage. Gissele: It’s all interconnected. And so we have to be willing, but that also goes to us addressing our fear, our fear of lack, that we’re not gonna have enough. All of those things. And the biggest fundamental [00:45:00] fear, and you mentioned death to me, is the ultimate Gissele: fear That we must overcome I think once we do, like, I think once we understand that we are not, this human vessel. Gissele: that we’re not just this bag of bones and live in so much constrained fear that perhaps we could. really open up ourselves to be willing to be more compassionate . What do you think? Robertson: Absolutely. I’m with you all the way. Yes. We fear death because we’re caught in that illusion of a separate permanent self. Robertson: You know, it’s all about me. Oh, this universe is all about me. The universe was created 13.8 billion years for me. Robertson: Yeah. But it’s all about me and particularly my ego, honoring my ego. Building up my ego, praising my ego being, you know, that’s why I wanna be rich and famous. Robertson: Fortunately, I never wanted to be rich or famous, but that’s another story. We’ll talk about that some other time. But everything and [00:46:00] everyone is impermanent. When I realized that truth and it, it came to me through engaged Buddhism, but you could, you could get that truth in many, many ways. Robertson: That everything and everyone is impermanent. we’re part of the ocean. But the waves don’t last forever, do they? But the ocean lasts forever. Robertson: So My atoms, are part of the 13.8 billion year old universe. my cells are part of the living earth. Yes, they remain When I die, you know, go back into the earth. back into the soil and the water and the air but My ego doesn’t remain. What, what remains, as I said before, are my actions. Robertson: Everything I did is still cause and effect. Cause and effect. Rippling out. Rippling out. Okay. Rob, what did you do? What did you say? did you help that, did you touch that? Did you say that? so my actions and words continue rippling forever. So Ty calls that, or in the Plum Village tradition of engaged Buddhism, it’s called my continuation. Robertson: Your actions and your words [00:47:00] are your continuation that last forever as your actions and words will continue through cause and effect touching reality forever. So when my ego does not remain so I can smile and let it go. I often think about my continuation. You know, I say, well, that’s why, maybe why I’m writing so much and speaking so much. Robertson: And caring for so many people every day, you know, caring to care for my wife and my children and grandchildren and friends and neighbors, and the v vulnerable and the hungry, and the homeless, and the, and my country, and my city, and my county, and my, and why do I write substack twice a week? Robertson: And containing reflections on ecological, societal, and individual challenges and practices. And so every, week I’m writing about practices of mindfulness and compassion. So I’m trying to be the teacher. I’m trying to send out words of mindfulness and compassion so that they will continue reverberating when I’m dust, Robertson: So [00:48:00] I’m reaching out. In my substack to just those 55 people in 55 countries, in 38 states, touching hearts and minds and even more on social media. every month I have like 86,000 views of my social media. Why do I do it? It’s not just about ego, you know? Robertson: Oh, Rob, be famous. No, Rob is not famous. I’m a nobody. I gotta keep giving and giving and giving, you know, another word, another action, so I can, care for people around me through personal care, donations, voting, volunteering workshops, I’m helping start a workshop in our neighborhood on environmental resilience through recycling, through group facilitation. Robertson: I’m trained in, facilitation. I’ve been trained my whole life to ask questions of groups so they can create their own plans and strategies and actions. that’s some of my answer. Robertson: I hope that makes some sense. Gissele: Thank you very much. I appreciated your answer and it made me really think you are one of our compassionate leaders, right? [00:49:00] You’re, you’re kind of carving the way and helping us reflect, ’cause I’ve seen some of your substack, I’ve seen like your postings. Gissele: That’s actually how I kind of reached out to you. ’cause I was so moved by the material that you were sharing, the willingness to be honest about what it takes to be compassionate and how hard it can be sometimes to look at ourselves honestly, because we can’t change unless we’re willing to look at ourselves. Gissele: All aspects of ourselves, like you said, we are the billionaires, we are the oligarchy, we are all of these people. The racism that voted that in the, the racism that continues to show the fear, all of that is us. And so from your perspective, what do compassionate leaders do differently? Robertson: Yes. Well, it great question. Robertson: what do compassionate leaders do differently? Well, he or she or they. Robertson: are empathic. I think it starts with empathy. What are like, what are you feeling? What are you thinking? Robertson: What are you, what’s happening in your life? So an empathic [00:50:00] leader listens to other people. They see where other people are hurting. They care. They ask questions and facilitate group discussions, enable group projects. They let go of self-importance, you know, that it’s not all about me. Robertson: They let go of narcissism. They let go of, the ego project. They help others be their greatness. They care for their body mind so that they can care for others. and they donate and vote and recycle and more and more and more and more. did you know in Denmark. In elementary school every week, children are taught empathy. Robertson: You know, they have courses on empathy, Robertson: when I was growing up, I,didn’t have courses in school on empathy in church school, you know, in my Sunday school at, in my church. I was taught to love my neighbor and to love everyone, and that God was love. But in school, in my elementary [00:51:00] school and junior high and high school, we didn’t talk about things like empathy and compassion. Gissele: Yeah. Thank you for sharing that. I did know about Denmark ’cause my daughter and I are co-writing a book on that particular topic. The need to continue to teach love and compassion in, Gissele: being a global citizen. Right? And, and I’m doing it with her perspective because she just graduated high school, so she has like the fresher perspective, whereas mine’s from like many moons ago. Gissele: We need to continuously educate ourselves about regulating our own emotions, having difficult conversations, hearing about the other, other, as ourselves. Because that’s, from my perspective, the only way that we’re gonna survive. a friend of mine said it the best that we were having a conversation and she does compassion in the prison system and she says, I can’t be well unless you are well. Gissele: My wellness depends on your wellness. And that just hit me in my heart, like, ugh. Not that I live it every day, Robertson, Gissele: every day I have to choose and some [00:52:00] days I fail, and other days I do good in terms of like be more loving and compassionate and truly helping the world. But it’s a choice. It’s a continual choice. So this goes to my biggest challenge that maybe you can help me with, which is, so I was having this conversation with my students. We were talking about how. In order to create a world that is loving and passionate for all, it has to include the all, even those who are most hurtful, and that is really difficult . Gissele: I’m just curious as to your thoughts on what starting point might be or what can help us look at those who do hurtful things and just horrible things and be able to say, I see God within you. I see your humanity. Even though it might be hard. Robertson: Yes, It is hard. several years ago when I would hear [00:53:00] leaders of my country speaking on the media, I would get so repulsed that I would turn it off but I began practicing. Robertson: I practiced a lot since those days and I realized, you know. People who hurt, other people are hurting themselves. they’re actually hurting. they’re suffering. People who hurt others have their own suffering of, they’re confused. they’ve forgotten what it means to be human. Robertson: They’re, full of, greed, of their own fears, all about me. Maybe they’re filled with hatred they become violent. they’re suffering. I still find it very difficult to read or listen to certain people. Robertson: But what I do is I stop and I breathe and I smile and I say, okay. Robertson: I care. I’m concerned about you. I don’t know what I can do, but I am gonna do everything I can to care for the people, being hurt, you know, like my fellow activists in [00:54:00] Minneapolis are doing, or elsewhere, we could mention many places around the world where people are risking their own lives. Robertson: You know, in Minneapolis, two activists were killed, Ms. Good Renee Good, and Alex Pretty were killed because they went beyond their fear, you know? they got out there in the street because the migrants were being hurt and they got killed. Robertson: So, you know, At some point you have to come to terms with your own death, I don’t know if I have a, a minute to go or 20 years, I still have to let go. And so how do I care for my wife, my family, my friends, my neighbors my country, the vulnerable, the homeless, the hungry, and, as you said, for the wealthy and powerful who are hurting others, you know, starting wars attacking migrants, killing activists. Robertson: It’s hard. You know? So I have to say, I love the story of [00:55:00] when during the Vietnamese war Thich Nhat Hahn and his monks. They did not take sides. They did not say we’re on the side of the Vietnamese or the us. They did not take a side in the war. This is hard for me ’cause I, I usually take sides. Robertson: The practice was, okay, we’re not going to support we’re Vietnamese or the us. Were going to care for everyone. So they just went out caring for people who were getting hurt and during the war, people who were hungry, people who needed food, people who were bleeding, Robertson: So they decided their role was to care for those who were hurt not to attack. To say, I’m for the blue and I’m against the red. They said, I’m just gonna, care . Like, the activists in Minnesota, They’re, they’re not attacking ice, they’re singing to ice. Robertson: And so yes, we have to acknowledge our own anger. [00:56:00] I’m angry with these politicians. sometimes I want, to hate them, but I have to say, I do not hate you, my friend. You are confused. You’re so confused. You’re hurting others. So you’re so hurtful. Robertson: You don’t realize how you’re hurting others. But, I’ve got to try to stop you from hurting others. I’ve got to try to help those who are hurt and maybe I’m gonna get hurt, you know, because in the civil rights movement, if you’re out there doing on a peace march, you might get beaten up. Robertson: as I said, I’ve lived in villages, poor villages, and. Urban slums in several countries. And some people could say, well, that’s stupid. You could get hurt. You know, you could, you could as a white person living in a African American slum or in a Korean village or in a Venezuelan village, Robertson: So, you know, I say, was I stupid? Was I risking and I was with my wife and children? Was I risking the lives of my wife and children by living in slums and, and villages? Yes. Was I stupid? I mean, [00:57:00] no, I wasn’t stupid, but I was risking our lives. But I somehow, I was, called I wanted to do it. I said, okay. Robertson: but my point is it’s risky, you know? And you have to keep working with yourself. That’s why I love the word practice. Robertson: You know, in Buddhism we keep practicing, and I love your, the teaching of that you have on your website of Pema Chodron, you know, on self-love. You know, you have to keep practicing. How do I love myself? Say, okay, I’m afraid and I’m just this little white person, but or I’m this little old white person, but I’m gonna do everything I can and be everything I can. Robertson: I really appreciated the story of Han not choosing sides. I mean, you’re right. If we are going to see each other’s brothers and sisters and is is one global family, we can’t pick a side over the other, even though we so want to. Gissele: And, and I’m with you. when I think that there’s a [00:58:00] unfairness, when there’s people that are vulnerable or suffering, I’m more likely to pick to the side that is like, oh, that person is suffering. They’re the victim. But what you said is spot on. People that truly lovewho have love in their heart, like when you were raised with love. Gissele: You had love to give others because your cup was full. So it overflowed to want to help others, to want to love others. People that are hurting, that don’t have love in their hearts are those that hurt other people. Robertson: Mm-hmm. Gissele: They must because they must be so separated from their own humanity. Robertson: Yes, yes, yes. Gissele: And yet things are changing. You mentioned Minnesota, and I wanted to mention that I love that they’re doing the singing chants, and they’re not making them wrong. they’re singing chants like you can change your mind. You don’t have to be wrong. You don’t have to experience shame and guilt for the choice you’ve made. You can always change your mind. And in your book, you talk a lot about movements. Do you wanna [00:59:00] share a little bit about the power of movements and helping us create a compassionate civilization? Robertson: Oh, yes. Thank you. I’m, I’m a big movement fan. it started in college with the Civil Rights Movement. I realized, wow, you know, if a lot of people get together and do something together, it can make a difference. Like the Civil Rights movement. Gissele: Yeah. Robertson: And the women’s movement and peace movement. Robertson: And like in Vietnam, the peace movement, we could really make a difference if we get out in March. I think that being an individual or part of an organization that is part of a movement can be a powerful force. And so I focus in my life and that, that book on the six movements that I’ve mentioned, and those movements can work together. Robertson: And when they work together, they become a movement of movements. They become mom. Hmm. I like that because I I’m a feminist and I think that we need so [01:00:00] desperately we need more feminine energy inhumanity and in civilization. Robertson: So I’m a unapologetic feminist. And so that’s why I like that the movement of movements, the acronym is Mom, you know, and so it’s the Moms of the World will lead us like you. And so they’re the movements of ecological regeneration, socioeconomic justice, I’m repeating gender equality, participatory governance, cultural tolerance, peace and non-violence. Robertson: And you know, we also have the Gay Rights Movement, the democracy movement. there’s so many movements that it made a huge difference. So. I began saying that I, after writing the book, I said, okay,now my work is the work of the Compassionate Civilization Collaborative. Robertson: And I decided I wouldn’t make an organization, I it, wouldn’t have a website, I wouldn’t register it. I wouldn’t raise money for it. It would just be anybody and everybody [01:01:00] who was part of the movement of movements who was working to create a compassionate civilization. Robertson: So that’s what I did. And that’s where I am. I’m this old guy in my home. I don’t get out a lot. I don’t drive a lot. I just drive to nearby town. I have a car, but I don’t use it a lot. I don’t like to walk up and down hills. Robertson: IAnd sometimes I can’t remember things and I say, Hey, but look, you have so many friends all over the world and you can keep encouraging through your writing. So that’s why I keep writing, you know, it is for the movement of movements. Robertson: I guess that’s why I write. here’s something I want to share, something I thought or felt or something that I wrote about. And maybe it will touch you. Maybe it’ll encourage you. Maybe we’ll help you in your life. Robertson: I live in a homeowners association neighborhood. It’s a neighborhood that has a homeowners association. We’re 34 families and we have straight families, gay families. we have white families and non-white families. [01:02:00] We have Democrats, Republicans and Socialists. Robertson: We have Christians and Buddhists and Hindus. And so what I do, I say, Hey, we’re all neighbors. We all helped each other during the pandemic. We all helped each other after the hurricane. It doesn’t matter what our politics are or our religion or our sexuality, we’re all human beings. Robertson: We’re all gonna die. we all want love. We all want happiness. And We can be good neighbors. We don’t have to have ideology, you know, we don’t have to quote the Bible, we don’t have to quote Buddha. We can just be good neighbors. So we’re gonna have a workshop this spring And so we’re all going to get together down the street in this big room, in the fire station, and we’re gonna have a two hour workshop. And will it help? I don’t know. Will it make us better neighbors? I don’t know. Why am I doing it? I’m driven to do it. I’ve done workshops all over the world and I wanna do a workshop in my neighborhood. Robertson: I’ve done workshops with the un, I’ve done [01:03:00] workshops with governments, with cities So I love to facilitate. I love getting people together to solve problems together to listen to each other, respect each other, to honor each other. Gissele: so I’m just gonna ask you a couple more questions. But I’m just gonna make a comment right now about what you said because I think it’s so important. Gissele: Number one is I love that your neighborhood is a microcosm of what our world could be like . The fact that people got together to help and make sure that people were taken care of. If we could amplify that, that could be our world. I think that’s such a beautiful thing. Gissele: And the other thing that I think is really fundamental is that even through your life, you are showing us that some people are going to go pickett. And that’s okay. Some people are gonna write blogs to help us, and that’s okay. Some people are gonna do podcasts, and that’s okay. There are things that people can do that don’t have to look exactly the same. Gissele: Some people are going to have more courage, and they’re going to put their bodies in front and potentially get hurt. Other people, maybe they can’t do [01:04:00] that. So there are many different ways to help. The other thing that you said that was really, really key is the importance of moms . And that was one of the things that really touched me about your book, the acronym. Gissele: I was like, oh my God, I so resonate with this. Because I do feel that we need more feminine energy. We really kind of really squash the feminine energy. But the truth of the matter is we need more because fundamentally, nurturance is a mother energy is a feminine energy. Gissele: Compassion’s a feminine energy. Yes, yes, yes, Robertson: yes, yes, Gissele: so if I can share my story. Last night I was at hockey game. My son was playing hockey. Robertson: Mm-hmm. Gissele: And our team they don’t like to fight. Gissele: We play our game and we have fun and we’re good. And so the previous teams that were there, it was under Youth 15, most of the game was the kids fighting. And taking penalties. And so the game ends, the people come off the ice and two men that are starting to get like into a fight [01:05:00] now, woman got in front of them. Gissele: Wow. and said, we all signed a form that said, this is just a game. Remember who this is for? even though she was elevated, she totally stopped that fight between two men that we were not small. And So it was, it was really interesting. Robertson: Wonderful. Gissele: it was a woman who actually stopped a fight Gissele: It’s the feminine power. And that doesn’t mean, and I wanna make this clear, that doesn’t mean that men have to be discarded or have to be treated the same way that women are treated. ’cause I think that’s a big fear. That’s a big fear that some white males have. It’s no, you don’t have to be less than, Robertson: right. Robertson: We need Gissele: to uplift the feminine energy. So there’s a balance. ’cause right now we’re not balanced. Robertson: Exactly. Exactly. Oh, boy. Am I with you there? there’s a whole section in my book, as you noticed on gender equality I’m gonna read a tribute to Mothers I. Robertson: Tribute to Mothers Giving Birth to New Life, nurturing, [01:06:00] sustaining, guiding, releasing, launching, affirming Love. Be getting Love a flow onwards. Mother Earth, mother Tree, mother Tiger, mother Eve. My grandmother’s Sally and Arie, my mother, Mary Elizabeth, my children’s mother, Mary, my grandchildren’s mother, Jennifer, my grandchildren’s grandmothe

