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What you'll learn in this episode:   How Esther's experiences in China and India continue to influence her work today Why different materials have different meanings, and how that impacts the wearer Why the relationship between a jewelry artist and a customer is particularly special and intimate How wearing jewelry influences the way we move through the world The most important qualities a jewelry teacher should have   About Esther Brinkmann Esther Brinkmann is an independent jewelry maker living and working in Switzerland. Her work has been exhibited in galleries throughout the world and is held in the collections of the National Museum of Switzerland, Musée des Arts Décoratifs in Paris, Museo Internazionale delle Arti Applicate Oggi (MIAAO) in Torino, and the V&A in London. She established the Haute École d'Art et de Design (HEAD) in Geneva, the first jewelry education program of its kind in the country.   Additional Resources: Esther's Website Esther's Instagram Photos Available on TheJewelryJourney.com  Transcript:   Jewelry artist Esther Brinkmann makes her rings with intention, considering everything from the meaning of the material used to the way the shape of the ring will change how the wearer moves their hands. She has passed this perspective down to hundreds of students at the Haute École d'Art et de Design (HEAD), the jewelry program she founded in Geneva. She joined the Jewelry Journey Podcast to talk about how living in China and India made her question her identity and influenced her work; why many of her rings are designed to fit different sized hands; and what makes the relationship between artist and wearer so special. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com.   I recently went to Switzerland with Art Jewelry Forum. One of the afternoons we had was at Esther Brinkmann's home. It was a very memorable lunch and afternoon. We got to see her studio, and on top of that, we had an unforgettable luncheon cooked by her husband, Warner. Welcome back.   Do you think you were taken by the design, the motifs and everything, because you're a designer? For instance, would I be taken by it?   Esther: You would be marveled by all these beautiful things, and you would love to buy these things, but maybe you would not have the desire to do your own designs, whereas I immediately got the desire to introduce these new inspirations. I was really stimulated to introduce these things in my own designs and to evolve to develop new ideas.   Sharon: For those of us that were interested in the enamel rings, I think you said we had to be careful if we dropped them or banged them. They were like glass.   Esther: Yeah, enamel is a glass-like material. It certainly it is not the best idea to make rings with enamel, but I could not resist. As I love rings, I just had to do a few of those rings. This was a period when I did realize maybe 20 of those rings, but they are difficult to sell because they are difficult to wear. You have deal with them very carefully.   Sharon: What other jewelry did you make while you were there?   Esther: In India, besides these enamel rings, besides this collaboration, I also started to do pieces with some stones. I discovered, for instance, the polki diamond in India. You can find it only in India. It's a diamond; let's say it is not the best quality. It's a piece of diamond with many, many cracks. They split it into very thin plates, very roughly faceted, not as we have the idea of a diamond with many, many facets. It is a very flat stone with a lot of cracks. It looks like broken ice or something like that. I love this kind of diamond. I started to make rings with that. I also started to purchase a number of not very precious stones, like peridots or topaz, etc. I started to introduce stones as a color element in rings especially.   Sharon: They call them polki diamonds? How would you spell that?   Esther: P-O-L-K-I. This might be the Hindi word for this specific diamond, but when you put it on Google, you can find it.   Sharon: That's interesting. From what you're describing, it's what we consider Indian diamonds. Along with the monograph that was put out by Arnoldsche for some of your exhibits, you also have a book that just came out about your jewelry.   Esther: Yes.   Sharon: A lot of it describes jewelry provoking feelings or provoking people. Could you talk about that a little? How do you see it provoking people?   Esther: I think this is the main reason why I am so interested in jewelry, because jewelry is something I create. I make a piece that has a relationship to a body, to a person. I don't know who the person wearing my piece will be. That depends on my practice. I work with galleries, but I create a piece with the idea that another person will choose it, and this person will wear it. This person will be like an ambassador of what I have created. This person will adopt what I have created for herself. She or he will wear it and show it, will translate it to others around her or him.   