Podcast appearances and mentions of leslie boyd

The North Carolina primary election is March 5 and early voting is already underway. But the Republican supermajority in the stage legislature has passed laws making voting more difficult.My guests today are Robin Lively Summers of Indivisible Asheville and Leslie Boyd of the Poor People's Campaign. They're part of a coalition of nonprofits working to educate and engage prospective voters in Western North Carolina. Others working in this effort are the YWCA of Asheville, Just Economics and Asheville Food & Beverage United. We'll talk about their work on the ground, overcoming challenges presented by new restrictive voting laws and how they're working to encourage seemingly low-incentive voters out to the polls.Get five news headlines from around Asheville in your morning inbox. No ads, no spam—simple as that. Subscribe for free to the First Look newsletter from The Overlook. Support The Overlook by joining our Patreon campaign!Advertise your event on The Overlook.Instagram: AVLoverlook | Facebook: AVLoverlook | Twitter: AVLoverlookListen and Subscribe: All episodes of The OverlookThe Overlook theme song, "Maker's Song," comes courtesy of the Asheville band The Resonant Rogues.Podcast Asheville © 2023

In this episode, Dr Leslie Boyd and Adrienne Moore, a patient advocate and endometrial cancer survivor, discuss how healthcare professionals can partner with Black patients to improve the diagnosis and management of endometrial cancer (EC). Topics include:Data on racial disparities in EC survivalImportance of listening to Black patients to better diagnose ECFinancial and practical considerations regarding careHow to help empower Black patients in shared decision-making with their care teamPresenters:Leslie R. Boyd, MDAssociate ProfessorDepartment of Obstetrics and Gynecology at NYU Grossman School of MedicineDirector of Division of Gynecologic OncologyVice Chair of GynecologyDepartment of Obstetrics and GynecologyLaura and Isaac Perlmutter Cancer CenterNew York University Langone HealthNew York, New YorkAdrienne Moore, RTPresident and Board MemberEndometrial Cancer Action Network for African-AmericansDirector of Peer Support, SISTER StudyResearch Coordinator, Gynecologic OncologyDepartment of Obstetrics and GynecologyUniversity of Washington School of MedicineSeattle, Washington