In this episode of Car Con Carne, James VanOsdol welcomes Josh Chicoine, the creative force behind Cult Canyon, to discuss the release of the debut album, Smoke Tricks. The conversation delves into the evolution of Josh's musical projects, from the raw energy of the M's and the acoustic harmonies of Cloudbirds to the collaborative and sophisticated sound of Cult Canyon. Key Highlights: The Making of Smoke Tricks: Josh explains how the album, initially inspired by string arrangements recorded in 2019, was brought to life through a grant from the Department of Cultural Affairs and Special Events (DCASE). Creative Collaborations: The album features contributions from talented musicians like Alison Chesley, Susan Voelz, and Dave Max Crawford, as well as backup vocals from Melissa Busch-Wolford and Lindsay Weinberg. DIY Spirit: Josh shares his experiences with the DIY approach to music, from producing and promoting records to filming music videos with a GoPro and a vintage VHS filter. The Influence of Chicago: The city of Chicago serves as a backdrop for the album, with Josh reflecting on his relationship with the city and the local music scene. Second Hand News: Josh and James discuss his involvement in the Fleetwood Mac tribute band, Second Hand News, and the transgenerational appeal of the legendary band's music. Album Information: Item Details Artist Cult Canyon Album Title Smoke Tricks Release Date March 13, 2026 Label Rattleback Records Release Show The Hideout, March 14, 2026 This episode is brought to you by Exploding House Printing. Based in Hermosa, they specialize in screen printing, embroidery, and custom merch for bands and brands. Visit explodinghouseprinting.com for a quote. Episode Transcript (Note: Auto-generated transcript; errors are possible) James VanOsdol: This right here is Car Con Carne. Car Con Carne is a Q101 podcast. I'm James VanOsdol. Car Con Carne is brought to you by Exploding House Printing. They’re based in Hermosa and they specialize in screen printing, embroidery, and custom merch for bands and brands. Check them out on explodinghouseprinting.com. Get a quote, see all the people, businesses, bands, and brands that they’ve worked with. Explodinghouseprinting.com. (Theme song plays) James VanOsdol: So, after the Golden Line EP a few years ago, Cult Canyon is set to release its debut album, Smoke Tricks, on March 13th. The album will be released on lovely vinyl via Rattleback Records and the release will be celebrated with a live show at The Hideout the following night. Josh Chicoine, whose creative resume is deep, impressive, and familiar, joins me in the car on a rainy, dreary, just kind of shitty transitional winter-into-spring night. Josh Chicoine: Muck, winter mix. James VanOsdol: Let’s talk about Cult Canyon. We’re here, the album’s almost out as we’re sitting here talking about it. Josh Chicoine: It is. James VanOsdol: A lot of us came to know you from your time with the M’s earlier this century. Have you metaphorically moved from the garage to the living room with these projects? Josh Chicoine: It feels like I have. I mean, there was definitely a lot of garage influences happening with the M's. Certainly a DIY spirit. James VanOsdol: That kind of raw immediacy. Josh Chicoine: Yeah, I think we were trying to—well, it was of the time too. So this was the early 2000s, there was a lot of that stuff rolling around. And we kind of fit into that mix and just wanted to bring our own little flavor, which is heavily melodic, a lot of singing, a lot of gang vocals, which is one of my favorite things to do. And still, I guess, pop ethos, you know? Major and minor chords, nothing crazy. But yeah, we got done with that and I started a three-piece singing group called Cloudbirds and did that for about three years with a couple of guys that were in the M’s also, Joey King and Glenn Russell. And that was definitely in the living room. That was acoustic guitars, sometimes we had electric, but mostly acoustic music and three-part harmonies and very folky. And it was a real welcome relief, I’d say, to almost 10 years of loud guitars and bashing drums and shouting vocals. James VanOsdol: You weren’t pounding kids anymore. Josh Chicoine: We were not. We were not, and we kind of got started late anyway. So by the time 2009 rolled around, I was probably in my mid-30s, early 30s, everybody was kind of getting into their 30s. So being on the road was just awful. I think I was about ready to have my first child. And so yeah, the whole kind of idea shifted. And so we just couldn’t sustain that. So being in a singing group and just three guys, a lot easier to organize practices and singing some sweet melodies and harmonies, and that was more my style. And I kind of chased that for a little while, and then I had a new band called Sabres and I tried to do the rock thing again in 2014 and self-released that record, put a lot of time into that record. And it was another big record. And I found out I was just really tired. The DIY thing is that you have to do it yourself. So that means producing the record, promoting the record, getting all the artwork together, getting five people—now more grown people—to get together for any rehearsal, any show. I thought it was going to maybe be a bit easier, but it just wasn't. It wasn't easy, so I had to put that down. James VanOsdol: DIY is hard. We’re doing DIY right now in a car on urban radio in 2026. I do it in my car with a couple of cheap—see how the world has shifted for us both. Josh Chicoine: It has. I might say for the better. James VanOsdol: One would argue or could argue that, yeah. We’re our own bosses. Josh Chicoine: I think so. Yeah, there you go. James VanOsdol: You’re the CEO of Cult Canyon. Josh Chicoine: I am the CEO of Cult Canyon. I have a lot of contributors and collaborators, which I’m very thankful for. James VanOsdol: Let’s talk about some of them. Alison Chesley is a contributor. Josh Chicoine: She is. She is actually appearing on the latest record. To go back to the Golden Line EP in 2019, so right before COVID, I released an EP called Josh Chicoine and it was called Dream Believers. And I was imagining this trajectory where the next bunch of songs would include a string quartet. And so in 2019, early 2019, I recorded three songs including with Susan Voelz, who’s a good friend also. James VanOsdol: She’s delightful. Josh Chicoine: Yeah, she’s delightful, she’s an old friend, she’s a great contributor, what a great spirit. And with her and a few other string players. And then COVID came, so I sat on this thing. And I sat on this thing for quite a while because part of the DIY situation that we’re in now is that there’s so much noise and there’s so many competing avenues for attention, including your couch doing nothing. That’s a big one. James VanOsdol: Yeah. Josh Chicoine: Yeah, so I sat on it and I didn’t know what I was going to do. And so I applied for a grant. It was really the Department of Cultural Affairs and Special Events here in Chicago, they have an individual artist program, DCASE. James VanOsdol: DCASE. Shout out to DCASE. Josh Chicoine: They have a grant program every year, and I applied and I said, you know, I’m coming back into making things and this is what I want to do. I want to make a rock record in the city of Chicago using Chicago musicians out of Chicago studios. And that was really the kind of impetus to be like, okay, what do I want this Cult Canyon thing to be? And so that’s when I looked back at those Golden Line songs, which are really lush string arrangements done by our good friend Dave Max Crawford of Poi Dog Pondering and the Total Pro Horns. And he does a fantastic job. I’ve been collaborating with him since the M’s, he did a lot of those string arrangements and horn arrangements and stuff, so he’s really adept and really tasteful. And so I was just like, why not bring it into everything that I’m doing and make Cult Canyon more of a catch-all and a place where, for one, I can do what I want and I can do it with others that I want to do it with, people that I love. And yeah, Alison Chesley, I met her through Susan because playing with quartets, you end up having a large stable of artists because people are busy or they want more money than you want to give them or can give them on any given night. So I was able to meet and reach out to a bunch of string players and continually find new ones in town that can fill a role for a time. And happily, Alison is on this record on a tune called Good Bad Habits. James VanOsdol: I love it. And the album sounds great. Now, we’re recording this right before it comes out, like I said. The album is Smoke Tricks. We’ve had—we, the public—have experienced some of it already. Real Sublime is a single. You shot a video for this one. Josh Chicoine: I did. James VanOsdol: Was that your house you shot it in? Josh Chicoine: That was at my house, yeah. James VanOsdol: Very tastefully appointed. Josh Chicoine: Thank you. That’s all due to my wife. James VanOsdol: You’ve got you in a convertible on the lakefront. Josh Chicoine: That’s my buddy Al’s ‘67 Oldsmobile. James VanOsdol: That’s badass. Josh Chicoine: Pretty badass. We all need a buddy like Al. Al’s the best. James VanOsdol: Convertible on the drive, clearly different time of year from when we’re recording this. Josh Chicoine: Yeah. James VanOsdol: And is that the lake you jumped into or did you shoot that— Josh Chicoine: Yeah, jumped into the lake. Another good friend of mine is a Great Lake jumper, Dan O’Conor. James VanOsdol: He’s a celebrated Great Lake jumper. Josh Chicoine: They continually celebrate Great Lake jumper. I think he did it for five years straight every day. And yeah, so I started going out there and doing that. So it wasn’t so far afield to imagine, because what are videos now? I don’t even know what they are. But for this one, it was like, all right, Al, let’s get in a car, let’s drive around. I got this GoPro, I’ll stick it to your car, drive around, and then let’s go to the lake and let’s jump in the lake. James VanOsdol: So it doesn’t necessarily tie back to the lyrics or the theme? Josh Chicoine: I don’t think so. I mean, but maybe somebody sees something that I don’t. I think that’s part of my MO, at least, is to leave enough fog to allow for some interpretation. But yeah, this is more of kind of a performance, roll around, get some good footage, put a 1989 VHS filter on it and make it look cool and get it out. James VanOsdol: And you’re a fan of film and what can be done with movies. Josh Chicoine: Yeah, for sure. I mean, I love film, I love movies, I love music movies. For eight years I was the co-founder and director of the Chicago International Movies and Music Festival. And we were all over the place throughout the city. And we would show movies from all over the world, like 33 countries usually were represented each year. And that was just, for me, was fascinating to figure out how to build something like that that could last and to raise money for it, you know, practicing all these adult skills that being in a van in a band on tour you’re not really practicing too much. James VanOsdol: Do you miss doing CIMMfest? Josh Chicoine: There’s a lot of it that I do. I really miss just the people and the spirit. I mean, we had an incredible group of volunteers that would come every year and really they were the ones that were able to activate this thing. And so I loved sitting around and dreaming, I loved building marketing materials, if only because then I could have something to go and take to people that I knew and a network that I was building. And I thought it was really a cool thing for the city and it really got me in touch with a lot of old friends and made so many new friends and it kept me—this was right after the M’s, and the M’s were kind of media darlings and played a lot of shows and, you know, I knew a lot of club owners and I knew publicists and I knew all that network. So it kind of allowed me personally to stay connected to that world. And coming out of there, that’s what my kind of career goals were. I was just like, okay, I want to stay in this world, I want to stay connected to these people. So it was my friend Ilko Davidov, who’s a Bulgarian filmmaker, and it was his concept. And I was just sort of the right person that was able to come and hoodwink a bunch of people into coming on board and giving me a bunch of money and being able to try to make this thing into a sustainable institution. We never quite got there. It’s always resource-light and operations-heavy. And never quite got there, but still just some great memories and really happy and really proud of what we were able to build. James VanOsdol: Thinking about film and music and making short music films, I’ve wondered this out loud on this podcast before, but I feel like this is a golden moment. This is the time for artists to explore that side of things. I mean, it’s not like the 1980s when I grew up, when videos were bankrolled by record labels and there were millions of dollars. Like, you grabbed a GoPro, you sit it on the dash—like, this is a real opportunity for creative expression, I think. I just don’t know if enough independent artists are taking advantage of it. Josh Chicoine: I mean, if you look at—I’ll have to disagree, I feel like, you know, the barriers are down and people now, everybody’s got a pretty decent camera in their pocket at all times. Since the barriers are down and since everybody’s got a camera, you can do whatever you want, put it up there, and not going to say it’s good, most of it’s not, most of it’s schlock. But you at least have the opportunity to make something that’s decent and the technology affords it. You don't even need to be great at editing. You can cobble stuff together. You really can. I mean, I use a really cheap editing software. James VanOsdol: Can I ask? Josh Chicoine: It’s called CapCut. And the same company, I can’t remember what they’re called, the TikTok corporation, ByteDance. It’s a ByteDance product. And I got it because it was cheap and another friend of mine was using it. And he was making some cool stuff, so I was just like, all right, I’m just going to dive in and start doing stuff. And so that’s what I did. James VanOsdol: That’s DIY. Roll up your sleeves, let’s get to it. Josh Chicoine: Yeah, it’s just—I had spent CIMMfest was so much about favors and so much about waiting for favors from people that you were either getting a deep discount from or not paying at all. And I know the pain, you know? And it’s real. So if you have any kind of means by which you can get a hold of this stuff, then it’s just about putting the work in and, you know, time is mine to give or throw away. So, yeah, it’s just sort of—I keep getting better and better, I mean other people can be the judge of that, but I feel pretty good about what I’ve been able to do with hardly any resources. James VanOsdol: It’s pretty cool. Josh Chicoine: Yeah, it’s pretty cool. James VanOsdol: All right, going back to this album Smoke Tricks again, available on March 13th. Bitter Birdies is how we begin. If you listen close, actually you don’t even need to listen that closely, there are dogs barking at the beginning of the song. Josh Chicoine: Yeah, Ralfy. James VanOsdol: I was going to ask. Josh Chicoine: It’s my doggie. James VanOsdol: And you were aware when you were recording the dog was part of it, right? Josh Chicoine: Yeah, well, my producer, my co-producer on this was Todd Rittmann and Todd Rittmann was in US Maple. I don’t know if you remember that band. Affiliated with Cheer-Accident, of course. James VanOsdol: Of course, always interesting. Josh Chicoine: Yes. Now he’s in Dead Rider, for everybody out there who’s watching, check out Dead Rider. Yeah, he’s fascinating, he’s got a great little studio called Shy Diamond Studio down in Logan, just north of Fullerton. And, you know, him and I kind of cobbled this thing together. And I never expected that the piano tracks were the final. So I would just make demos at my house and then I would send them to Todd and I’d be like, “Here’s what I’m thinking for this song,” and then we would try and fit it in somehow. And he was just—he’s like a maestro. He was just like, “I love it, you’re never taking away the dog’s bark. We’re keeping it in there 100%.” So I was like, “All right, let’s go.” Piano sounded fine, sounded good, it’s my piano in my living room. I loved it, and that’s my boy Ralfy. So he’s my spirit animal and I’m glad he’s on the record too. James VanOsdol: Good boy, Ralfy. Josh Chicoine: He’s a very good boy. James VanOsdol: On this song, I know you want people to interpret songs as, you know, as any artist would suggest, like you want to feel a connection, right? But you do mention “stuck here in Chicago” in that song. Were you feeling—do you feel a weird relationship with the city? Josh Chicoine: I think I love Chicago. It’s my favorite city. It’s especially my favorite city to come back to. I don’t know if you’ve ever leave for like a little while, but when you come back, it’s just like—ah. Especially when you’re driving back home and like you catch that first glimpse of the skyline. That is a moment. It’s real. So, I mean, when I got that grant from DCASE, it was like, “Oh no, now I got to write a record.” They called your bluff. Every time for me, at least, I decide to write a record, I have to figure out how to write a record again. And that—it’s like a lot of introspection and a lot of like, “Who am I now? What am I going to write about now?” And it takes a long—it took me a long time. And Bitter Birdies kind of came about based upon that piano that opens it up. I had that piece for a long time, but sort of like lyrically I wasn’t quite sure. And my wife and I are going to be married 25 years in June. James VanOsdol: Congratulations, that’s a big milestone. Josh Chicoine: Thank you. It’s been wonderful. But seven years into our relationship, there was a breakup. Post-college, I mean I was dating her since I was 19. I’ve known her for a long time. So yeah, moved to Chicago, joined a band, you know, our lives were diverging. And so we broke up. And she went—she quit her job, she was like working at a financial firm downtown. I was in a band, so you can see divergence. For sure. But yeah, she quit her job, she went on walkabout in Europe for six months. And I took myself back to that time. And that time was sort of very freeing and very fun at the beginning, and then the longing just really set in and, you know, the longer my notes and messages would go to her, the shorter and shorter that they came back to me. So it appeared like she was moving on and there was something really heart-wrenching about that for me. So yeah, that song was about that. So, you know, she was having this really great experience and seeing all new things and new people and I was here stuck in Chicago. So I was living in a loft space where Salvage One is now off of Hubbard, between Wood and Wolcott. With these crazy artist people and there were raves and I was making a bunch of music. So it was just like this Kevin Bacon Quicksilver life that I was living. And I just started to really miss her, no matter what I was just like, “What if she came back here and she lived with me in this hovel and we could do this together?” And that’s sort of the kind of emotional impulse that I felt from writing that and wanting to get out of it, you know, wanting to get out of that space. So nothing against Chicago, I love Chicago, but you know there’s definitely moments where you’re just like, “Okay, get me out of here.” James VanOsdol: Write what you know. Josh Chicoine: That’s I think what I came back to and when I was confronted with that idea and I keep a quote book and Louise Bourgeois said that, “If you’re not writing about yourself, then it doesn’t mean anything.” And I’m parsing—I’m screwing that quote up, but I really took that to heart. So I was like, “Okay, well then I am going to write about myself and my experiences because it’s all that I have really that I could feel a connection with.” Oh, it’s okay up there. I got an ambulance. Ambulance, police car, normal stuff. Stuck in Chicago. Here we are. James VanOsdol: Run Red Lights, which I don’t recommend. I mean, I recommend the song. Who’s doing the backup vocals on that? Josh Chicoine: Yeah, so that’s my friend Melissa and Lindsay. Melissa Busch-Wolford and Lindsay Weinberg. And they play with me in a Fleetwood Mac tribute band called Second Hand News. James VanOsdol: Good segue. I was going to ask about that. Because the backup vocals have a really nice texture in that song in particular. Josh Chicoine: Thanks. James VanOsdol: And that actually dovetails perfectly to the question about working and being part of Second Hand News because you play with those harmonies which are magical. Clearly you bring some of that back to Cult Canyon. Josh Chicoine: Yeah, I think it for me it’s always sort of been there. You can hear it in the M’s, you can hear it if you listen to Sabres, you can hear it there too. Certainly with Cloudbirds it was very much about the harmonies. And yeah, as I started to enter into this promo world of Cult Canyon, I was just trying to like think about things that were a common thread. And harmonies, singing—that’s how I kind of come up with ideas. I just kind of start with the voice, have something on the guitar that’s fine. I’m a mediocre guitar player but it’s really about voice and vocals. And so when I started playing in Second Hand News, you know, I had never been in a band with women before. I’ve played music with women before, but not in a band. So it was sort of like, “Oh, this whole another resource that I would love to bring into this project.” And they were so game and, you know, they brought their whole selves to it and I think it really shows in the recording. James VanOsdol: I love it. Since we’re on the topic of Fleetwood Mac, Tusk. Misunderstood classic or big awful mess? Josh Chicoine: Can it be both? Depends on which side you’re on, yeah. I was really naive about Tusk and I had it in my record collection just from a bunch of records that somebody gave me. And I think at one point the—because there’s two record sleeves in it—they both got kind of separated. So all of a sudden I had four record sleeves separated and I was like, “Wait a minute, this is a quadruple album? This is crazy.” But it wasn’t. There’s a record sleeve that hides another record sleeve that has the record in it. That’s how much money and wasteful money that they had. Because that’s coming off Rumours. Like, they could do whatever they wanted. Lindsey Buckingham could do whatever he wanted. And he really did. He really did. And some of it, you know, it could be argued that he shouldn’t have done it, but we still play a bunch of jams off of there. The title track to me is still one of the coolest songs of the 1970s. Super cool. I mean, there’s a lot on there that are really unheralded. Think About Me is another really good one that we love to play. James VanOsdol: Sara’s on that too, right? Josh Chicoine: Oh God, I’m going to get killed by my bandmates. Sara’s on there, yeah, it’s on there. Let’s say yeah, when no one’s looking it up. But yeah, we play Sara all the time and it’s like seven minutes long and the audience loves it and Melissa crushes it. And yeah, those are just really fun songs to play. And the audiences are crazy. It’s like there’s 18-year-olds there. James VanOsdol: I was going to say. Josh Chicoine: There’s 88-year-olds there. James VanOsdol: It’s one of those bands that is transgenerational. My daughter, who’s heading towards 21, Stevie Nicks is probably a top five artist for her. For her birthday a few years ago I took her to see Stevie Nicks at the United Center and it was this magical night for her. Like, we walked out of the United Center and she said, “I only cried three times.” I’m like, “What do you mean you cried?” “Well, you know, during Gold Dust Woman and... oh gosh, what else did she cry during? Dreams, Rhiannon, and Landslide.” Of course, classics. But I mean it is interesting how maybe millennials didn’t give a shit, but suddenly like Gen Z is full on board with Stevie Nicks. Josh Chicoine: I take it back to that dude who was on the skateboard chugging cranberry juice and all of a sudden Dreams became something. But it just feels like it’s cyclical. It keeps coming back, those songs are just so classic. Timeless, absolutely timeless. And the recordings of them were amazing. So it just seems like they’re just not going to go away, which is great for Second Hand News. Yeah, I mean we played the Metro a couple weeks ago. That’s amazing. James VanOsdol: That’s nuts. Josh Chicoine: Yeah. I love it. James VanOsdol: And to your point, like all ages get into it. That’s something you don’t get to experience necessarily in the M’s or Cult Canyon. Josh Chicoine: It’s different. Yeah, it’s different for sure. And I think that we—I’ve been told this by a lot of audience members after the show and they’re just like glowing coming out after scream-singing at us for two hours. And they just say like, “You bring so much joy.” And I really feel that. Like, we do. I mean the band is killer. And so the band in Second Hand News, the guitar player, bassist, drummer, Mike, Mike, and Dan, they play in Cult Canyon too. So they’re the ones who are the backing band on this Cult Canyon record. So I just was just enamored with this whole group and just because we had such good times together on stage and in front of giant crowds and harmonizing and singing and playing those classic songs. So it was just kind of a natural little pivot to bring them into my songwriting and I was really happy that they did. James VanOsdol: I love that. So Rattleback Records, easily a favorite record store of mine. Josh Chicoine: Mm-hmm. James VanOsdol: Releasing the album on vinyl. How important was it for you to have this as a record, as an LP? Josh Chicoine: It was critical for me. I think one of the things—so I released the Sabres record in 2014. And it kind of, like many, many, many, many, many records out there, it just kind of gets—it’s like, “Okay, it’s out there,” and then you tell your friends and then it just doesn’t really go anywhere. James VanOsdol: And that ambitious ordering of 500 records turns into, “Okay, we’re still sitting on 250.” Josh Chicoine: I have a lot of CDs. Let’s put it to you that way. Hit me up if you want a CD by Sabres. I’ll just give it to you. It’s got—anyway. Yeah, so I think I was determined to at least try and make a stink with this Cult Canyon record. And I really liked it. And so one of the first things I did was I talked to my friends in the AM Slingers, who are another Rattleback band and they’re friends of mine too. And I knew that Paul over at Rattleback had put out a 7-inch of theirs. And by put out, I mean he paid for it. So he facilitated the production and then, you know, created a connection between the band and the record store. Really love that idea, you know? It’s going to be DIY anyway, it’s all about building community bit by bit by bit. So I was introduced to Paul kind of—I don’t even remember when, it’s probably a year ago now, if not more. And he was really intrigued and I sent him a bunch of songs including the Golden Line EP, which he really loved. And that just gave me a lot of confidence, and so I took this Smoke Tricks record and I was like, “I’m really looking for somebody to help me out with this.” And he was game and continues to be game. James VanOsdol: I love that. Josh Chicoine: It was his dream to have a boutique record store. And that happened, and then it was his dream to have a boutique little tiny record label. So that happened. James VanOsdol: I’ve never been in that store, by the way, where it hasn’t been busy. Josh Chicoine: Oh good. James VanOsdol: No, I mean I love going there. Like, they’ve got one of the best, I think, mixes of new and used and their prices are very reasonable. Josh Chicoine: I agree. I agree. Yeah, they have a lot of cool chotchkies around, good t-shirt collection. It’s like a proper record store. James VanOsdol: And I mean if you’re one of those budget-bin divers like there’s dollar records, you’ll hurt your knees going through them, but I mean there’s occasionally gold to find in there. Josh Chicoine: I agree. It’s everywhere. James VanOsdol: But yeah, it’s a cool place, I mean right over there on Clark Street. And I love just that kind of brand extension for Rattleback. Like it makes so much sense. Josh Chicoine: I love that. I love that for Paul, I love that we were able to become a part of that and we’re putting on a showcase of Rattleback Records artists May 29th at the Burlington. James VanOsdol: Nice. Which for the record, one of the loudest rooms in Chicago. Josh Chicoine: That’s right. We’ll do what we can, but I mean it’s hard, it’s like a lot of hard flat surfaces and they didn’t do any soundproofing or nothing. So, yeah. James VanOsdol: That’s good. That’s part of its charm. Josh Chicoine: It’s part of the charm. Yeah, yeah, you know what you’re getting into when you go back there. Just bring earplugs, what’s the big deal? James VanOsdol: Just bring ear—that’s—if you bring earplugs, you’re good. Josh Chicoine: Yeah, that’s right. James VanOsdol: But if you go deaf, I mean who better to go deaf from? Josh Chicoine: Yeah, that’s a badge of honor. It’s a badge of honor. I mean it’s not a good recommendation, I would say. But if you want good earplugs, just go to Sensaphonics down there on Milwaukee Avenue. Shout out. Yesterday was National Hearing Day and I got myself fitted for a new pair of earplugs. James VanOsdol: Smart. Josh Chicoine: And it basically—it’s no joke. No, it’s no joke if you listen to a lot of live music. It basically just turns the volume down. The clarity is still there versus sticking toilet paper in your ears or those foam things. James VanOsdol: Exactly what they feel like. Or those like pool noodles shrunk down. Josh Chicoine: Yeah, that’s right. They’re good if you want to sleep. If you’re like on tour and everybody else snores in your hotel room, then those are really effective. James VanOsdol: For sure. All right, so Smoke Tricks is the album. It’s awesome. It comes out on March 13th. The Hideout is the release show on March 14th. And onward and upward. What a great record, you really did it. Josh Chicoine: Thanks, man. I really appreciate it. That was nice talking to you. Are we done? Is this the wrap? James VanOsdol: This is the wrap. Josh Chicoine: All right, love it. See omnystudio.com/listener for privacy information.