That is a very special thing, a very special relationship between an artist and a customer or a collector. When you buy a sculpture, the sculpture will have a relationship to a space, to your garden or your living room, but a piece of jewelry is something very intimate. When a collector buys something I have created, it's not mine anymore. I am absolutely comfortable and very at ease with this idea, to give this away. What I know and what makes it so rich is that this person will adopt something and use it as an intimate mirror of her thoughts, of her emotions, of her mind, of her attitude. I think this is a very special thing. The piece of jewelry influences our gestures, especially the big rings. They influence our gestures. They influence our body language. We experience our body in a different way when we wear a piece of jewelry.   Sharon: Any piece or are you talking about larger, significant pieces?   Esther: No, any piece, any. I'm talking now about any piece.   Sharon: Oh, wow! That's something to think about. You mentioned that you make the rings in gold and jade and silver. Do they have different meanings, the different materials?   Esther: Absolutely. I think any material has its own meaning. Of course, gold, silver and jade are so-called precious materials. They are considered by everybody as precious. I like them not because they are considered precious worldwide, but I like to work with them because of other qualities. For instance, gold and silver are very plastic materials. You can hammer volumes out of a flat sheet of gold or silver. You cannot do this with a simple hammer and iron, for instance, but gold and silver have these plastic qualities.   Then, of course, the color is a very important aspect. The weight of silver is very tender. Yellow gold is much stronger. I also know that silver is linked in many, many cultures to the moon and the feminine, and gold is linked to the sun and to the male aspect in us. Whether we know it or not, it is like an ancestral knowing that is within us and that we can feel. That's also why different people are attracted by different materials. Not everybody likes to wear gold. Not everybody is able to have a big ring made of gold because it's a statement you make.   Sharon: Do you think you're influenced in these thoughts by your living abroad or living in different cultures?   Esther: I think so, yes. Of course, I learned a lot. For instance, jade has a strong symbolic meaning in China and for the Chinese culture. It's a very strong material, which we may not understand immediately, only if we learn about it. I think living in other areas of the world, you become sensitive to how different materials are used. As a person who likes to transform material into something, into an object, or to transform very simple materials like a thread or a string into something precious, into something which has a specific character, it gives you another relationship to different materials. I choose my materials very consciously by what I want to transmit as a feeling.   Sharon: Would you call yourself a jeweler?   Esther: Yes, absolutely. I'm a jewelry maker, yes.   Sharon: I guess a jewelry maker is different than a jeweler. I have my own understanding of what a jeweler is. You're a jewelry maker.   Esther: I have to say English is not my language. I might not make the difference between jeweler and jewelry maker. I know the difference between a jewelry maker and a designer. I'm not a designer because I make things myself. I create and I make. I realize things myself. So, I'm not a designer. I don't consider myself a designer.   Sharon: What possessed you to start a whole department in Geneva, a jewelry department at the university there?   Esther: That was a very happy, glad circumstance. It was in the beginning of 1980. Switzerland joined the European Space for Higher Education. Art schools and schools for applied arts were things then, not universities. They had no universities for art. In the beginning of 1980, we joined the European Space for Higher Education. At the school where I studied between 1974 and 1978, and where I started to teach in 1982, we, the teachers, were asked to make a proposal for a new education program.   At that time, I was already very active as an independent jewelry maker. I could participate in international exhibitions, and I absolutely wanted to open a department for experimental and art jewelry in Geneva because we didn't have that. We had this excellent program for luxury jewelry. That is what I learned. For four years, I had this education for luxury jewelry, and I thought it was the time in Switzerland, and especially in the French-speaking part of Switzerland. In this very luxurious environment, we needed something breaking this up. This is another idea of what luxury can be. It's not only luxury and precious metals and very expensive stones; it can be something very different. That is the environment where I could start this jewelry design department at the school in Geneva, which is now called the School for Applied Arts, which has the same status as a university.   