What you'll learn in this episode: The history of Metalsmith magazine, and why it maintains its name even as its scope has expanded beyond metals How SNAG has made efforts to diversify the voices in Metalsmith and open the organization to new members What type of content Adriane looks for as an editor, and how you can pitch ideas to her What changes need to be made in the jewelry industry to make it more equitable Why being a curator and being an editor aren't so different About Adriane Dalton Adriane Dalton is an artist, writer, and educator based in Philadelphia, PA. She is the editor of Metalsmith, the magazine published by the Society of North American Goldsmiths (SNAG). She was formerly the Assistant Curator and Exhibitions Manager at the Nora Eccles Harrison Museum of Art (NEHMA) in Logan, Utah, where she co-curated “ARTsySTEM: The Changing Climate of the Arts and Sciences” and taught History of American Studio Craft, among many other curatorial and educational projects.  She holds an MA in the history of decorative arts and design from Parsons The New School for Design (2014), and a BFA in craft and material studies from the University of the Arts (2004). Her work has been exhibited nationally and internationally at Contemporary Craft (Pittsburgh, PA), The Wayne Art Center (Wayne, PA), Snyderman-Works Gallery (Philadelphia, PA), A CASA Museu de Object Brasileiro (Sao Paulo, Brazil), the Metal Museum (Memphis, TN), and Space 1026 (Philadelphia, PA). Additional Resources: SNAG Website Adriane's Instagram Photos: Recent Metal Smith Covers Transcript: Adriane Dalton took a meandering path to become editor of Metalsmith, the Society of North American Goldsmith's (SNAG) quarterly magazine, but her background as a maker, her work as a curator, and her education in the history of craft has only helped her hone her editorial skills. She joined the Jewelry Journey Podcast to talk about the overlaps between making, curating and editing; what she looks for when selecting work for the magazine; and why it's important we not just talk about objects and the people who make them, but the conditions in which people make them. Read the episode transcript here.  Sharon: What kinds of changes do you think? I don't know, galleries representing more Black jewelers and jewelers of color? What kinds of changes do you mean? Talking about them in classes? Adriane: For that particular issue, that essay by Valena Robinson Glass and the essay by Leslie Boyd touch on some of the possibilities for how to address those things. I would encourage anyone who's listening who hasn't read that issue or isn't familiar with it to go pick it up off your bookshelf or go purchase it from SNAG. There are a lot of ways you can be reflective. Some of it is as simple as trying to understand if you have a space where there are no Black, indigenous, or people of color in that space, whether you're a galleries or an educator, what are the barriers to access for people, whether they're economic or graphic? There are a lot of different things. I don't know that I can say there are one-size-fits all solutions to these things, but I think it's a matter of being reflective. Sharon: I know you're the editor of the publication; you're not speaking for SNAG itself, but what do you see SNAG doing to lower barriers? Adriane: I think some of the things SNAG has done have been done to create, for example—for our virtual conference, there were needs-based scholarships for folks to attend the conference if they had an economic barrier, which is one way SNAG has dealt with that. Because of us having canceled our conference last year, there's been a lot of upheaval. We're trying to get through and recover from the financial burden of having to cancel an annual conference, as many organizations have this past year.  One of the other things that has been done—and this started pre-pandemic—is changing how we define what it means to be a student. In the past, that was implied to mean a student of a four-year jewelry program. As most folks have probably noticed, there are fewer and fewer jewelry and metals programs in higher education in the U.S. than ever. So many programs have closed, and there have been a lot of community programs which have popped up, such as the Baltimore Jewelry Center, Smith Shop in Detroit, Brooks Metalworks, plus others. Then, of course, there are places like We Wield the Hammer and the Crucible in San Francisco. We're trying to include anyone who's taking classes in a community setting in this definition of student, offering lower rates for registrations for students, lower rates for student memberships and things like that. SNAG's membership cost at this point is $99 annually, which I believe is less than it used to be. I feel like it used to be higher than that.  Sharon: I don't remember. I get my renewal notice and I know I want to remain a member. Will there be a regular conference this year or next spring, do you think? Although who knows with the Delta variant.  Adriane: Right. There are plans for an in-person conference to happen in the spring of 2022 as it would normally, around Labor Day. I'm not involved in the conference planning, so I don't know exactly what the plan is at this point, but I think there are some other things that SNAG has planned in the meantime. We have other virtual programming.  We're going to be having a symposium in the fall in October. I believe it's October 22-23. This is part of what will be an annual program that happens every fall in addition to the conference, and it will be virtual. I believe the title of that symposium program is “Tides and Waves.” Each year, we'll have a different geographical focus throughout the world. I believe that is the focus for this coming symposium, which is happening this fall. I think it will have been announced by the time this comes up. Sharon: This fall being 2021? Adriane: Yeah, this fall being 2021. I think the geographical focus for this symposium is Eastern Asia. Sharon: Oh, wow, that will be interesting. I'm not a maker, and when I go to the conferences, I'm more focused on what people are showing, what's different. I'm trying to remember the issues you're talking about. It doesn't seem like there have been many—maybe they haven't been of much interest to me, but I haven't heard these issues being discussed at the conferences as much as how you form a gold something, or whatever. I don't know.  Adriane: You mean as far as conference sessions? Sharon: Sessions, yeah. Adriane: The last conference I attended was in Chicago. No, that's not true; I attended our virtual conference, but when you're working and the conference is happening and you're trying to zip in and out of things and pay attention to everything, it's all kind of a blur for me at this point, honestly. I think the most recent virtual conference dealt a little bit more with some of the things I was mentioning. For example, there was a panel that dealt with people who were makers or involved in the field in some way, but who also have a caretaking role, whether that's mothering or something that. That also speaks to what I was mentioning before, thinking about not just what we make, but the conditions in which we make. That is a huge topic that hasn't fully been addressed. How can you go to a residency and take a month or longer to do that when you have a small child—or not even a small child, a teenager—and do all of these things when you have some other person you have to care for? And of course, that disproportionately affects women in the field. I think one of the things that is great about an in-person conference but is much more difficult to have happen organically in a virtual setting, even now when we are accustomed to attending events virtually—and I love it; it's great because I can be in San Francisco; I can be in New York; I can be in London, but I don't have to leave my house. I just have to be awake at whatever time zone the event is happening in. But something that doesn't happen at these things is the organic conversations you have in small groups at dinner or over drinks. For me as the editor, those are the conversations I'm really looking for. What are people talking about that we aren't talking about more broadly, and how can we make space for that and bring that in? Sharon: That's an interesting question. Yes, you do hear that as you're having coffee with somebody or with a group. What's on your plate that you've heard? Maybe it's harder to hear that virtually, but something that you thought, “Oh, I want to investigate that more,” or “We need to do something about that, an article.” Adriane: Yeah, one very straightforward example