Some of New Mexico's most prominent artists are passing traditional Nuevo Mexicano art forms like colcha embroidery, retablos and bultos, tinwork, and straw applique down to the next generation. These artists include Jean Anaya Moya, Vanessa Zamora, Vincente Telles, Arthur Lopez, Eric Romero, Vanessa Alvarado, Rhonda Crispin, and Cleo Romero. Elena Baca, education program manager at the National Hispanic Cultural Center (Albuquerque), and Jana Gottshalk, curator and director at the Nuevo Mexicano Heritage Arts Museum (Santa Fe), create spaces where these traditions stay alive and where kids can explore and express themselves freely. Discover more: National Hispanic Cultural Center Learning programming National Hispanic Cultural Center Museum Nuevo Mexicano Heritage Arts Museum ongoing programming Nuevo Mexicano Heritage Arts Museum Wonders on Wheels Read more in El Palacio: "Art and Activism at Highlands University," by Myrriah Gόmez, in Winter 2025 issue of El Palacio magazine Learn more: Traditional Spanish Market Contemporary Hispanic Market We'd love to hear from you! Let us know what you loved about the episode, share a personal story it made you think of, or ask us a question at elpalacio@dca.nm.gov. You can write a regular email or record a short voice memo and attach it for us to listen to.  Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online!   If you love New Mexico, you'll love El Palacio Magazine! Subscribe to El Palacio today. Encounter Culture, a production of the New Mexico Department of Cultural Affairs, is produced and edited by Andrea Klunder at The Creative Impostor Studios.  Hosted by Emily Withnall, editor at El Palacio MagazineExecutive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. RuizRecording Engineer: Collin Ungerleider and Kabby at Kabby Sound Studios in Santa FeEditor & Production Manager: Alex RieglerAssociate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine

Accordions are woven into New Mexico's soundscape—at fiestas, on plazas, and in the musical storytelling traditions that travel across generations. In this episode of Encounter Culture, host Emily Withnall talks with Tony Tomei and Antonio Maestas, a master-and-apprentice duo who completed the New Mexico Arts Folk Arts Apprenticeship Program in 2024, focusing on accordion restoration and traditional New Mexico tunings. Tony and Antonio fell in love with the accordion in different decades and play different styles. Tony first encountered the accordion as a child in the 1950s, growing up in an ethnically diverse community where the instrument was central to social life.  "And that was before the Beatles came in the sixties and basically wreaked havoc with the accordion and everybody switched over to the guitars," Tony laughs. Discover more: New Mexico Arts Folk Arts Apprenticeship Program  New Mexico Department of Cultural Affairs on YouTube  Hear more on Encounter Culture: The American Mystique of the Cowboy Boot with Deana McGuffin and Jes Márquez Learn more: Hohner Albuquerque Accordion Club We'd love to hear from you! Let us know what you loved about the episode, share a personal story it made you think of, or ask us a question at elpalacio@dca.nm.gov. You can write a regular email or record a short voice memo and attach it for us to listen to.  Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online!   If you love New Mexico, you'll love El Palacio Magazine! Subscribe to El Palacio today. Encounter Culture, a production of the New Mexico Department of Cultural Affairs, is produced and edited by Andrea Klunder at The Creative Impostor Studios.  Hosted by Emily Withnall, editor at El Palacio MagazineExecutive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. RuizRecording Engineer: Collin Ungerleider and Kabby at Kabby Sound Studios in Santa FeEditor & Production Manager: Alex RieglerAssociate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine

Photos can obscure as much as they reveal. When we encounter historic photographs, it can feel like we've entered the past through a portal. But like contemporary photographs, what is left out of the frame is as interesting and puzzling as what we can observe. Still, the donation of historic photos to any archive can only help to add to our knowledge and expand the questions we need to ask. This is certainly the case for the William Thomas Mullarky photo collection at the New Mexico History Museum's Palace of the Governors Photo Archive. The Mullarky collection has never been accessible until recently and they provide unusual and unexpected windows into 1930s Gallup, New Mexico.  For the Fall 2025 issue of El Palacio, University of New Mexico professor and labor historian, David Correia, wrote an article about the Gallup Coal Wars of 1933-35. Mullarky's photos of the events in Gallup at the time accompany Correia's words. For this episode of Encounter Culture, however, Correia talks about who Mullarky was and what makes his photos so out of the ordinary. Discover more: New Mexico History Museum Palace of the Governors Photo Archive William Thomas Mullarky Photographs of the Gallup Coal War Hear more on Encounter Culture: A History of Genízaro Identity in the Heart of New Mexico with Dr. Gregorio Gonzales The Promise of a Photo with Anthropologist Robert Quintana Hopkins and Archivist Hannah Abelbeck, New Mexico History Museum Read more in El Palacio: "Strike and Struggle: The Great Gallup Coal War, 1933-35," by David Correia Fall 2025 issue of El Palacio Learn more: An Enemy Such as This: Larry Casuse and the Fight for Native Liberation in One Family on Two Continents over Three Centuries, by David Correia Edward Curtis photographs (as example of "frontier photography") Simeon Schwemberger photo collection at The University of New Mexico J.R. Willis  Gallup Inter-Tribal Indian Ceremonial Center for Southwest Research at The University of New Mexico The Myth of Santa Fe, by Chris Wilson (UNM Press) *** We'd love to hear from you! Let us know what you loved about the episode, share a personal story it made you think of, or ask us a question at elpalacio@dca.nm.gov. You can write a regular email or record a short voice memo and attach it for us to listen to.  Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online!   If you love New Mexico, you'll love El Palacio Magazine! Subscribe to El Palacio today. Encounter Culture, a production of the New Mexico Department of Cultural Affairs, is produced and edited by Andrea Klunder at The Creative Impostor Studios.  Hosted by Emily Withnall, editor at El Palacio MagazineExecutive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. RuizRecording Engineer: Collin Ungerleider and Kabby at Kabby Sound Studios in Santa FeEditor & Production Manager: Alex RieglerAssociate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine

In this episode of Encounter Culture, community-led archaeology takes center stage as an alternative to extractive excavation practices of the past and a best practice rooted in respect and deeper historical understanding. At the Cañón de Carnué land grant in New Mexico, New Mexico State University has partnered with land grant heirs, as Dr. Kelly Jenks, a historical archaeologist with NMSU, discusses efforts to uncover the layered history of a community first established in 1763, revealing how Indigenous, Genízaro, and colonial peoples together shaped the region's frontier past. Discover more:  Archaeology in Cañón de Carnué, New Mexico State University Cañón de Carnué land grant history New Mexico land grant history United States v. Sandoval Supreme Court decision stripping land grant rights Present-day land grant actions San Miguel del Vado land grant recovery efforts Nación Genízara: Ethnogenesis, Place, and Identity in New Mexico, edited by Moises Gonzales and Enrique R. Lamadrid Hear more on Encounter Culture: A History of Genízaro Identity in the Heart of New Mexico with Dr. Gregorio Gonzales, Encounter Culture season 6 Don't miss the upcoming issues of El Palacio - SUBSCRIBE NOW! *** We'd love to hear from you! Let us know what you loved about the episode, share a personal story it made you think of, or ask us a question at elpalacio@dca.nm.gov.  OR leave us a review on Apple Podcasts! Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online! *** Encounter Culture is a production of the New Mexico Department of Cultural Affairs, produced and edited by Andrea Klunder at The Creative Impostor Studios. Hosted by Emily Withnall, editor at El Palacio Magazine Executive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. Ruiz Recording Engineers: Collin Ungerleider & Kabby at Kabby Sound Studios in Santa Fe Editor & Production Manager: Alex Riegler Associate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine

Are you feeling the pull to be connected this winter? We have some opportunities for you to be a part of New Mexican culture featuring art, history, science, poetry, and live conversations. Plus find out who loves winter and who does not... Encounter Culture host Emily or producer Andrea? Learn more about the Folk Art Apprenticeship Program & Apply: https://bit.ly/nmartsfolk Get details about the reopening of the Museum of Natural History & Science: https://bit.ly/nmnathistory Join Us For An El Palacio Reading:  January 11, 2026, 2pm @ FUSION, Albuquerque - https://bit.ly/elpaljan2026 February 22 at 2 pm in the Donnelly Library at New Mexico Highlands University - Details coming soon. Follow El Palacio on Instagram or Facebook for updates. Read more in El Palacio: Before the Famous Fossils: Ancient Life in the Paleozoic Era in New Mexico by Tamara Enz, Spring 2025 Winter 2025 issue! Your Encounter Culture Playlist: The American Mystique of the Cowboy Boot with Deana McGufin and Jes Márquez, Season 8 TIme Travel: From GIant Millipedes to Modern Landscapes with New Mexico Museum of Natural History & Science, Season 8 Ancient LIfe: There's No Shame in Extinction video on YouTube Big, Toothy, and Conveniently Dead: Why We Are Obsessed with Dinosaurs Featuring Anthony Fiorillo, Season 5 An Underground Love Affair, The Palace Seen and Unseen with Archaeologists Cordelia Snow & Stephen Post, Season 1 Everyone Wants to be Included in the Story of New Mexico: The Wonders on Wheels Mobile Museum, Season 9 Good Heart Work: Poetry as Medicine with Manuel González, New Mexico Poet Laureate,  Season 9 Don't miss the upcoming issues of El Palacio - SUBSCRIBE NOW! *** We'd love to hear from you! Let us know what you loved about the episode, share a personal story it made you think of, or ask us a question at elpalacio@dca.nm.gov.  OR leave us a review on Apple Podcasts! Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online! *** Encounter Culture is a production of the New Mexico Department of Cultural Affairs, produced and edited by Andrea Klunder at The Creative Impostor Studios. Hosted by Emily Withnall, editor at El Palacio Magazine Executive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. Ruiz Recording Engineers: Collin Ungerleider & Kabby at Kabby Sound Studios in Santa Fe Editor & Production Manager: Alex Riegler Associate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine  

The head of the Louvre Museum said that new security measures are being put in place at the Paris landmark after October's stunning crown jewels heist.  The cameras—some 100 of them—will be up and running by the end of next year, while anti-intrusion systems are expected to already be in place, Louvre director Laurence des Cars said. She described the systems as equipment that will prevent intruders from getting close to the museum buildings but did not offer specifics. The new surveillance cameras will try to ensure “complete protection of the museum's surroundings,” she said. “After the shock, after the emotion, after the assessment, it's time for action” at the world's most visited museum, des Cars told the Committee of Cultural Affairs of the National Assembly. She said it was all part of more than 20 emergency measures that will be implemented. The new measures also include the creation of a “security coordinator” position at the museum, and the job was posted in November, she added. On the day of the heist, it took thieves less than eight minutes to force their way through a window into the Apollo Gallery with the help of a freight lift and steal the 88 million euro ($102 million) trove. Des Cars unveiled some new details about the security breach that allowed the October 19 robbery, saying the power tools used by robbers to cut through the display cases were disc cutters meant for concrete. “It's a method that had not been imagined at all,” she said, referring to the time when the display cases in the Apollo Gallery were replaced in 2019. At the time, they had been designed primarily to counter an attack from inside the museum with weapons, she added. Footage from museum cameras shows that during the robbery, the display cases “held up remarkably well and did not break apart,” she said. “Videos show how difficult it was for the thieves.” This article was provided by The Associated Press.