Sharon: As a university, did you first study basic university courses?   Esther: I was never in a university. I just knew them from my colleagues I met when we exhibited. I knew the Rietveld Academy. I knew the RCA in London. I knew Otto Künzli in Munich. I had this dream of doing something like that in Geneva, and I was given the opportunity and the confidence to start and create this department. It was a very lucky situation. I am a very lucky person in general.   Sharon: Well, you must be a good teacher because there are people all over that I met who said, “Oh, I studied with Esther Brinkmann.” You must be a good teacher. They wouldn't have chosen this, would they?   Esther: I'm very much able to transmit my passion. I'm also able to support young people to find their own way, to express ideas, to find their own materials and, maybe the most important, to find the energy to develop and to not give up, to stay with an idea and to follow your intuition, to give you the skills and the force to realize something until satisfaction. This is a very, very important thing. Everybody has ideas; everybody can have excellent ideas, but you have to have the energy and the endurance to follow your way and follow your idea until materializing something to achieve a piece. That is something you need support for. I think that is a very important thing the teacher has to give, to transmit to her students.   Sharon: Was there a competition or was there stress in choosing you? Were they going to choose somebody for this position?   Esther: No, there was nobody. There were different people to propose different programs. I had a colleague who also proposed a program for watch design. We had a very small department for watch design open at that time, but nothing in the field of creative jewelry.   Sharon: Creative jewelry being contemporary too?   Esther: Yes, being contemporary jewelry.   Sharon: Tell us about the Magpies. We'll finish with that. What about the Magpies?   Esther: I met the Magpies more or less at the same period. I met Theresa, who was the founder of this club called the Magpies. It was a small group of friends, of women. They were just fond of jewelry, although not of contemporary jewelry at that time. Two or three of them were involved in archaeology. They were fond of tribal jewelry, of jewelry from the Middle East. They were just interested in jewelry. When I met them, I could introduce them to contemporary jewelry. Since then, they were very supportive of my students as a group of women who were just enthusiastic and following what we were doing and also, of course, buying work, which is always very important. That's how we kept going in parallel together until now.   What happened is that I would say in the last 15 years, this group has become less and less active because the women are getting elderly. They stopped organizing activities. Only recently a group of younger people are starting this group of collectors again and trying to organize activities around this topic. It depends always on people and privileged relationships that we can have with collectors, but also galleries. It's the same with students. People can stimulate each other to excellence, to create things and to do activities which they would not do when they are alone.   Sharon: Do you see that happening with Magpies? Do these stimulate?   Esther: The fact that we were friends and that I could include them in our activities at the department, I think that was a very stimulating period of time for them. Somehow with my successors, it did not happen in that same way. But it seems that now, with the new generation at the school in Geneva, they are trying again to create this link and this relationship with collectors. They might succeed. I think so. It's about transmitting your passion, and it's about exchanging ideas. It's about generosity from one part, and the other that makes things can make things happen.   Sharon: You certainly have made things happen. Thank you for being with us today. I greatly, greatly appreciate it.   Esther: Thank you for having me, and thank you for giving me the opportunity to talk about all this. Thanks.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode:   How Esther's experiences in China and India continue to influence her work today Why different materials have different meanings, and how that impacts the wearer Why the relationship between a jewelry artist and a customer is particularly special and intimate How wearing jewelry influences the way we move through the world The most important qualities a jewelry teacher should have   About Esther Brinkmann Esther Brinkmann is an independent jewelry maker living and working in Switzerland. Her work has been exhibited in galleries throughout the world and is held in the collections of the National Museum of Switzerland, Musée des Arts Décoratifs in Paris, Museo Internazionale delle Arti Applicate Oggi (MIAAO) in Torino, and the V&A in London. She established the Haute École d'Art et de Design (HEAD) in Geneva, the first jewelry education program of its kind in the country.   