is that during last year's virtual New York City Jewelry Week, I spent the entire week, morning to night for seven days straight, glued to my computer. I was picking my laptop up and taking it into my kitchen when I made dinner. By the end of the week, I didn't want to look at a screen again, but of course I had to. One of the presentations during New York City Jewelry Week last year was by Sebastian Grant— Sharon: He is? Adriane: Sebastian is a jewelry historian and teaches at Parsons - Cooper Hewitt. His presentation, which I believe was in concert with The Jewelry Library, was on looking at the history of Black jewelry artists from mid-century forward and trying to identify these makers and talk about their work and their stories that hadn't been shared or acknowledged. In a lot of publications, there hasn't been comprehensive publishing around some of these artists. After seeing his presentation, I reached out to him and asked if he would be interested in taking some of that research and sharing it in Metalsmith in a series of articles. So far, we've published two articles by Sebastian. That's a very direct example of being engaged in the field in a virtual setting, hearing conversations that are going on—it was a presentation, but there was also a Q&A afterwards—and knowing this is something that needs to be given more space.  Sharon: It must be great to be in a position where you can say, “This needs to be addressed further” and do something about it, to literally create. I know you have people you consult with on that, but still, that's very interesting. What other areas do you have in mind that are churning right now? Adriane: It's hard to say. I can talk a little bit about the examples of things that have happened over the recent volume that fit these criteria. Looking forward, it's a little harder because I'm just finishing up Volume 41—or getting ready to finish it up—and then Volume 42 will be starting. There's a lot of planning, a lot of question marks and things that are penciled in that I'm hoping will be written in in pen shortly.  One of the examples that directly came out of attending the conference in Chicago, aside from that conversation I mentioned with Lauren Eckert which led to the New Voices Competition, was at—I forget what it was called—but basically, it was the exhibition room where everyone has their small pop-up exhibitions. There was an exhibition that was curated by Mary Raivel and Mary Fissell, who are both based in Baltimore and involved with the Baltimore Center. Their exhibition was called “Coming of Age,” and they were specifically interested in artists who had come to jewelry making or metalsmithing as a second career after having some other career first. I was really interested in that, because there's the idea of the emerging artist as being someone who's young and just out of school, just out of undergrad or just out of grad school. I think it's a limiting way to think about where people are at in their creative process. I invited them to write about that exhibition, turn it into an article and talk about the interviews they did with the artists who applied to the show. We ran that in Volume 40, so it was the second issue of Volume 40 of Metalsmith. Sharon: That's a really interesting subject. It's so true; there are so many people who have come to jewelry making, whether it's in metal or in plastic or whatever, after a career doing something else, when they said, “Hey, I'm done with this and I really want to do what I want do.” I know Art Jewelry Forum, when they started—I don't know exactly where it ended up, but I know there was discussion in terms of age. Originally some of the grants being submitted had to do with age, and that really doesn't tell you anything. Adriane: Right. That actually came up in that article. It's been a while since I read it, so it's not fresh in my mind, but I believe they interviewed someone from Art Jewelry Forum—maybe it was Yvonne—and they brought this up and talk about that. In the article, they talk about how people fall into this gap where they're an age on paper where it seems like they should be mid-career artists, but they truly are emerging artists; it just may not seem that way if you know their age. I think it's interesting, and the more we try to put—and this is true of all sorts of things—rigid parameters on something, I think we limit ourselves in whom we invite to participate in the field or be in these spaces with us. It leaves people out. Not everyone can graduate from high school and go straight into college and start a career as a bench jeweler or a production jeweler or conceptual artist. There are a lot of different factors that contribute to where a person is in their career and the work they're making. Sharon: Yeah, that as well. What's a student today? It's an avocation. It may become their vocation eventually, but if they take a class at a community—I took a class at a jewelry school, and that's all the metalsmithing I've done. I was thinking about how you, being a maker, how does that affect—do you think you could do your job as well if you weren't a maker? Adriane: I don't think I could do my job as well if I were not a maker who had a grounding in the processes and traditions of metalsmithing. As I was saying earlier, the field and the materiality of the field has shifted a lot. My undergraduate study in learning the basics of jewelry and metalsmithing is helpful for me as I'm looking at the way authors are writing about artists' work. Not everyone who writes for the magazine is a maker or a jeweler, so there are some times when a term might come up, or someone might interpret a component of an object in a certain way. I, as someone who is a maker, and our readers often could look at that and say, “Well, I don't think that's quite right.” I then have the knowledge to write a note or an edit and say, “Hey, I think you might have this wrong. I think it's vermeil and not actually gold.” I don't think I would have that ability if I didn't have a background as a maker. Sharon: That's interesting. How do you find the journalism aspect? To me, what you're doing—it's both the combination of being a maker or jeweler and having the crafts background, but the journalism, not everybody could do that. Adriane: I don't think about it in that way necessarily. Having a curatorial background, I think about the magazine more curatorially, I would say. Maybe there's some overlap with the way someone with a journalism background would think about it, but because that is not my background and not my training, I don't know. I think about what I'm doing as the editor as interpretative, in the way that if you are a curator and you've done research and you're presenting a selection of artworks to the public, you have to contextualize them in some way. You have to make sure that the way that you've put things together, people can come into that space, whether it's in a print publication or in a gallery space, and hopefully they can come away with the things that are apparent and the subtleties at the same time. That's what I try to capture when I write my letter from the editor for every issue, which, as you alluded to earlier, sounds like a difficult task and it certainly is. Even though I have done a lot of writing, I'm always fussing with it and fussing with it and fussing with it up to the last minute. I want to make sure that when people read it, they get something out of it that isn't just, “Here's what's in this issue.” Sharon: That's interesting. Being an editor has so many similarities with being a curator. You're culling through things and what goes with what and setting the context, which is what you definitely do in the note from the editor, and I'll be thinking about them a little differently as I read more. I already look at them and think, “Oh, it's so hard to express yourself.” You do a very good job, but they're very weighty things you're talking about. It's not just, “Oh, we have pretty pieces of jewelry in this issue.” Adriane: Right. If that were the case, that would probably be all I had to say about it.  Sharon: That's true; moving from here on to Vogue. Adriane: I don't know about that. Sharon: Adriane, thank you so much. I really appreciate it. You've given us a lot to think about. I didn't enter this conversation realizing it would be so thought-provoking. Thank you. It's greatly, greatly appreciated. Adriane: That's wonderful; thank you, and thank you for having me. This has been a fantastic conversation. Sharon: So glad to have you. We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time, when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