New Mexico has a new Poet Laureate! Although Manuel González is well known in the slam poetry circles in Albuquerque—where he also served as the city's poet laureate from 2016 to 2018—he is now stepping into a larger role with big visions about how to engage the entire state in the unique connection and expression inherent to poetry. Throughout his career, González has made it his mission to reach the most marginalized people in New Mexico, and now he plans to leverage his role as Poet Laureate heal hearts in as many communities as possible.   Don't miss the upcoming issues of El Palacio - SUBSCRIBE NOW! *** We'd love to hear from you! Let us know what you loved about the episode, share a personal story it made you think of, or ask us a question at elpalacio@dca.nm.gov.  OR leave us a review on Apple Podcasts! Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online! *** Encounter Culture is a production of the New Mexico Department of Cultural Affairs, produced and edited by Andrea Klunder at The Creative Impostor Studios. Hosted by Emily Withnall, editor at El Palacio MagazineExecutive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. RuizRecording Engineers: Collin Ungerleider & Kabby at Kabby Sound StudiosEditor & Production Manager: Alex RieglerAssociate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine

Earlier this week, the City Council Finance Committee voted 25-10 to reject the mayor's budget proposal. Alders pushed back on a corporate head tax and borrowing for police settlements. The mayor said he would veto increases to garbage fees and grocery or property taxes. So what's next as the deadline to pass a budget draws closer? We ask The Tribune's Jake Sheridan and WBEZ's Mike Davis. Plus, five years after nationwide calls to further diversify theaters, has anything changed?  Good news: "Mika Scrooge" at ETA Theatre, "Sister Act" at Drury Lane, and Craig Dellimore and Ray Long honored  Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this November 21st episode:  The Auditorium Department of Cultural Affairs and Special Events Chicago Symphony Orchestra Joffrey Ballet Simply Eloped MUBI Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

Since Operation Midway Blitz began in September, we have covered dozens of protests, hundreds of detainments, and growing violence from the federal government. But for unhoused Chicagoans detained by agents, what happens when there are no cameras and little record of their disappearance? The Chicago Reader's Katie Prout has been working to track how many unhoused Chicagoans have been detained and what the city is doing to provide more protections as their own encampment clearings continue.  Good News: Respect the Mic, Last Minute Mic Queer Comedy, and Playdate Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this November 20th episode:  The Auditorium Department of Cultural Affairs and Special Events Chicago Symphony Orchestra Joffrey Ballet Simply Eloped Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

We know Chicago is a food city, but what made dining here so special this year? The Infatuation's Adrian Kane tells host Jacoby Cochran her favorite meal of the year, new restaurants that have become her favorites, and predictions for what dining in Chicago might look like in 2026.  Good News: You Can Grow Here exhibit (+35 Thanksgiving pie specials and 70 restaurants offering holiday meals) Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this November 19th episode:  The Auditorium Department of Cultural Affairs and Special Events Chicago Symphony Orchestra Joffrey Ballet Simply Eloped Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

New Mexico is the fifth largest state, making access to art, history, and culture at museums or historic site difficult for many. The Wonder on Wheels mobile museum traverses the state to bring art and history directly to small towns, villages, and Pueblos, ensuring everyone can participate in the rich cultural conversations so central to New Mexican identity. The exhibition inside the thirty-eight-foot RV changes annually and this year, the eight New Mexico State Historic Sites tell the state's story across centuries, from 1150 to the early twentieth century. The staff pack rich history into a small space, supported by oral narratives and dialogue. Plan your visit:  Wonders on Wheels  Wonders on Wheels Facebook Group   New Mexico Historic Sites  Hear more on Encounter Culture: Listen, and Speak the Truth: Collaborating Through Conversation on the Bosque Redondo Memorial with Manuelito Wheeler and Aaron Roth, Encounter Culture, Season 2  Listen to the Land: Art at Bosque Redondo with Dakota Mace, Daisy Trudell-Mills, and Kéyah Keenan Henry, Encounter Culture, Season 6  Everything Past is Present at Los Luceros Historic Site with Rebecca Ward and Carly Stewart, Encounter Culture, Season 3  The Land is Everything: Voting Rights vs Tribal Sovereignty with Dr. Maurice Crandall, Encounter Culture, Season 4  Read more in El Palacio: "The Man in the Sala," El Palacio Summer 2023   "Cathay Williams: In Search of Liberation with the Buffalo Soldiers," El Palacio Summer 2025   Don't miss the upcoming issues of El Palacio - SUBSCRIBE NOW! *** We'd love to hear from you! Let us know what you loved about the episode, share a personal story it made you think of, or ask us a question at elpalacio@dca.nm.gov.  OR leave us a review on Apple Podcasts! Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online! *** Encounter Culture is a production of the New Mexico Department of Cultural Affairs, produced and edited by Andrea Klunder at The Creative Impostor Studios. Hosted by Emily Withnall, editor at El Palacio MagazineExecutive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. RuizRecording Engineers: Collin Ungerleider & Kabby at Kabby Sound StudiosEditor & Production Manager: Alex RieglerAssociate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine

Alders rejected Mayor Brandon Johnson's proposal to reinstate Chicago's corporate head tax to raise roughly $100 million annually. Chicago previously had a head tax from 1973-2014, when then-Mayor Emanuel eliminated it. Now the proposal to reverse course remains one of the biggest hurdles to passing next year's $16.6 billion budget. We're discussing the support and opposition in the City Council. Plus, National Guard troops may be leaving Chicagoland, and the area's holiday markets are ready for their comeback.   Good News: Invisible Institute event on 11/20 Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this Nov. 18 episode:  The Auditorium Department of Cultural Affairs and Special Events Chicago Symphony Orchestra Joffrey Ballet Simply Eloped MUBI Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

The Chicago Board of Education recently voted to keep Chicago High School for the Arts open after talks of closing the public fine arts school. At the same time, the decision was made to close the public charter school EPIC Academy. Chalkbeat's Bureau Chief Becky Vevea talks with host Jacoby Cochran about how the decision was made and what it means to close a school.  Good News: 12 x 12 Art Exhibition  Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 If you enjoyed today's interview with Deborah's Place Board President, Rosie Drumgoole, learn more here. Learn more about the sponsors of this Nov. 17 episode:  Auditorium Theatre Department of Cultural Affairs and Special Events Chicago Symphony Orchestra Joffrey Ballet Simply Eloped Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

If you think New York and LA are the country's only fashion hubs, think again. Local designers like Ron Louis have been repping Chicago on the street and on the runway. Louis sits down with host Jacoby Cochran to talk about the hallmarks of Chicago's style, how he came to fashion, and some of the designers and shops he loves in the city. Good News: Frankie Knuckles Festival & Supply Locale Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 If you enjoyed today's interview with Neal Heitz, Chicago Department of Cultural Affairs and Special Events Program Director of Event Production, learn more here. Learn more about the sponsors of this Nov. 13 episode:  The Newberry Paramount Theatre Babbel – Get up to 55% off at Babbel.com/CITYCAST Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

Earlier this year, Anna Lee Ackerman attempted the CTA ‘L' Challenge, documenting her entire journey on TikTok. The goal is to ride every CTA train line and hit every ‘L' stop as fast as possible. Host Jacoby Cochran sat down with Anna as she was planning her trip to ask why it's worth doing, and to get her definitive (and possibly spicy) ranking of the city's train lines. Good News: Asian American Jazz Festival Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago If you enjoyed today's interview with Neal Heitz, Chicago Department of Cultural Affairs and Special Events Program Director of Event Production, learn more here. Learn more about the sponsors of this Nov. 6 the episode:  The Newberry Chicago Loop Alliance Deborah's Place Chicago Board of Election Commissioners  Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

In anticipation of another rich season of New Mexico history, art, and culture, El Palacio editor and Encounter Culture host Emily Withnall and producer Andrea Klunder reflect on a year of award-winning storytelling. From earning national recognition for both the podcast and the magazine to the art of curating New Mexico's most compelling voices, Andrea and Emily share what it takes to craft stories that resonate across time and place. They also look ahead to a new season of conversations with artists, historians, and cultural stewards. Plus, tune in to hear about a few favorite winter traditions that make this time of year uniquely New Mexican!  Join us for a window into the creative collaboration that continues to shape Encounter Culture.  Read more in El Palacio: Father, I Hardly Knew Ye: A Nisei Daughter's Memories of Japanese American Incarceration Strike and Struggle: The National Miners' Union and The Great Gallup Coal War, 1933-1935 Hear more on Encounter Culture: From Goatheads to Grand Canyons: A Love Letter to the Landscape with New Mexico State Poet Laureate, Lauren Camp  Don't miss the upcoming winter & spring issues of El Palacio - SUBSCRIBE NOW! *** We'd love to hear from you! Let us know what you loved about the episode, share a personal story it made you think of, or ask us a question at elpalacio@dca.nm.gov.  OR leave us a review on Apple Podcasts! Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online! *** Encounter Culture is a production of the New Mexico Department of Cultural Affairs, produced and edited by Andrea Klunder at The Creative Impostor Studios. Hosted by Emily Withnall, editor at El Palacio Magazine Executive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. Ruiz Recording Engineers: Collin Ungerleider & Kabby at Kabby Sound Studios in Santa Fe Editor & Production Manager: Alex Riegler Associate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine

20251027 Multi-Cultural Affairs Committee Open Meeting Originally Broadcasted October 27, 2025, on ACB Media 5 Participants learned about our committee, gave us feedback on how we are doing, and shared their suggestions with us. Sponsored by: Multi-Cultural Affairs Committee Find out more at https://acb-community.pinecast.co

What does it mean to be an artist? In Artists At Work: Rethinking Policy for Artistic Careers (Stanford UP, 2025) Joanna Woronkowicz, the co-founder of the Center for Cultural Affairs and co-director of the Arts, Entrepreneurship and Innovation Lab at Indiana University Bloomington and currently based at Copenhagen Business School, tells the story of cultural work and cultural policy in the USA. Offering a broad definition of artists and creatives, the book offers a deep dive into the demographics of the arts workforce, their working patterns, the places where they work and live, and their education and training. The analysis also shows the range of challenges confronting the contemporary arts workforce, and crucially demonstrates what policy can do to help. Rich with empirical detail, as well as being clear and accessible, the book is essential reading across the humanities, social sciences, and for anyone interested in the arts today! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What does it mean to be an artist? In Artists At Work: Rethinking Policy for Artistic Careers (Stanford UP, 2025) Joanna Woronkowicz, the co-founder of the Center for Cultural Affairs and co-director of the Arts, Entrepreneurship and Innovation Lab at Indiana University Bloomington and currently based at Copenhagen Business School, tells the story of cultural work and cultural policy in the USA. Offering a broad definition of artists and creatives, the book offers a deep dive into the demographics of the arts workforce, their working patterns, the places where they work and live, and their education and training. The analysis also shows the range of challenges confronting the contemporary arts workforce, and crucially demonstrates what policy can do to help. Rich with empirical detail, as well as being clear and accessible, the book is essential reading across the humanities, social sciences, and for anyone interested in the arts today! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

What does it mean to be an artist? In Artists At Work: Rethinking Policy for Artistic Careers (Stanford UP, 2025) Joanna Woronkowicz, the co-founder of the Center for Cultural Affairs and co-director of the Arts, Entrepreneurship and Innovation Lab at Indiana University Bloomington and currently based at Copenhagen Business School, tells the story of cultural work and cultural policy in the USA. Offering a broad definition of artists and creatives, the book offers a deep dive into the demographics of the arts workforce, their working patterns, the places where they work and live, and their education and training. The analysis also shows the range of challenges confronting the contemporary arts workforce, and crucially demonstrates what policy can do to help. Rich with empirical detail, as well as being clear and accessible, the book is essential reading across the humanities, social sciences, and for anyone interested in the arts today! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What does it mean to be an artist? In Artists At Work: Rethinking Policy for Artistic Careers (Stanford UP, 2025) Joanna Woronkowicz, the co-founder of the Center for Cultural Affairs and co-director of the Arts, Entrepreneurship and Innovation Lab at Indiana University Bloomington and currently based at Copenhagen Business School, tells the story of cultural work and cultural policy in the USA. Offering a broad definition of artists and creatives, the book offers a deep dive into the demographics of the arts workforce, their working patterns, the places where they work and live, and their education and training. The analysis also shows the range of challenges confronting the contemporary arts workforce, and crucially demonstrates what policy can do to help. Rich with empirical detail, as well as being clear and accessible, the book is essential reading across the humanities, social sciences, and for anyone interested in the arts today! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

Natalie Harvey, Director of Cultural Affairs for the Town of Hilton Head Island is talking about the exciting season of arts and culture in our community. Through the town's Office of Cultural Affairs, the spotlight is on Crescendo, Hilton Head Island's annual celebration of art and culture that coincides with National Arts and Humanities Month. Let's listen to what's in store.

Good afternoon, I'm _____ with today's episode of EZ News. Tai-Ex opening The Tai-Ex opened up 134-points this morning from yesterday's close, at 25,350 on turnover of $8.5-billion N-T. Ocean Affairs Council seeking funding for patrol vessels and surveillance systems The Ocean Affairs Council says it's seeking 29-billion N-T under a special budget to fund the construction of 40 new patrol vessels and improvements to maritime surveillance. The statement comes after the Cabinet announced a 550-billion N-T budget proposal for the special budget earlier this week. According to council minister Kuan Bi-ling, the proposed spending will fund the procurement (採購) of drones, artificial intelligence applications, and the establishment of visible light and infrared systems to improve surveillance throughout the day. Kuan says the total proposed amount, 8.7-billion N-T will partially fund the 40 new vessels from 2025 to 2033. Kaohsiung to end contract with screenwriter accused of sexual harassment The Kaohsiung City Government's Bureau of Cultural Affairs has announced that it's terminating (終止) a contract with screenwriter Tsai Kuen-lin after he was accused of sexually harassing a female student. According to the bureau, it's asked Tsai to cooperate with an investigation by the Department of Social Welfare and will respect the findings. Tsai was one of the writers of the 2024 horror-comedy movie "Dead Talents Society" and also served as both the responsible contractor and chief mentor for the "screenwriter practical connection project." City government officials say the contract will be canceled to protect the project's credibility and are reaffirming a zero-tolerance policy for sexual harassment, pledging to handle the matter strictly under relevant regulations. UK ambassador to US sacked days before Trump UK state visit The UK's ambassador to the United States has been sacked just days before U.S. President Donald Trump is due to arrive on a state visit to Britain. It's after further details emerged about the extent of (…的程度) Peter Mandelson's relationship with convicted sex offender Jeffrey Epstein. Kate fisher reports from Washington UN Agency on Suspected Scam Operation in East Timor A U.N. agency says a suspected scam call operation and a suspicious network of companies was discovered with links to a new free trade zone in East Timor. The U.N. Office of Drugs and Crime says police in East Timor raided a suspected scam center in late August in the Special Administrative Region of Oecusse, and that other companies in the region had apparent links to online scam networks. Such centers are usually walled compounds (（圍起來的）場地) in remote areas that conduct computer-enabled scams estimated to cost victims tens of billions of dollars per year. Scam centers have proliferated across Southeast Asia and spread across the world, and the report highlights the ability of the criminal enterprises to relocate as governments in the region launch crackdowns. SKorea Spy Agency: Kim Daughter Solidifies Status as Heir South Korea's spy agency says the young daughter of North Korea leader Kim Jong Un was assessed to have solidified what it calls her status as her father's likely heir as she accompanied her father on his recent China trip. Kim brought his young daughter on a major recent trip to China, her first known overseas appearance. The girl, believed to be named Kim Ju Ae, is around 12 or 13 years old. Since 2022, Kim Jong Un has increasingly showcased her at major public events, fueling speculation (猜測) she is being groomed (培訓) as the country's next leader. That was the I.C.R.T. EZ News, I'm _____. -- Hosting provided by SoundOn