Additional Resources: Esther's Website Esther's Instagram Photos Available on TheJewelryJourney.com  Transcript:   Jewelry artist Esther Brinkmann makes her rings with intention, considering everything from the meaning of the material used to the way the shape of the ring will change how the wearer moves their hands. She has passed this perspective down to hundreds of students at the Haute École d'Art et de Design (HEAD), the jewelry program she founded in Geneva. She joined the Jewelry Journey Podcast to talk about how living in China and India made her question her identity and influenced her work; why many of her rings are designed to fit different sized hands; and what makes the relationship between artist and wearer so special. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week.   I recently went to Switzerland with Art Jewelry Forum. One of the afternoons we had was at Esther Brinkmann's home. It was a very memorable lunch and afternoon. We got to see her studio, and on top of that, we had an unforgettable luncheon cooked by her husband, Warner. Esther's work is very well known, although it's not known so much here. It is found in prestigious museums. She was influenced by culture, especially in India and China, where she lived for more than 20 years with her diplomat husband. We also met a collectors' club, the Magpies, which you'll hear about. She'll talk more about her philosophy and her jewelry. Esther, welcome to the podcast.   Esther: Thank you very much, Sharon, for inviting me to talk about my practice as an artist and as an educator. Thank you.   Sharon: You're welcome. I'm glad you're here. I was going to ask you why you think there are only certain areas of the world where your jewelry is known. For instance, I don't think it's known here. I don't know it. I haven't seen the jewelry here. If somebody said to me, “It's an Esther Brinkmann piece,” I wouldn't know what that meant.   Esther: That's a difficult question. I guess it's because I have never been collaborating with an American gallery, although I think I have a few pieces in American collections. My focus was, for many years, on European countries. As you were saying, we were living in China and India for 10 years, so I could show my work in those two countries. But America, it was a little bit far away, I think.   Sharon: Do you have more work in China and India and Europe than other places? I guess I'm asking that about China and India. Is your work more well-known there?   Esther: China and India are huge countries with numbers and numbers and millions and millions of people. I'm not very known in those two countries, but I am known in different universities, in different cities, as an ambassador for jewelry. When I was living in China and in India, I was given the opportunity to have a lot of lectures and workshops with students there, so I could introduce this idea, which was quite a western idea of artisan jewelry. In India as in China, it was not at all a topic.   Sharon: The lectures or conferences you had, was it because you were part of a school? Was it just private?   Esther: No, it was because when we lived in those two countries, I contacted different universities that had jewelry departments or fashion departments, design departments, and I offered to give lectures and workshops about art jewelry. I was welcomed with open arms.   Sharon: So, you basically made your niche, I want to say. You created it. You weren't asked, but you created it.   Esther: I would not say I created it, but I participated, and I stimulated young people in those two countries to go into individual creative and experimental jewelry. Things happen also because there is something in the air. The time was right to do that, and they were interested in it.   Sharon: If you had come 20 or 10 years earlier, would they have been interested?   Esther: I don't think so.   Sharon: Your favorite piece, the one most written about, is a ring that's a double ring. It's not made of two rings, but it's comprised of two rings.   Esther: Yes.   Sharon: How did that come about?   Esther: That came in the early 80s, when I started as an independent jewelry maker. It was the trend at that time. All of us tried to make multiple pieces. That means a big number of pieces, inexpensive pieces, for everybody. At that time, I had the idea of a ring. It was made of an industrially made aluminum tube with an incision on top where I introduced a rubber ring. This ring could regulate the size of the inner hole. I realized that I created this ring for a functional reason. Many people could wear the same ring and they filled the same space more or less.   