What you'll learn in this episode: The history of Metalsmith magazine, and why it maintains its name even as its scope has expanded beyond metals How SNAG has made efforts to diversify the voices in Metalsmith and open the organization to new members What type of content Adriane looks for as an editor, and how you can pitch ideas to her What changes need to be made in the jewelry industry to make it more equitable Why being a curator and being an editor aren't so different About Adriane Dalton Adriane Dalton is an artist, writer, and educator based in Philadelphia, PA. She is the editor of Metalsmith, the magazine published by the Society of North American Goldsmiths (SNAG). She was formerly the Assistant Curator and Exhibitions Manager at the Nora Eccles Harrison Museum of Art (NEHMA) in Logan, Utah, where she co-curated “ARTsySTEM: The Changing Climate of the Arts and Sciences” and taught History of American Studio Craft, among many other curatorial and educational projects.  She holds an MA in the history of decorative arts and design from Parsons The New School for Design (2014), and a BFA in craft and material studies from the University of the Arts (2004). Her work has been exhibited nationally and internationally at Contemporary Craft (Pittsburgh, PA), The Wayne Art Center (Wayne, PA), Snyderman-Works Gallery (Philadelphia, PA), A CASA Museu de Object Brasileiro (Sao Paulo, Brazil), the Metal Museum (Memphis, TN), and Space 1026 (Philadelphia, PA). Additional Resources: SNAG Website Adriane's Instagram Photos: Recent Metal Smith Covers Transcript: Adriane Dalton took a meandering path to become editor of Metalsmith, the Society of North American Goldsmith's (SNAG) quarterly magazine, but her background as a maker, her work as a curator, and her education in the history of craft has only helped her hone her editorial skills. She joined the Jewelry Journey Podcast to talk about the overlaps between making, curating and editing; what she looks for when selecting work for the magazine; and why it's important we not just talk about objects and the people who make them, but the conditions in which people make them. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guest is Adriane Dalton, editor of Metalsmith Magazine published by SNAG, the Society of North American Goldsmiths. The publication is designed to keep makers, jewelers and other artists in the field informed about important issues and people in their creative field. Adriane, welcome to the program. Adriane: Hi, it's wonderful to be here. Sharon: So glad to have you. I'm really looking forward to hearing all about this. I've been reading the magazine for so long. Tell us about your own jewelry journey. Were you a maker? How did you get into this? Did you come to it through journalism or the arts? Adriane: I came to it through the arts. I do not have a journalism background. I actually have a BFA in craft and material studies from the University of the Arts in Philadelphia, which is where I now live again after being in a lot of other places over the years. That craft and material studies program was my first introduction to jewelry making and to the contemporary jewelry field as we know it and as represented by SNAG and Metalsmith. Prior to that, I think my conception of jewelry was limited to the standard things you would see in the mall. That program was my gateway to the field. Sharon: Is that what you wanted to do when you came to study crafts and material arts? Did you think you'd be doing jewelry? Were you going to do fine art? Adriane: When I started undergrad, I had intended to be a photography major or potentially a glassblower. You have this first, foundational year of art school where you get to try different things out, and then you have to decide what your major is. I decided that in order to try to blow glass and work with my hands, I would need to be in the glass department. You couldn't major in glass at the time, so you had to pick a different focus area and then you could take classes in the glass department. So, I became a jewelry major sort of incidentally. I've always enjoyed working with my hands and making physical objects, so it ended up being a good fit for me. While I was there, I studied with Sharon Church, Rod McCormick and Lola Brooks, who were all teaching in the program at the time. That was my introduction to jewelry as an art form, not just as a piece of adornment. Sharon: So, you weren't third grade thinking, “I want to make jewelry.” Adriane: No. Sharon: When you graduated, were you making? How did it come about that you're now editing a publication? Adriane: It's been a meandering path, honestly. I graduated with my BFA with a focus in jewelry and metals. I was interested in enameling, and I did a lot of enamel work. When I finished undergrad, I had a studio and I worked on some small production lines. I worked on one-of-a-kind work, but I also needed to have a job to support myself beyond that, and I found out very quickly that I didn't like making production work. It wasn't what I wanted to do to support myself or express myself creatively. For about eight years, I worked in an office job and had a studio space. I was involved in some community arts organizations here in Philadelphia and maintained my own creative practice during that time.  It was almost 10 years after I had graduated from undergrad that I decided to go to grad school. I was interested in studying the field of craft more broadly, not just jewelry itself, so I enrolled in the joint program between Cooper Hewitt Museum in New York and Parsons. At the time, it was called History of Decorative Arts and Design. I believe the program is now History of Design and Curatorial Studies. I went into the program hoping to have a more formalized and research-based approach to thinking about craft. Sharon: Wow! That must have been exciting to be in New York and studying at such premier schools. Were you going to do research? Did you want to go into museums? What did you think you might want to do? Adriane: I was 30 at the time when I started grad school, and I had enough time after undergrad to figure out some of the things I didn't want to do. I considered going and receiving an MFA. I toyed with that idea a bit, and I decided I wanted to try to have a career that would allow me to use my creative mind in the work, but that would hopefully feed into my creative practice in some way while also supporting me. I had a curatorial focus when I was in grad school, and I had some fellowships in the Cooper Hewitt Product Design and Decorative Arts Department under Sarah Coffin when she was still curator there; I think she's since retired. I also was the jewelry intern under Alice Newman at the Museum of Arts and Design while I was in grad school. Those two experiences opened up possibilities for me to engage with the field in a way I hadn't prior to grad school. Sharon: Wow! Some really important people that were mentors or teachers. How did it come about that you're now at Metalsmith Magazine? Adriane: After grad school, I actually moved to Utah from New York, to a small town in northern Utah where I was the assistant curator of an art museum there, the Nora Eccles Harrison Museum of Art, which at the time had some exhibitions that were craft-centric. I came on to help with some of that. They have a fantastic ceramics collection. Ceramics is not my focus area, but having a broad generalization in craft, I can sort of move between materials. So, I was in Utah for a few years working as a curator. Then I moved back to the East Coast, to Richmond. I was working at the Virginia Museum of Fine Arts in their education department doing programming.  