Eliza Swann, also known as Emerald, is a writer, artist, alchemist and scholar based in New York. Swann's formative years cultivated a deep interest in the intertwined studies of mysticism and fine art, which remain central to their work as both artist and educator. Swann received a BA in Painting from the San Francisco Art Institute (2004) and an MFA from Central St. Martins in London (2012). Additionally, Swann is an initiate in Gnostic and Hermetic orders, has studied Vedic cosmology with Dr. Vagsish Shastri, trained in mindfulness meditation at the Insight Meditation Society, and studied herbalism and gardening under the guidance of their witch aunt. These studies inform their expansive approach to esoteric and ecological practices.Swann teaches art and mysticism as a unified practice and, in 2014, founded Golden Dome, an artist-in-residence program rooted in queer intersectional mysticism. Since its inception, Golden Dome has expanded to offer nationwide exhibitions, residencies, publications, and educational programming. Swann is currently faculty at Pratt Institute, where they teach “The Alchemical Imagination”, a course they created to introduce alchemical concepts to contemporary creative practice. In 2025, Swann transitioned from directing Golden Dome to launch a new initiative: Emerald School, which explores alchemy as a living, transdisciplinary practice.As a visual artist, Swann has exhibited internationally, most recently at the University of California Santa Cruz and the Feminist Center for Creative Work in Los Angeles. They are the author of The Anatomy of the Aura, Green Mary, and The Alchemical Imagination, and have contributed to numerous publications. Their work has been supported by PEN America, the Foundation for Contemporary Art, the Author's League Fund, the Los Angeles Department of Cultural Affairs, the Pratt Faculty Development Fund, the Feminist Center for Creative Work, the Hemera Fellowship for Contemplative Practice, and the Wassaic Project.Today Eliza shares about their roots, literally, the gardens of their aunt and a return to them after living and traveling beyond. We talk about alchemy and how it folds many disciplines, prayer, devotion, poetry, intuition... into its being. Eliza recalls teachers both direct and indirect and what they're work surfaced. We discuss grief and how alchemy has supported them in navigating both the personal and the global. The Emerald School is the container for their work where they guide folks through the stages of alchemy including a freeing of self and specialty, to move into deeper collaboration with all. "The school becomes a crucible: a space where diverse elements converge, disciplinary boundaries blur, and new ways of knowing can take shape."We talk about their upcoming 9 week online course, "The Alchemical Imagination," Sept. 14-Nov. 16, and their upcoming offering as a part of the O+ Festival, "The Star Inside: Alchemy and the Power of Plants" and why mugwort became a part of the conversation.Today's show was engineered by Ian Seda from Radiokingston.org.Our show music is from Shana Falana!Feel free to email me, say hello: she@iwantwhatshehas.org** Please: SUBSCRIBE to the pod and leave a REVIEW wherever you are listening, it helps other users FIND IThttp://iwantwhatshehas.org/podcastITUNES | SPOTIFYITUNES: https://itunes.apple.com/us/podcast/i-want-what-she-has/id1451648361?mt=2SPOTIFY:https://open.spotify.com/show/77pmJwS2q9vTywz7Uhiyff?si=G2eYCjLjT3KltgdfA6XXCAFollow:INSTAGRAM * https://www.instagram.com/iwantwhatshehaspodcast/FACEBOOK * https://www.facebook.com/iwantwhatshehaspodcast

Naomi Okubo's work explores delicate and often uneasy relationships between individuals, society, and the spaces that shape them. Drawing on her personal experiences, particularly her complex relationship with her mother, she examines how guise, decoration, and inherited roles—especially restrictive notions of “femininity”—affect human interactions. In her early work, Okubo depicted women without faces as a symbol of the pressures to conform in Japanese society. Over time, these faceless figures have come to function more broadly as a mirror, allowing viewers to project themselves and reflecting both individual experiences and societal dynamics. In recent years, she has also been exploring the motif of the “greenhouse/home,” a confined yet seemingly nurturing space that resonates with her upbringing and contemporary life, highlighting how environments can both protect and constrain. Her works involve a complex, multi-layered process, where materials and techniques accumulate to convey the depth and contradictions of lived experience. Okubo earned her MFA from Musashino Art University in 2011 and lived in New York from 2017–2019 with grants from the Agency for Cultural Affairs of Japan and the Yoshino Gypsum Foundation. She has exhibited widely in Asia, Europe, and the U.S., including Fou Gallery, New York (2024/25); GALLERY MoMo, Tokyo (2023); ELSA ART GALLERY, Taipei (2022); and Yoshino Gypsum Art Foundation, Tokyo (2022). She served as a residency artist at mh PROJECT, New York (2019); Residency Unlimited, New York (2017); and Art Department of Halland Municipality, Sweden (2014). Her work has been featured by Airbnb Magazine, ZEIT-magazine, Contemporary Art Curator Magazine, Financial Times, Juxtapoz Magazine, The New Yorker, Vanity Fair, and a PBS documentary. Bird Collector, 2025, Acrylic on raw canvas, 57 × 44 in. Canary Cave, 2025, Acrylic on raw canvas, 38.2 × 51.3 in. Dancing in the Flames, 2025, Acrylic on raw canvas, 28 × 12.4 in.

In this episode of The Tiberius Show, we dive into the behind-the-scenes world of arts administration with the incredible Vicki Landon, Arts & Cultural Affairs Administrator for Orange County, Florida.From the wild and uncensored spirit of the Orlando Fringe Festival to the detailed spreadsheets and public funding that support the arts, Vicki shares:•    What makes the Fringe Festival unlike anything else in the country•    Why arts administration is the best-kept secret career in the creative world•    Her unexpected journey from drama club to managing $15 million in arts funding•    How government, fundraising, and community creativity all come together•    And yes... the little white lies parents tell their kids!Whether you're an aspiring artist, a student dreaming of a creative job, or just curious how the arts actually get done, this conversation will surprise and inspire you.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-tiberius-show--3352195/support.

For as long as humans have been on this earth, we have looked to the cosmos for information and direction. The Indigenous people of North America used the skies to make sense of their environments and to guide them in planting crops, building villages, and conducting ceremonies. The new exhibition at the Museum of Indian Arts & Culture, Makowa: The Worlds Above Us, showcases a wide range of art, photographs, videos, and more to center the wisdom and longevity of Native astronomy and to remind us that we are all interconnected. On this episode of Encounter Culture, guest consultants for the Makowa exhibition, Misha Pipe and Kaela Waldstein, join host Emily Withnall in the studio to talk about all of this and more. Mentioned in this Episode: Makowa: The Worlds Above Us exhibition at the Museum of Indian Arts & Culture “Symphonies in the Skies”: article about Makowa in Summer 2025 issue of El Palacio “Star Parties, Rim Blown Flutes, and Pueblo History at Jemez Historic Site with Marlon Magdalena,” Encounter Culture podcast episode Lowell Observatory Jemez Historic Site (and summer Star Party events) We'd love to hear from you! Let us know what you loved about the episode, share a personal story it made you think of, or ask us a question at elpalacio@dca.nm.gov. You can write an email or record a short voice memo and attach it for us to listen to.  Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online!   If you love New Mexico, you'll love El Palacio Magazine! Subscribe to El Palacio today. Encounter Culture, a production of the New Mexico Department of Cultural Affairs, is produced and edited by Andrea Klunder at The Creative Impostor Studios.  Hosted by Emily Withnall, editor at El Palacio Magazine Executive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. Ruiz Recording Engineer: Collin Ungerleider and Kabby at Kabby Sound Studios in Santa Fe Editor & Production Manager: Alex Riegler Associate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine

Born into a family of art collectors, Clinée Hedspeth advocates that creative expression is in Chicago's DNA.   In this episode, Lissa & Thom visit with a renowned global art curator who is driven to prove the economic impact of cultural spaces. Why would Clinée leave Paris to lead DCASE for Mayor Brandon Johnson? How does she intend to change the city's narrative around the world? What does crisis management look like in the art world? The answers are inside this conversation with Chicago's Commissioner for Cultural Affairs and Special Events.

On the surface, Diné author Daniel Vandever's picture books might appear to be straightforward stories, but the messages about the power of imagination and adventure in his books are imbued with layers of meaning. In his book Fall in Line, Holden!, a little boy breaks free from the constraints of rules and discipline by using his imagination. On a deeper level, the book speaks to the history of Indian Boarding Schools in pushing cultural assimilation. Likewise, in his wordless picture book Herizon, a girl goes on a magic scarf ride to find her lost sheep. This book is imbued with symbolism about the Missing and Murdered Indigenous Women (MMIW) epidemic, as well as cultural references to the Navajo Nation. Herizon was nominated to represent New Mexico at the 2024 National Book Festival. Mentioned in this Episode: Fall in Line, Holden! by Daniel Vandever Herizon by Daniel Vandever We Weave by Daniel Vandever Salina Bookshelf New Mexico representation at the 2024 National Book Festival The Long Walk Livestock Reduction Act “A Brief History of Navaj- Churro Sheep” in the Spring 2025 issue of El Palacio Navajo Code Talkers Deb Haaland's Federal Indian Boarding School Initiative Investigative Report: Volume I and Volume II The Foot Book by Dr. Seuss Roadrunner's Dance by Rudolfo Anaya Blueberries for Sal by Robert McCloskey Chicka Chicka Boom Boom by Bill Martin We'd love to hear from you! Let us know what you loved about the episode, share a personal story it made you think of, or ask us a question at elpalacio@dca.nm.gov. You can write a regular email or record a short voice memo and attach it for us to listen to.  Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online!   If you love New Mexico, you'll love El Palacio Magazine! Subscribe to El Palacio today. Encounter Culture, a production of the New Mexico Department of Cultural Affairs, is produced and edited by Andrea Klunder at The Creative Impostor Studios.  Hosted by Emily Withnall, editor at El Palacio MagazineExecutive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. RuizRecording Engineer: Collin Ungerleider and Kabby at Kabby Sound Studios in Santa FeEditor & Production Manager: Alex RieglerAssociate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine

What did New Mexico look like before the time of the dinosaurs? The 3,000-square-foot Bradbury Stamm Construction Hall of Ancient Life at the New Mexico Museum of Natural History and Science tells the story of 300 million years of evolution  featuring never-before-seen fossils from ancient fish, amphibians, invertebrates, reptiles, and more uncovered across the state.  Take a behind-the-scenes tour of the exhibit being contructed in the weeks before its grand opening with Spencer Lucas, Curator of Paleontology, and Matt Celeskey, Curator of Exhibits. (Then go see the exhibit fully assembled!) New Mexico Museum of Natural History and Science The Bradbury Stamm Construction Hall of Ancient Life Before the Famous Fossils: Ancient Life in the Paleozoic Era in New Mexico article in Spring 2025 issue of El Palacio *** We'd love to hear from you! Let us know what you loved about the episode, share a personal story it made you think of, or ask us a question at elpalacio@dca.nm.gov. You can write a regular email or record a short voice memo and attach it for us to listen to.  Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online!   If you love New Mexico, you'll love El Palacio Magazine! Subscribe to El Palacio today.  Encounter Culture, a production of the New Mexico Department of Cultural Affairs, is produced and edited by Andrea Klunder at The Creative Impostor Studios.  Hosted by Emily Withnall, editor at El Palacio MagazineExecutive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. RuizEditor & Production Manager: Alex RieglerAssociate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine

A long, long time ago, the region that is now New Mexico was part of a giant land mass, and it was located on the equator. The climate was warm and tropical and much of the present-day state was covered in shallow seas. This was long before humans or even dinosaurs existed—252 to 541 million years ago.  The New Mexico Museum of Natural History & Science has recently opened a new permanent exhibition, The Bradbury Stamm Construction Hall of Ancient Life, that covers the vast geologic history of ancient life in the state. Piecing together the story of ancient life in New Mexico can read like a detective story, and Matt Celeskey, Curator of Exhibits, and Spencer Lucas, Curator of Paleontology, help us unravel it.  Mentioned in this Episode: New Mexico Museum of Natural History & Science The Bradbury Stamm Construction Hall of Ancient Life Before the Famous Fossils: Ancient Life in the Paleozoic Era in New Mexico article in Spring 2025 issue of El Palacio Video walkthrough of exhibition in its final stages of construction Gordodon reptile fossil found near Alamogordo Eoscansor tree-climbing reptile fossil found near Chama *** We'd love to hear from you! Let us know what you loved about the episode, share a personal story it made you think of, or ask us a question at elpalacio@dca.nm.gov. You can write a regular email or record a short voice memo and attach it for us to listen to.  Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online!   If you love New Mexico, you'll love El Palacio Magazine! Subscribe to El Palacio today. Encounter Culture, a production of the New Mexico Department of Cultural Affairs, is produced and edited by Andrea Klunder at The Creative Impostor Studios.  Hosted by Emily Withnall, editor at El Palacio MagazineExecutive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. RuizRecording Engineer: Collin Ungerleider and Kabby at Kabby Sound Studios in Santa FeEditor & Production Manager: Alex RieglerAssociate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine

Camille Russell Love, former director of the City of Atlanta Mayor’s Office of Cultural Affairs, and Senior Advisor to Mayor Andre Dickens, along with Adriane Jefferson, the new executive director for the Mayor’s Office of Cultural Affairs, detail this year’s Atlanta Jazz Festival. Plus, Noah Sills of the band Arkose takes the spotlight for our series, “Speaking of Music.”See omnystudio.com/listener for privacy information.