At that time, I suddenly realized how interesting it is to have a ring with space around the finger. I focused on this concept, on this idea, and developed many different other shapes from then on. That's how the double ring came, a ring which is too big for your finger and a second ring which is open. The tubular ring is open and leaves space around the finger, and you fit in a second, smaller ring which holds the thing on your finger. That is quite complicated to explain.   Sharon: I didn't understand the big ring was supposed to be big and the little ring—   Esther: The big ring is too large for your finger. The smaller ring inside fits and is held back on your finger. It's an aesthetic decision, but it's also functional because the bigger ring can be worn again by many different sizes of hands because the smaller ring fits inside. I can adapt to different sizes.   Sharon: Do you have blanks you use, where you cut and these rings are this size and these rings are this size?   Esther: With the many years of experience I have, I know more or less the range of sizes of rings and fingers. I know, for instance, that women in China usually have very small hands and fingers, whereas in Holland, women have much bigger hands. Also in America, you have bigger hands and taller people. I don't send very, very small rings to Holland, for instance. This is the experience of many, many years. So, you get a feeling for what range of sizes is fitting to different women.   Sharon: Why do you think it is that different nationalities have different size hands?   Esther: I think it's not about nationalities; it's about the body shape.   Sharon: I tried on one of your rings which actually fits. You could slip a ring underneath it. I was surprised because I have large hands and mostly, they don't fit me. I was really surprised. You started making those rings when?   Esther: I started around 1985, something like that. That makes a long period of time.   Sharon: What did you do with the rings or the jewelry when you were in China? Did you just keep on?   Esther: In the beginning, I was a little bit lost, not in translation, but lost in this very different culture. I had many, many experiences of being the alien within a huge group of other people. That was a very special experience for me. That's when I had the idea to create this series of brooches called “Red Face and Double.” That was really a Chinese idea. I would not have had this idea elsewhere.   I had the idea of the “Red Face” because I was wondering, “How do these people perceive me? How do they see me? I see them like this and like that, and they are looking at me; they are staring at me. Who am I for these people?” Also, I didn't know anymore exactly who I was. There were a lot of questions. That's how I started to draw these faces. I thought, “It's a brooch; it's like wearing another face of mine.” It's like showing that I'm not a person who is only one. I am multiple. With different people, I might be a different person. I think that is a reality. It depends on with whom we are. We are different people. Luckily, we are not like a stone or something which would not change. That's how I got the idea of those brooches wearing another face.   Sharon: Do you think people understood what you were trying to do?   Esther: I think so. I think they could feel that it has something to do with who we are and how we see each other, how we look at the world, how flexible we are or what our competences to adapt in certain circumstances are, etc. What was certainly surprising for them was to see that you could express such ideas in a piece of jewelry. That was completely new for them. That was something very—not disturbing, but it was somehow questioning them.   Sharon: Did anybody ever say to you, “That's unusual,” or “That is really making me think twice,” or anything like that?   Esther: Many people said it is unusual. I had a lovely experience with a very young student. They came to see my first exhibition in Guangzhou in the south of China. I explained to them about this idea of having another face on me, and she said, “But you know, you are new here. I've lived in Guangzhou for 20 years and I have never had this idea.” So, I said to her, “Yeah, you see the fact that I am a foreigner here. I am a person who is in a new surrounding, in a new environment, so I have a new perception of myself. I have also so many emotions, so many things that I discover every day and every instant.”   Sharon: Did you continue to make the rings while you were there?   Esther: Yes, of course, I continued to make the rings, but I introduced a new material. I started to work with jade. I was very much fascinated by this very Chinese stone there. You can see it everywhere. It's a very popular stone. I was really fond of starting to work with and realizing pieces with jade. The second thing is, in doing so, I could start to collaborate with Chinese craftspeople, which is an interesting way to get into another culture, by doing things together, developing things together. Not only observing or being a consumer of artifacts, but sharing knowledge, sharing skills, sharing ideas and concepts is extremely enriching. That was a fabulous experience.   