The way I came to be the editor of Metalsmith was a fluke in a lot of ways. I had applied for a different position at SNAG at the time that was educationally focused. I had a couple of interviews, got along really well with the executive director at the time, Gwynne Rukenbrod Smith. A few months later, she reached out to me and said, “Hey, our editor, Emily Zilber, is leaving, and I need someone to come in on an interim basis and keep things going until we figure out what we are going to do with the position and the magazine. Is this something you'd be interested in and capable of?” I said, “Yes, sure.” I came on thinking it would be potentially a six-month arrangement and then I would go on doing museum education, which is what I was doing. It ended up working out and I was invited to stay on, and so here I am. Sharon: Wow! Tell us about Metalsmith and what you want to do with it, what its purpose is, that sort of thing. Adriane: Sure. Metalsmith is one program area of SNAG. For folks who are listening who may not be familiar with SNAG, SNAG is the Society of North American Goldsmiths. It's a 50-year-old—well, I think it's 51 years old now—organization that's an international member-based organization. We are a 501(c)(3) nonprofit. Our member base is predominantly a variety of metalsmiths, jewelers, other folks who maybe don't consider themselves jewelers but use the body as a flight for expression, production studio jewelry artists, teachers, historians, curators, collectors, gallerists and writers. Our member focus is North America, but we do have members and subscribers all over the world. Metalsmith fits into SNAG in the sense that as a program area, it helps SNAG fulfill part of its mission statement, which is to advance the field of jewelry and metalsmithing and to inspire creativity, encourage education and foster community. Before it was Metalsmith, SNAG had three other publications. It started as a newsletter in the early days, and then it became Gold Dust. Then it was, I think, Goldsmith's Journal. Metalsmith was established in 1980. So, we are now in our 41st year of publication. Sharon: Did it become Metalsmith because—I'm a member of SNAG and I really like it, but I've only met maybe one goldsmith. Is that what happened there, going from Gold Dust to Metalsmith? Adriane: I think so. I'm not privy to all the early decisions of how the magazine was established and run, but I think choosing Metalsmith was to be more inclusive of the field at that time. Now, of course, one of the critiques I hear sometimes from members and other folks in the field is that Metalsmith doesn't always have that much metal in it. Sharon: That's true, yes. Adriane: That is true. That is, I think, indicative of the shifts in interdisciplinarity and shifts in thinking about materials that are appropriate for these forms that have happened over the past 20 or 30 years in the field. There have been times when people have said, “Well, they should change the name to something else,” but it still fits in a lot of ways. The word “smith” in and of itself points to the action that is involved. For me and how I think about the magazine and the work that's in the magazine, it doesn't necessarily matter what the material is; it's more about the approach and the context in which the maker is putting it out into the world. Sharon: How are you choosing the subjects? There are so many different areas now. I think of plastics; I think of wood; I think about all different kinds of crafts and jewelry. How do you choose the issues and writers you put in the publication? Adriane: I take pictures and proposals. Anyone listening to this podcast, anyone out there can send me an email or get in touch with me to propose any idea they have for an article or an artist they want to cover, things like that. It's a combination of taking proposals from people who reach out to me and me seeking people out who I'm interested in their work or interested in their writing, or me finding someone who I think would be good to write about a particular artist's work. It depends, and it's a mishmash of those things. A misconception I try to dispel any chance I get, and will do so now, is that I have a glut of proposals coming in. Really, a lot of the time I don't, particularly in the past 18 months. During the pandemic, people's focus has been in other directions, as it should be, but it's hard to keep things going if I have to do all the outreach and it's not going in both directions like it should. Sharon: I'm surprised; with everybody at home during lockdown, it seems like it would have been the perfect time for people to be writing or pitching or proposing or thinking about it at least. Adriane: Yeah, it is a combination of things. I do have people who reach out to me who I may or may not be familiar with. I'm really interested in having voices in the magazine that are new to the field or are in the process of establishing themselves as a thinker in the field. One of the ways we have done that in the past two years was through a writing competition that we hosted during our 40th volume, which was the previous volume to the one that's being published now. That was proposed to me by an artist and author, Lauren Eckert, who approached me at SNAG's conference in Chicago, the last in-person conference we held. She said, “What do you think about having a writing contest to get new voices into the magazine?” and I said, “Oh, I think that that's a great idea. Would you want to help me get that together?” She volunteered, and I invited Lauren to join the publication's advisory committee, which is a sounding board and feedback board for the magazine.  We ran the competition and had two awardees, and we published their writing in this most recent volume. In issue 41, we had Jessica Todd's article “Restrung: Contemporary North American Beadsmiths.” In issue 42, we had “Difficult Adornments: Recontextualizing Creative Adornment Through Display” which was by Rebecca Schena. Jessica was the New Voices award winner and Rebecca was the runner up, but we couldn't narrow it down to just one because there were so many great submissions. It was very hard to pick them.  Sharon: In terms of issues, what issues are really close to you, important to you? What issues do you see in the field? It's a few months old now, but I was looking at one of the publications about Black jewelers and inequality in the field, and I thought, “Well, that's not a namby-pamby issue; it's right out there and you're not afraid to discuss those kinds of things.” Adriane: Yeah, something that is important to me and has become extremely necessary as the world has shifted so much in the past 18 months is to not just create content in a vacuum, but to have the work and the voices in the magazine truly be representative of what is going on in the field. Some of that includes acknowledging ways the field of jewelry and metalsmithing replicates other systemic racist structures that exist in American society. To speak to the bigger picture for how I think about the content of the magazine—and this also predates the pandemic, but the pandemic has made me more firm in this—is that it's important to not just talk about objects and the people who make them, but to talk about the conditions in which people make them. That is especially relevant now that the world has been the way it has been for the past 18 months and we are all more acutely aware of a lot of things than perhaps previously. Sharon: That's a good point, in terms of picking up a publication or going online and saying, “What are the pretty pictures?” or “What are the creative objects?” You also mentioned in one of your notes from the editor—it must be a challenge to come with that every month, in terms of pithy subjects—you wrote that for some, the process of growth is discomfort. How does that manifest itself? Do you see it manifesting in SNAG's members, for example? Adriane: I don't know if I can speak to how it manifests for our members. I will say SNAG has a diverse membership. When I'm making the magazine, I'm making it not only for SNAG's membership, but we also have some people who subscribe but aren't SNAG members, and the magazine is on newsstands. So, I'm trying to think broadly whenever possible. As far as that particular letter from the editor, some of the content in that issue—which includes that essay by Rebecca Schena that I mentioned before—but it also includes the piece you alluded to, which is by Valena Robinson Grass, “Moving Beyond Acknowledgment: Systemic Barriers for Black American Metalsmiths.” There's another article in there by Leslie Boyd about how white educators can be more attentive to the ways their students are showing up in the structure of academia. As I'm talking, I'm getting further and further away from answering your question, but— Sharon: No, I don't get that impression. Adriane: I think that, much like a lot of other things that have happened in the past 18 months, there needs to be some amount of reflection and reckoning in parts of the jewelry field that have been predominantly white spaces and reflecting upon why that is, and thinking about how you can claim to value diversity and inclusivity and equity. You can say those things and you can mean them, but unless you're willing to do the reflection and make some changes, then it's meaningless; it's empty. We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time, when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Leslie Boyd is a Life and Productivity Coach, busy wife, and mom. As the creator of the 3 Step Strategy she works with women to figure out their goals and help them crush them!I'm happy to interview Leslie and find out more about how she started as a Coach and ask her about her best tips for productivity and goal setting.Find Leslie on Facebook Leslie's Website: https://leslieaboyd.comHer favorite book pick: Believe IT: How to Go from Underestimated to UnstoppableSubscribe to the Fabulous Broads Newsletter delivered weekly.