The Media Arts & Technology department at New Mexico Highlands University is a one-of-a-kind program. Students not only learn about technology and design, but they get to implement their ideas, working from brainstorming and mind mapping to exhibition design and installation, interactive displays, and so much more. NMHU professors Lauren Addario and Becca Sharp join Emily Withnall to talk about their program and their 20-year partnership with the New Mexico Department of Cultural Affairs, including their exhibition design at many of DCA's Historic Sites. This partnership and internship program is one way students from rural parts of the state can learn about various jobs in the arts and develop their skills in design, interpretation, cultural technology, and so much more. Mentioned in this Episode: NMHU Media Arts & Technology Los Luceros Historic Site Jemez Historic Site Coronado Historic Site Bosque Redondo Memorial at Fort Sumner Historic Site New Mexico State Land Office Returning Home article by DezBaa' about the NM State Land Office's land exchange program Mineral Hill (Lauren's band!) We'd love to hear from you! Let us know what you loved about the episode, share a personal story it made you think of, or ask us a question at elpalacio@dca.nm.gov. You can write an email or record a short voice memo and attach it for us to listen to.  Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online!   If you love New Mexico, you'll love El Palacio Magazine! Subscribe to El Palacio today. Encounter Culture, a production of the New Mexico Department of Cultural Affairs, is produced and edited by Andrea Klunder at The Creative Impostor Studios.  Hosted by Emily Withnall, editor at El Palacio MagazineExecutive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. RuizRecording Engineer: Collin Ungerleider and Kabby at Kabby Sound Studios in Santa FeEditor & Production Manager: Alex RieglerAssociate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine

courtesy of Ruiz-Healy Art, New York / San Antonio Nicolás Leiva is renowned for his exuberant sculptures and paintings that capture various expressive personal visions. Vessels, boats, abstract forms, flying carriages are transformed into ceramics in an explosion of lush primary colors embossed with metals like silver and gold. Animals and vegetables commingle in a garden of flowers amidst otherworldly places of shelter, are replicated as box-like reliquaries, and plate-like medallions in miniature close-up show territories transitioned from his works on paper. His imaginative world unfolds in infinite realms like a Möbius strip. Highly gestural, organic, or geometric, Leiva presents a host of archetypes in his emblems of flight, safety, and delight. Born in 1958 in Tucumán, Argentina, Leiva graduated from the Fine Arts School of the Universidad Nacional de Tucumán. He continued his studies in Buenos Aires and moved to Miami in 1990. In 1996, he extended his practice to sculpture and ceramics. He lives part-time in Faenza, Italy, where he works with a variety of materials at the workshops of Ceramica Gatti. His work is the subject of the 2005 monograph Nicolas Leiva: The Fire of Self and Multiplication with scholarly text by Ricardo Pau-Llosa and Mariza Vescovo published by Bandecchi & Vivaldi in Italy. He has had many important solo and group exhibitions in the US and internationally, notably his 2023 solo exhibition, Historia de un día, Museo de Bellas Artes Laureano Brizuela, Catamarca, Argentina. Leiva was recently selected for the 2023 Miami Individual Artist (MIA) Grant, Miami-Dade County Department of Cultural Affairs in Miami, FL. His works are in the permanent collections of the Museo de Arte Latinoamericano de Buenos Aires (MALBA); The Snite Museum of Art at the University of Notre Dame, Indiana; the Berardo Collection in Lisbon, Portugal; the Gollinelli Collection in Bologna, Italy; and the Museum of Art of Fort Lauderdale in Florida. The Civic Museum of Marble, Carrara, Italy; Museo Maria Zambrano, Malaga, Spain; José Luis Cuevas Museum, Mexico City, México; Museum of Latin American Art, Long Beach, CA; and Fundación Federico García Lorca, Madrid, Spain. Nicolás Leiva, Sopera, 2015 Signed and dated on the underside Majolica ceramic with gold and platinum lustrous Ceramica Gatti, Italy 17 x 18 x 17 in. courtesy of Ruiz-Healy Art, New York / San Antonio. Nicolás Leiva, Sopera, 2015 Signed and dated on the underside Majolica ceramic with gold and platinum lustrous Ceramica Gatti, Italy 17 x 18 x 17 in. courtesy of Ruiz-Healy Art, New York / San Antonio. Nicolás Leiva, Sea Flora, 2024 Signed and dated on the underside Majolica ceramic with gold 35 x 15 x 15 in. courtesy of Ruiz-Healy Art, New York / San Antonio. Nicolás Leiva, Arbol de los Sueños (Tree of Dreams), 2017 Signed and dated on the underside Majolica ceramic with gold and lustrous Ceramica Gatti, Italy 30 in diameter. courtesy of Ruiz-Healy Art, New York / San Antonio.

New Mexico Arts runs a Folk Arts Apprenticeship Program that pairs masters in a particular art form with apprentices so that a wide variety of arts unique to New Mexico can be passed on. In this episode of Encounter Culture, host Emily Withnall chats with bootmakers Jes Márquez and Deana McGuffin about their experience with the Apprenticeship Program and the wonderful challenge of making beautiful cowboy boots.  Mentioned in this Episode:  New Mexico Arts Folk Arts Apprenticeship Program Jes Márquez Instagram profile Jes Márquez website New Mexico Arts Art in Public Places Zozobra event in Santa Fe We'd love to hear from you! Let us know what you loved about the episode, share a personal story it made you think of, or ask us a question at elpalacio@dca.nm.gov. You can write a regular email or record a short voice memo and attach it for us to listen to.  Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online!   If you love New Mexico, you'll love El Palacio Magazine! Subscribe to El Palacio today. Encounter Culture, a production of the New Mexico Department of Cultural Affairs, is produced and edited by Andrea Klunder at The Creative Impostor Studios.  Hosted by Emily Withnall, editor at El Palacio Magazine Executive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. Ruiz Recording Engineer: Collin Ungerleider and Kabby at Kabby Sound Studios in Santa Fe Editor & Production Manager: Alex Riegler Associate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine

The Virgin of Guadalupe is a cultural icon with deep roots in Mexican and Chicano communities across the United States and Mexico, among other places. Artists in New Mexico often reference Guadalupe in their work—including Chicana artist Delilah Montoya.  A mixed-media piece, “La Guadalupana,” by Montoya features a large photograph of the Virgin of Guadalupe as tattooed on the back of an incarcerated man. It is one of the many works of art on display at New Mexico Museum of Art's Vladem Contemporary as a part of their “identity” theme in Off-Center. Katie Doyle, assistant curator at the New Mexico Museum of Art, says Montoya's work fits in with Vladem's exhibition because it tells one of many essential stories about the cultural and historical issues that have continued to affect people in New Mexico.  Mentioned in this Episode:  Gloria Anzaldúa on la Virgen de Guadalupe Off-Center: New Mexico Art, 1970-2000 at New Mexico Museum of Art's Vladem Contemporary La Guadalupana by Delilah Montoya Chicano Awareness Center in Omaha, Nebraska Civil Rights Movement in Omaha, Nebraska National Geographic article about DNA and human ancestry *** We'd love to hear from you! Let us know what you loved about the episode, share a personal story it made you think of, or ask us a question at elpalacio@dca.nm.gov. You can write a regular email or record a short voice memo and attach it for us to listen to.  Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online!   If you love New Mexico, you'll love El Palacio Magazine! Subscribe to El Palacio today. Encounter Culture, a production of the New Mexico Department of Cultural Affairs, is produced and edited by Andrea Klunder at The Creative Impostor Studios.  Hosted by Emily Withnall, editor at El Palacio MagazineExecutive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. RuizRecording Engineer: Kabby at Kabby Sound Studios in Santa FeEditor & Production Manager: Alex RieglerAssociate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine

We must disrupt and rebuild; our task is to shift how society thinks through art” - Ralph RemingtonPart one of this special episode, in collaboration with Arts for a Better Bay Area, delves into the discussions and insights from the 2023 State of the Arts and Culture Organization Summit. Host Eric Estrada and summit reporter Isa Nakazawa bring you the voices of key panelists and attendees who are shaping the future of the arts in the Bay Area. Guests:Maria Jenson, Creative and Executive Director, SOMARTS Cultural CenterRalph Remington, Director of Cultural Affairs, San Francisco Arts CommissionJonathan Moscone, Executive Director, California Arts CouncilJenny Cohn, Client Success Manager of TRGJeff Jones, Co-founder, Queer Cultural CenterVallie Brown, Director of the City of San Francisco's Grants for the ArtsCary McClelland,Chief Operating Officer & Registered In-House Counsel - YBCADon't just listen – get involved! For more information, guest details, and resources from this episode, visit our episode web page.  Dive deeper into these vital discussions and access the California Arts & Culture Summit Resource Guide todayMake a Donation: Support Voices of the Community, fiscally sponsored by Intersection for the Arts, a 501(c)(3) nonprofit, and enjoy tax deductions for your contributions. Newsletter: Sign up  to stay updated on future episodes and events  Delve deeper into Voices of the Community Series on Arts & Culture, Making the Invisible-Visible, Covid-19's impact on nonprofits, small businesses and local government, City of Stockton's rise from the ashes of bankruptcy and our archives: You can explore episodes, speakers, organizations, and resources through each series web page. Watch and learn from all five series now!

March is the month to celebrate Women's History. In business, 40% of new companies are started by women, employing 10 million workers and generating $1.8 trillion in revenue. That's a lot of economic impact to celebrate. I'm Susan Soroko, Director of Creative Economy at Arlington Economic Development in Arlington Virginia. The role of Economic Development is to retain and attract businesses where workers can live and thrive in a great community even when the work world is changing. We support (small) business through programs like BizLaunch and value the importance of placemaking and a sector devoted to creative economy and the arts. Today we're going to talk about the value and impact of women owned businesses on our economy. To help me discuss this I'd like to welcome Mary Wong, Founder and Principal Consultant of EvaluCcraft Global. Ms. Wong is the Founder and Principal Consultant of EvaluCraft Global, LLC, a data-driven and evidence-informed consulting firm that provides public and foreign policy analysis and evaluation services. Established in Arlington in January 2020 to meet an emerging need, EvaluCraft Global, LLC helps public and private sector organizations at all levels around the world engaged in public and international affairs to analyze, assess and evaluate associated policies and programs for effectiveness, impact, output and outcomes. Our core values are competence, transparency and accountability. Prior to launching EvaluCraft Global, Ms. Wong served 11 ½ years with the U.S. Department of State, most recently as Deputy Director in the Office of Management Policy and Resources in the Bureau of International Organization Affairs and prior to that as Deputy Director in the Office of the Fulbright Scholarship Board in the Bureau of Educational and Cultural Affairs. Before joining U.S. federal public service, Ms. Wong worked 8 ½ years on design and administration of international exchanges and training for the Institute of International Education in Washington, DC and in Hanoi, Vietnam. Ms. Wong has a Master of Public Policy degree in Program Evaluation from the George Washington University's Trachtenberg School of Public Policy & Administration, a Master of Arts degree in International Development with a focus on Social and Economic Development from the University of Kentucky's Patterson School of Diplomacy & International Commerce and a Bachelor of Arts degree in International Relations with a concentration in Political Economy from Drake University in Iowa. Ms. Wong is passionate about foreign policy relevance to the publics. When not working, Ms. Wong enjoys traveling and learning about the world with her husband and two children; cheering on her daughters in all their curricular and extracurricular pursuits, and contributing to community-building through the Bahá'í Faith and service projects. Resources: EvaluCraft Global  Arlington Economic Development BizLaunch Division: BizLaunch  Minority Vendor Fair Upcoming Minority Vendor Showcase at Hyatt Crystal City   General information about the Small Business Administration (SBA): https://www.sba.gov/ SBA resources locally: https://www.sba.gov/local-assistance SCORE Counseling and other resources: https://www.arlingtoneconomicdevelopment.com/Small-Business/Small-Business-Programs/One-on-One-Counseling Sign up for The Agile Brand newsletter here: https://agilebrandguide.com/ Get the latest news and updates on LinkedIn here: https://www.linkedin.com/showcase/innovationeconomy/ Listen to our other podcast, The Agile Brand with Greg Kihlström: https://www.theagilebrand.show The Innovation Economy podcast is brought to you by Arlington Economic Development: https://www.arlingtoneconomicdevelopment.com The Innovation Economy is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, they craft human connections through intelligent, engaging and informative content. https://www.missinglink.company

Join host Emily Withnall and producer Andrea Klunder for a preview of the upcoming 8th season of Encounter Culture. This season features diverse topics, including an interview with artist Delilah Montoya, a tour of the brand-new Ancient Life exhibition at the New Mexico Museum of Natural History and Science, a conversation about children's books with author Daniel Vandever, and a deep look inside the art of bootmaking. “It's cool to think about art in that way, you know, to create beauty from nothing. It starts as an idea and then all of a sudden you have this beautiful object that you've somehow created from that original spark of an idea in your brain.” ~Emily Withnall ENCOUNTER CULTURE EPISODES REFERENCED Look Up! Leo Villareal's Astral Array at New Mexico Museum of Art Vladem Contemporary FOR FURTHER EXPLORATION Delilah Montoya Off-Center at the New Mexico Museum of Art, Vladem Contemporary Ancient Life at the New Mexico Museum of Natural History & Science Program for Interactive Cultural Technology, New Mexico Highlands University Fall in Line, Holden! by Daniel Vandever Herizon by Daniel Vandever We Weave by Daniel Vandever New Mexico State Library New Mexico Arts Folk Arts Apprenticeship Program Jes Márquez  Museum of Indian Arts and Culture *** We'd love to hear from you! Let us know what your favorite episodes of the podcast are, share a personal story, or ask us a question at elpalacio@dca.nm.gov. You can write a regular email or record a short voice memo and attach it for us to listen to.  Visit newmexicoculture.org for info about our museums, historic sites, virtual tours, and more.  Our favorite way to fully experience everything they have to offer is with the New Mexico CulturePass. Reserve yours online!   If you love New Mexico, you'll love El Palacio Magazine! Subscribe to El Palacio today. Encounter Culture, a production of the New Mexico Department of Cultural Affairs, is produced and edited by Andrea Klunder at The Creative Impostor Studios.  Hosted by Emily Withnall, editor at El Palacio Magazine Executive Producer: Daniel Zillmann Technical Director & Post-Production Audio: Edwin R. Ruiz Recording Engineers: Collin Ungerleider & Kabby at Kabby Sound Studios in Santa Fe Editor & Production Manager: Alex Riegler Associate Producer & Editor: Monica Braine (Assiniboine/Lakota) Theme Music: D'Santi Nava Instagram: @newmexicanculture and @elpalaciomagazine  

For the past 80 years, the Fulbright Program has supported scholars, artists, writers, and professionals in connecting with international institutions to do cutting-edge work. At its heart, the Fulbright is an exchange program that funds research and projects outside of participants’ countries. It aims to build international relationships and cultural competency between Americans and the rest of the world. However, the recent federal funding freezes and layoffs have impacted several educational exchange programs, bringing its future into question. Funding has begun to trickle back in, but many have been affected by the freeze on federal grants to the Fulbright and other programs related to the Bureau of Educational and Cultural Affairs—including the Gilman Scholarships, the Critical Language Scholarship, and the IDEAS program and some fear the impacts could have long lasting consequences. In this segment, we discuss what the Fulbright is, why it matters, and who might be affected by funding freezes affecting international research. Guests: Nicolás Kisic Aguirre, sound artist and PhD student at the University of Washington Anita Ramasastry, the Henry M. Jackson Professor of Law and Senior Advisor and Director of Faculty Engagement in the Office of Global Affairs at the University of Washington. Related Links: Study-Abroad Funding Is Paused, Leaving Some Students Stranded — NYT Funding freeze leaves Fulbright and study-abroad scholars stranded — Washington Post Thank you to the supporters of KUOW. You help make this show possible! If you want to help out, go to kuow.org/donate/soundsidenotes. Soundside is a production of KUOW in Seattle, a proud member of the NPR Network. See omnystudio.com/listener for privacy information.