Sharon: Did you make the rings out of just jade or other things?   Esther: I made the models and then I got them carved by Chinese craftspeople. I couldn't have done this myself. I don't have the skill for that.   Sharon: How did you communicate with these people?   Esther: By bringing them a model. The first time I went to one of these carving studios with a drawing. I went with a translator. I could not speak Chinese in the beginning at all, so I went with a translator, and he said, “Oh, no, I cannot do this.” It was a very simple shape. They are able to carve Buddhas and cabbage and absolutely crazy, very complex forms and shapes, and he said, “Oh, no, I cannot do this,” and I said, “O.K., I have to find another way to communicate.” So, I went home, and I made the ring of wood. I went back and asked him, “Could you please copy this ring for me in jade?” and he said, “Of course, no problem.”   Sharon: The same person?   Esther: The same person. It was just the way to communicate. When he saw the drawing, he was not sure he was able to interpret the right thing, whereas with the model, he could measure. He could copy exactly the same thing. It wasn't a problem anymore.   Sharon: Did you produce a few in jade?   Esther: Yes, I produced a few in jade. It's getting dark here, Sharon.   Sharon: O.K., all right, I'm sorry.   Esther: No, that's why I turned on the lights, so you could see me again.   Sharon: Yes, I can see you. How long ago did you start making rings on a continuous basis?   Esther: 35, 40 years. It's a long time.   Sharon: Can you tell us about your experience with the rings in India?   Esther: When we arrived in India, the first impressions that I got were the fabulous world of colors and patterns on textiles, on temples, on saris. Wherever you look, you will see fabulous combinations of colors and ornaments, motifs and patterns, flowers, birds and things like that. I thought, “This is the moment for me to try to introduce motifs and decorations to my very simple shapes.” So, I started to draw flowers and birds influenced by these jewelry pieces from the Mughal Period, which I find absolutely fantastic. I was lucky to find an enamel master, a skilled craftsman in Rajasthan, in Jaipur, who could realize my rings. I made the metal ring gold or silver. I drew the pattern on it, the motif, and he realized the enamel.   Sharon: Was there any problem in communicating with them?   Esther: There were many problems because our temperaments are completely different. Of course, our sense of aesthetics is also different. In the beginning, he said, “Esther, I will draw you things in a better way. I can do this for you. I can make much better motifs than what you are drawing,” and I said, “This is not the deal we did. I have my own ideas. I don't want to make Indian jewelry. I make my own jewelry, and I want you to realize, with your fantastic skill, the best enamel I can get.”   It also took some time to discuss and to find how to communicate. In the end, it worked very well, but it worked very well because I went to his studio. I stayed a few days there; I worked together with him. I could not work with him from this distance now from Switzerland. That would not be possible.   Sharon: We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.  

In this mini Thanksgiving episode, I look at the "Rethinking Thanksgiving Celebrations: Native Perspectives on Thanksgiving" from the National Museum of the American Indian and read from the Haudenosaunee Thanksgiving Address. Links to the article and the full address are at talkingaboutkids.com. Full-length Talking About Kids episodes will return next week (December 4, 2022).

By Walker Mills Dr. Frank Blazich, a curator of modern military history at the Smithsonian Institution's National Museum of American History and a Colonel in the Civil Air Patrol, joins the program to discuss his book “An Honorable Place in American Air Power:” Civil Air Patrol Operations, 1942-1943. In his book, Dr. Blazich covers the … Continue reading Sea Control 482 – “An Honorable Place in American Air Power”: Civil Air Patrol Operations, 1942-1943 with Dr. Frank Blazich →

Nearly 30 years ago, Nintendo and Square teamed up for one of the wildest collabs in gaming history: A turn-based RPG adventure featuring everyone's favorite blue collar jumping man. How well does the remake, now on Nintendo Switch, fare? Well, that's what we're talking about today with our pal, Felicia Day. Also discussed: Third Eye, Scavengers Reign, Heroes vs. Hordes, Teardown, The National Museum of American History, Vampire Survivors, Naheulbeuk's Dungeon Master, Suika Game Subscribe to our newsletter at besties.fan!