Have you been trying to balance multiples roles and wonder how you can also create personal success? Ever feel like there is not enough time to get things done? Meet Leslie Boyd, a Life and Productivity coach who works with women who work from home and want to earn 4 figure months, using the time they have and not the time they wish they had. She's a busy wife and mom juggling all the things, but makes time for her business and family. There more than one way to accomplish your life goals, and Leslie is proof of that. You will hear us talk about how she: Stopped listening to others Did the inner work and dug deep Found the importance of starting with messy action Create the 3 step strategy to achieving goals This was a great lesson in knowing that we all have the opportunity to make time for our best life. Links + Resources:

Leslie Boyd is a productivity coach and the creator of the 3 step strategy. She is also a wife and a busy mum of 2 teenagers. She has always been working, even with young kids and she volunteered on top of that. People always asked her how she manages to do all these things and how she has the energy for it. She says that she had to come up with a system and started to realize that this system could help others to be more productive as well. In this episode, Leslie talks about making the most of the time you have available and even starting a business with limited time. She explains how to structure your day to be more productive. She also illustrates how to manage your time better and take care of yourself. Leslie's vision for this year is to elevate as many women as possible that are in their businesses and just starting out. She wants to make sure that people know what they need to do and how to get it done. Favorite book or podcast: - Donald Miller “Building a story brand”. She wants to be there to help people and not make it about herself. Quote Leslie is living by or feels inspired by: - Just do it! (get up, face the fear and do it anyway) Nobody ever died by just doing it. Magic wand with a gift to people: - Give the gift to have fun in your business and remember why you are doing this. Remember why and act like that. Focus on the doing. Link to Leslie's website https://leslieaboyd.com/ Link to Leslie's Facebook page and group https://www.facebook.com/3stepstrategy/ https://www.facebook.com/groups/3StepCommunity/ If you are ready to rock your life and business get your complimentary coaching call with Lisa! Schedule your free coaching call now. https://go.lisa-evoluer.com/call Grab the free "Rising Business Rockstar Guide" https://go.lisa-evoluer.com/risingbusinessrockstar Get your s** done! Easy steps to get the results you want in your life and business right now, how to be more productive and create your healthy, vibrant dream-life.