ILYASAH AL SHABAZZ – Third daughter of Malcolm X and Dr. Betty Shabazz, is an educator, social activist, motivational speaker, and author of award winning publications: (1) Growing Up X (Random House) a coming of age memoir; (2) Malcolm Little (Simon & Schuster), a children's illustration book and (3) X, A Novel (Candlewick Press) a young adult historical fiction. Ilyasah promotes higher education for at-risk youth, interfaith dialogue to build bridges between cultures for young leaders of the world, and she participates on international humanitarian delegations. Ilyasah produced training programs to encourage higher education sanctioned by City University of New York's Office of Academic Affairs. She served for twelve years on the Executive Youth Board for the City of Mount Vernon, including appointments as Director of Public Relations, Director of Public Affairs & Special Events, and later promoted to Director of Cultural Affairs. She is a member of the Diversity, Equity and Inclusion Committee at West Virginia University. She is a mentor for Nile Rogers' We Are Family Foundation. She mentors at various group homes, lock-up facilities, high schools and college campuses through production of The WAKE-UP Tour™ X-Tra Credit Forums—her exclusive youth empowerment program. Ilyasah has retraced her father's footsteps to the Holy City of Mecca, explored religious and historical sites in both Egypt and Jordan as the guest of HRH Princess Alia Hussein, participated in interfaith dialogue study programs under Rabbi Nancy Kreimer and Dr. Aziza Al Hibri, and served as member of the American Interfaith Leadership delegation that participated with the Malaria No More Foundation in Mali, West Africa. Ilyasah also served as a member of the United States delegation that accompanied President Bill Clinton to South Africa to commemorate election of President Nelson Mandela and the economic business development initiative. Ilyasah serves as Trustee for the Harlem Symphonic Orchestra, The Malcolm X & Dr. Betty Shabazz Memorial and Educational Center, and The Malcolm X Foundation. She is a member of the Arts Committee for the New York City Opera at Lincoln Center and a project advisor for the PBS award-winning Prince Among Slaves documentary. She holds a Master of Science in Education & Human Resource Development from Fordham University and a Bachelor of Science in Biology from SUNY/New Paltz. Ilyasah is currently an adjunct professor at John Jay College of Criminal Justice, and resides in Westchester County, New York.For further information, please contact, Dr. Jamal Watson, at jamal@ilyasahshabazz.comwww.ilyasahshabazz.com http://Twitter.com/ilyasahshabazzX: A NOVEL, Candlewick Press. (1/2015) MALCOLM LITTLE, Simon & Schuster. (1/2014) GROWING UP X, Random House. (1/2002)Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Our book is: Thanks to Life: A Biography of Violeta Parra (UNC Press, 2025), by Ericka Verba, which explores the life of Chilean musician and artist Violeta Parra (1917–1967). Parra is an inspiration to generations of artists and activists across the globe. Her music is synonymous with resistance, and it animated both the Chilean folk revival and the protest music movement Nueva Canción (New Song). Her renowned song "Gracias a la vida" has been covered countless times, including by Joan Baez, Mercedes Sosa, and Kacey Musgraves. A self-taught visual artist, Parra was the first Latin American to have a solo exhibition at the Museum of Decorative Arts in the Louvre. In this remarkable biography, Dr. Ericka Verba traces Parra's radical life and multifaceted artistic trajectory across Latin America and Europe and on both sides of the Iron Curtain. Drawing on decades of research, Dr. Verba paints a vivid and nuanced picture of Parra's life. From her modest beginnings in southern Chile to her untimely death, Parra was an exceptionally complex and talented woman who exposed social injustice in Latin America to the world through her powerful and poignant songwriting. This examination of her creative, political, and personal life, flaws and all, illuminates the depth and agency of Parra's journey as she invented and reinvented herself in her struggle to be recognized as an artist on her own terms. CW: suicide Our guest is: Dr. Ericka Verba, who is Director and Professor of Latin American Studies at California State University, Los Angeles. She has received grants from the National Endowment for the Humanities, the Mellon Foundation, the Social Science Research Council, the Fulbright, and the Los Angeles Department of Cultural Affairs. She is a founding member of SCALAS (Southern California Association of Latin American Studies) and the recipient of the E. Bradford Burns Award for service to the Pacific Coast Council on Latin American Studies. She is the author of the book Thanks to Life: A Biography of Violeta Parra. Our host is: Dr. Christina Gessler, who is the creator, producer and show host of the Academic Life podcast. Listeners may enjoy this playlist: Remembering Lucille I'm Possible Dear Miss Perkins Sophonisba Breckinridge The Rise and Fall of Henry Christophe Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading or sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 240+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Our book is: Thanks to Life: A Biography of Violeta Parra (UNC Press, 2025), by Ericka Verba, which explores the life of Chilean musician and artist Violeta Parra (1917–1967). Parra is an inspiration to generations of artists and activists across the globe. Her music is synonymous with resistance, and it animated both the Chilean folk revival and the protest music movement Nueva Canción (New Song). Her renowned song "Gracias a la vida" has been covered countless times, including by Joan Baez, Mercedes Sosa, and Kacey Musgraves. A self-taught visual artist, Parra was the first Latin American to have a solo exhibition at the Museum of Decorative Arts in the Louvre. In this remarkable biography, Dr. Ericka Verba traces Parra's radical life and multifaceted artistic trajectory across Latin America and Europe and on both sides of the Iron Curtain. Drawing on decades of research, Dr. Verba paints a vivid and nuanced picture of Parra's life. From her modest beginnings in southern Chile to her untimely death, Parra was an exceptionally complex and talented woman who exposed social injustice in Latin America to the world through her powerful and poignant songwriting. This examination of her creative, political, and personal life, flaws and all, illuminates the depth and agency of Parra's journey as she invented and reinvented herself in her struggle to be recognized as an artist on her own terms. CW: suicide Our guest is: Dr. Ericka Verba, who is Director and Professor of Latin American Studies at California State University, Los Angeles. She has received grants from the National Endowment for the Humanities, the Mellon Foundation, the Social Science Research Council, the Fulbright, and the Los Angeles Department of Cultural Affairs. She is a founding member of SCALAS (Southern California Association of Latin American Studies) and the recipient of the E. Bradford Burns Award for service to the Pacific Coast Council on Latin American Studies. She is the author of the book Thanks to Life: A Biography of Violeta Parra. Our host is: Dr. Christina Gessler, who is the creator, producer and show host of the Academic Life podcast. Listeners may enjoy this playlist: Remembering Lucille I'm Possible Dear Miss Perkins Sophonisba Breckinridge The Rise and Fall of Henry Christophe Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading or sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 240+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Our book is: Thanks to Life: A Biography of Violeta Parra (UNC Press, 2025), by Ericka Verba, which explores the life of Chilean musician and artist Violeta Parra (1917–1967). Parra is an inspiration to generations of artists and activists across the globe. Her music is synonymous with resistance, and it animated both the Chilean folk revival and the protest music movement Nueva Canción (New Song). Her renowned song "Gracias a la vida" has been covered countless times, including by Joan Baez, Mercedes Sosa, and Kacey Musgraves. A self-taught visual artist, Parra was the first Latin American to have a solo exhibition at the Museum of Decorative Arts in the Louvre. In this remarkable biography, Dr. Ericka Verba traces Parra's radical life and multifaceted artistic trajectory across Latin America and Europe and on both sides of the Iron Curtain. Drawing on decades of research, Dr. Verba paints a vivid and nuanced picture of Parra's life. From her modest beginnings in southern Chile to her untimely death, Parra was an exceptionally complex and talented woman who exposed social injustice in Latin America to the world through her powerful and poignant songwriting. This examination of her creative, political, and personal life, flaws and all, illuminates the depth and agency of Parra's journey as she invented and reinvented herself in her struggle to be recognized as an artist on her own terms. CW: suicide Our guest is: Dr. Ericka Verba, who is Director and Professor of Latin American Studies at California State University, Los Angeles. She has received grants from the National Endowment for the Humanities, the Mellon Foundation, the Social Science Research Council, the Fulbright, and the Los Angeles Department of Cultural Affairs. She is a founding member of SCALAS (Southern California Association of Latin American Studies) and the recipient of the E. Bradford Burns Award for service to the Pacific Coast Council on Latin American Studies. She is the author of the book Thanks to Life: A Biography of Violeta Parra. Our host is: Dr. Christina Gessler, who is the creator, producer and show host of the Academic Life podcast. Listeners may enjoy this playlist: Remembering Lucille I'm Possible Dear Miss Perkins Sophonisba Breckinridge The Rise and Fall of Henry Christophe Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading or sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 240+ Academic Life episodes? Find them here. And thank you for listening! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

Family estrangement, scarcity, and wild turkeys. Find us on Youtube. The Bulletin welcomes Alison Cook to talk about family estrangement. Then, Russell, Mike, and Clarissa get honest about Black Friday shopping and the scarcity mindsets that shape our gratitude. Finally, our associate producer, Leslie Thompson, joins the show to chat with New England Patriots Super Bowl champion Matt Light and retired archaeologist Mary Weahkee about how wild turkeys are bringing people together.   GO DEEPER WITH THE BULLETIN: Email us with your favorite segment from today's show at podcasts@christianitytoday.com. Grab some Bulletin merch in our holiday store! Check out Leslie's series about wild turkeys. Find us on YouTube. Rate and review the show in your podcast app of choice. ABOUT THE GUESTS:  Alison Cook, PhD, is a therapist and host of The Best of You podcast. She is the author of the ECPA-bestselling book The Best of You and coauthor of Boundaries for Your Soul. Widely recognized as an expert at the intersection of faith and psychology, Cook empowers individuals to heal from past wounds, develop a strong sense of self, forge healthy relationships, and experience a loving God who is for them.  Matt Light was drafted by the New England Patriots in 2001, launching what would be a storied NFL career, winning three Super Bowls. It was during Light's early days in the NFL that he and his wife, Susie, decided to found The Light Foundation to give young people the opportunity to experience and enjoy the outdoors and develop the skills, values, and mindset they need to create meaningful and productive futures. Mary Motah Weahkee is a registered tribal member of Comanche Nation who has spent 16 years as a field anthropologist and archaeologist for the Department of Cultural Affairs, Office of Archaeological Studies, and the Center for New Mexico Archaeology. Mary has become known for her turkey-feather blankets and recently had one featured in the film Here, starring Tom Hanks and Robin Wright.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Earlier this week, the Chicago Board of Elections finished counting ballots, and out of 77 Cook County judges seeking retention, Shannon O'Malley became the third judge in the past four elections to lose retention. Injustice Watch's Kelly Garcia and the Tribune's Jake Sheridan tell us what this result means for election participation and the growing chasm between city and suburban voters. Plus, we discuss city budget negotiations, CPD's sluggish reform progress, and play a round of "Is It Decent, Decent or Decent." Good News: The 12th annual Grabadolandia Print Fair Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 If you enjoyed today's interview with Chicago Department of Cultural Affairs and Events Program Director Event Productions, Neal Heitz, learn more here. Learn more about the sponsors of this Nov. 22 episode: The Second City Orthodontic Experts Court Theatre Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

Aldi abruptly closed its West Pullman store last week, leaving yet another Chicago neighborhood without easy access to fresh food. The move leaves us wondering (once again) if big grocery chains are Chicago's only option. So we're revisiting a conversation from the spring with Matthew Ruffi, board president of Chicago Market and senior program director for Link Up Illinois. He tells host Jacoby Cochran about some grocery alternatives and why food access is a growing concern in Chicago. Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 If you enjoyed today's interview with Chicago Department of Cultural Affairs and Events Program Director Event Productions, Neal Heitz, learn more here. Learn more about the sponsors of this Nov. 18 episode: Mubi The Second City Orthodontic Experts Court Theatre Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

Typically, freelance musicians don't have the benefits many 9-to-5 jobs offer, like retirement accounts or health benefits. But a new group called Golden Egg, in partnership with the Experimental Sound Studio, is trying to change that through a matching grant program funded through the Chicago Department of Cultural Affairs and Special Events. It will select 16 artists to receive a share of $50,000 to put into a retirement fund. Reset learns more about the goals of the effort with Golden Egg's project manager Deidre Huckabay and steering committee member Adrian Ruiz. For a full archive of Reset interviews, head over to wbez.org/reset.