In Season 3, we start chatting with some amazing, bold women who have really cool stuff going on.  This episode features Leslie Boyd of https://leslieaboyd.com/ It’s hard to be a mom, a wife, and boldly live a life worthy of the one life you've got to live, but you owe it to yourself to try. Join Amanda Krill, a boldness coach and Chief Creative Officer at JustBoldlyGo.com as she works through her own challenges with living boldly, and her journey over the last twelve years.

Do you ever wonder why you make the choices you do? Or you know you need to make changes to aid your healing, but are not sure where to start? Well, listen to this interview with Leslie Boyd where we talk about working with our subconscious, the behind the scenes, to aid with full and complete healing. -Understand more of the work of Carl Jung and Depth Psychology -What are the benefits of doing work on the subconscious level, and why we might avoid it -How this topic relates to the unconscious patterns of how we move and think -Creating space by working by letting go of what does not serve us -How to start at home, and why you might want to see out a professional -How to choose the best fit professional or teacher for yourself -Know what questions to ask your mentors and teachers -Understand where to start -Learn the step by step process of how to be with observer -Why pushing all the time can lead to injury -Unravel why you might be over exercising Looking to learn more from Leslie? Find her here: https://www.daocloud.com/pro/leslie-boyd Looking for the next step?? How To Stop Worrying About Your Back Issue For Good" When you feel less anxious you will have more time and freedom to focus on what is important in your life: your kids, activities you love, your work... Instead of the fear of your aches and/or pains draining your energy, and preventing you from enjoying life. https://www.igniteurwellness.com/free-online-low-back-class.html --- Send in a voice message: https://anchor.fm/ignite-ur-wellness/message

Are you ready to start putting together your vision board? There is actually more to the process than gathering images and gluing them to a poster board. Join us as Leslie walks us through the steps of creating your Life Vision Statement in preparation of creating your vision board. She believes that it should be more about how it makes us feel, versus the things we want. Leslie is the creator of the 3 Step Strategy, which is all about creating small, actionable steps for achieving our goals. She believes that when we live our vison and our purpose, everything else will naturally fall into place.

It's no secret that overwhelm can hinder your daily productivity. Your to-do list can seem as long as an encyclopedia, and feeling overwhelmed by it all, you end up giving up before you get started! If you recognise this situation, then it's time to listen to the podcast interview with Productivity Coach, Leslie Boyd to find out how you can reduce overwhelm and increase productivity. Visit www.clarityjunction.com for the full transcript. Join us in the Clarity Social Hub Facebook group! https://www.facebook.com/groups/claritysocialhub

Conversation with Leslie Boyd In this episode, we talk about Leslie's intentionally unconventional career path and how it all began, her decision to go to grad school in her early 30s, what she does to get herself centered, the learning that came from losing her job after 30+ years with the same organization, what she's looking forward to in the next year, personally and professionally, and so much more. ​Enjoy!

Conversation with Leslie Boyd In this episode, we talk about Leslie's intentionally unconventional career path and how it all began, her decision to go to grad school in her early 30s, what she does to get herself centered, the learning that came from losing her job after 30+ years with the same organization, what she's looking forward to in the next year, personally and professionally, and so much more. ​Enjoy!

Conversation with Leslie Boyd In this episode, we talk about Leslie's intentionally unconventional career path and how it all began, her decision to go to grad school in her early 30s, what she does to get herself centered, the learning that came from losing her job after 30+ years with the same organization, what she's looking forward to in the next year, personally and professionally, and so much more. ​Enjoy!

Conversation with Leslie Boyd In this episode, we talk about Leslie's intentionally unconventional career path and how it all began, her decision to go to grad school in her early 30s, what she does to get herself centered, the learning that came from losing her job after 30+ years with the same organization, what she's looking forward to in the next year, personally and professionally, and so much more. ​Enjoy!

Autumn Dornfeld joins The Great Battlefield podcast to discuss her work as a program director for the Action Group Network - an organization fostering collaborative relationships between progressive organizations. Leslie Boyd, a local leader, joins us as well to explain how AGN has assisted with her activism. | Episode 207

According to Mr. Rogers, Leslie Boyd has a very important job - telling the truth. "Truth-telling is a ministry and it's a joy to be able to do it," Leslie says. And Mr. Rogers is not the only famous reverend to encourage Leslie's truth-telling. Rev. Dr. William Barber, II seems to lend a microphone to Leslie every chance he gets. To learn more of Leslie's story after this interview, we recommend her blog (below) and her book, Life o' Mike. I was happy to have Leslie share about the joy that she experiences while holding politicians accountable. Many Americans, while we're learning quickly, don't really know the experience of rallies, protests, and marches. Americans like me had fallen asleep at the switch and thought the ugly parts of American history were in our rear-view mirror. Welcome to whiplash. But it doesn't have to be 100 percent sad 100 percent of the time when it comes to protesting. Leslie's experience has been one of camaraderie and sisterhood/brotherhood. When they're together about Good Work and fighting for the wellness of future souls, they feel good and it shows. Their good feelings take nothing away from the seriousness of their messages. And it is very clear that the politicians that these protesters are as serious as anyone comes. Always look on the bright side of life sub english spanish When we asked Leslie what she wanted to promote she said, "Honesty." On one hand, it is quite discouraging that this needs to be promoted. On the other hand, it' inspiring to see individuals banding together to fight for honesty and accountability from our leaders. The pain, devastation and death occurring because of selfishness and short-sightedness at the top are unnecessary. There's enough pain, devastation, and death that are outside of human control but the ability to be honest is entirely within our ability! Our democracy needs to change so that it is harder for incumbents to make careers out of disgraceful work. Leslie Boyd did go on to add "activism" to what she wants to promote. She said, "do something; you need to be active in this life." She suggested some ways and places everyone can actively live out the kindness to which they feel called. And then we come full circle, back to Mr. Rogers, and ask, "Won't you be mine, won't you be mine, won't you be ... my neighbor?" Links: Sponsor: United Faith Leaders Twitter: @leftyletters1 Life o' Mike by Leslie Boyd lettersfromtheleft.com Letters from the Left on FB Rev. Dr. William J. Barber, II Congressman Heath Shuler Governor Pat McCrory North Carolina NAACP Historic Thousands on Jone’s St (HKonJ) People’s Assembly Coalition Monty Python's Always Look on the Bright Side of Life (Spanish subtitles) The Third Reconstruction: How a Moral Movement Is Overcoming the Politics of Division and Fear by Rev. Dr. William J. Barber, II

A conversation with Leslie Boyd of WNC Health Advocates about her health care activism and Moral Monday. Music from Meter Bridge.

As VP of Distributor Development & Sales for SeneGence International, Leslie Boyd-Bradley has a huge responsibility.  She has to support more than 10,000 business owners to succeed.  And part of that mission is to help them connect with the people most important to furthering their success.  It turns out, Contact Marketing has a big role to play in that mission.

In this episode of the History Slam Sean Graham chats with Sandra Dyck and Leslie Boyd, co-curators of Dorset Seen, about the exhibit. They talk about Cape Dorset’s strong artistic foundation, the changing conceptions of northern art, and art providing an outlet for social commentary.

We have another great line up for you this week at AWOP Radio! This week we will be talking #OCCUPY with AWOP contributing editor and President of Life O Mike.org, Leslie Boyd. Leslie was on the ground in DC with the contingent of people who were pepper sprayed at the Museum during the Oct 2011 event. Leslie will be on our panel to give us a first hand account of what it was like on on the ground in DC for the convergence of a number of different social justice groups on the capital. Please take a moment to check out her blog where she works tirelessly to make sure no more families ever have to lose a son because they can't afford healthcare.   We are also excited to welcome David Swanson of the Site "Let's try Democracy" to our #OCCUPY panel! David is a Co-Founder of AfterDowningStreet.org, creator of ProsecuteBushCheney.org and Washington Director of Democrats.com, a board member of Progressive Democrats of America, the Backbone Campaign, Voters for Peace, and the Liberty Tree Foundation for the Democratic Revolution, and chair of the Robert Jackson Steering Committee. In addition to being an activist, David is the author of "War Is A Lie" and "Daybreak: Undoing the Imperial Presidency and Forming a More Perfect Union." He blogs at http://davidswanson.org and http://warisacrime.org and works for the online activist organization http://rootsaction.org.   Check our AWOP Radio Shop and get cool progressive gear that helps support the show!

This week we talk with Jason Leopold of Truthout.org about his must read book News Junkie GLBTQ activism with Ashley Arrington from Blue Ridge Pride Healthcare for all advocate, Leslie Boyd from Life o Mike.org   We are pleased to bring A World of Progress, our online magazine for the Progressive Human to internet radio. We invite all our online tweeps and peeps to join us and let's take this conversation live!

We are pleased to bring A World of Progress, our online magazine for the Progressive Human to internet radio. We invite all our online tweeps and peeps to join us and let's take this conversation live! This week we feature Leslie Boyd, founder of Life o Mike.org, Momma Politico, the official elementary school principal of the AWOP Radio show and a special guest to talk first hand about multiple deployments and why they must end. Join us!