This seasons Black Friday Bonus Episode has the boys hacking through the wilderness of western Maryland and Pennsylvania with some rather unusual companions. The Braddock Expedition of 1755 and the disaster of the Battle of the Monongahela, fought July 9, 1755 is fairly well known in this part of the world, but what was completely unknown to us was the presence of sailors on the expedition as well.To talk about this Pat and Matt have brought in their friend Kyle Dalton, formally of the National Museum of Civil War Medicine and now the Director of the Historic Union Mills Homestead, to speak on one of his passions, the Wooden World, naval history in the 18th Century. Kyle has dug deep into who the sailors were on the expedition, what they did during the march and what happened to them during and after the battle.So if you are braving the Black Friday shopping or just hunkering down for a post Thanksgiving nap, turn it up and join us as we learn about Braddock's Tars!The History Things Podcast is brought to you by HistoryNet, publisher of 9 different historical magazines including; the Civil War Times, American History, & Military History! Visit HistoryNet.Com to learn more or follow them on social media by searching for @HistoryNet!

Some might say that Daniel Clayman is more a sculptor using glass as his primary material than a glass artist. That is to say his sculptures would be successful from a formal point of view no matter what material they were created in. With one major exception: the play of light in Clayman's glass art enhances the objects dramatically in comparison with how they might appear in a solid, non-translucent medium. Born in 1957 in Lynn, Massachusetts, Clayman planned a career as a theater lighting designer, studying in the theater and dance departments at Connecticut College, eventually dropping out of college to work in the professional theater, dance and opera world. A chance class in 1980 introduced the artist to using glass as a sculptural material. In 1986, he received his BFA from Rhode Island School of Design and has maintained a studio in East Providence, Rhode Island since then. ​Clayman's interests in engineering, the behavior of light, and the memory of experience, act as an impetus for much of his work. Having turned his attention to large-scale installations, he employs technology from the simplest hand tool to the latest three-dimensional modeling and production tools. Recent public projects include Rainfield, Massachusetts College of Art and Design and Media Center Atrium, exhibition dates: January 23, 2017 – January 23, 2018; and Radiant Landscape, Grounds for Sculpture, Hamilton Township, New Jersey, exhibition dates: May 7, 2017 – February 28, 2018. Clayman is the recipient of several grants and awards and has had numerous one-person shows throughout the country to include the Tacoma Museum of Glass in Tacoma, Washington, the Mint Museum in Charlotte, North Carolina, and the Fuller Craft Museum in Brockton, Massachusetts. Works in glass sculpture by the artist can be found in the permanent collections of the Museum of Fine Art in San Francisco, The Museum of Art and Design in New York, the Corning Museum of Glass, the Hunter Museum of American Art in Chattanooga, the Cleveland Museum of Art, the Milwaukee Art Museum, the Museum of Fine Art in Boston and the Renwick Gallery of the National Museum of American Art of the Smithsonian Institution in Washington, D.C.  An artist/educator, Clayman has taught in Japan, Israel and Australia in addition to a robust teaching schedule here in the U.S. He has been a Visiting Critic at the Rhode Island School of Design and Artist in Residence at Tyler School of Art and Massachusetts College of Art and Design. He lectures frequently and teaches workshops at Penland School of Crafts, Pilchuck and The Studio at the Corning Museum of Glass, among others. In 2018, Clayman became the first endowed chair of glass at University of the Arts, Philadelphia.  Clayman states: “While I moved away from a professional career pursuit in lighting design, I have never turned away from my observations of light. Using glass as my primary sculptural material, I have spent the last 20 years developing a vocabulary of forms which describe volumes of light. Over the past four years, my studio work has centered around the creation of large-scale glass castings that thematically reference the capturing of light. One of the many mysteries of light is that it refuses to reveal any of its essence until it happens to reflect on something other than itself. For instance, the headlight of a car projects (reflects) light onto objects as the viewer approaches, but not until there is a foggy mist in the air does one see the shape and arc of the beam.”  

Monica Rickert-Bolter is a Chicago-based visual artist of Potawatomi and Black heritage. Her artwork uses traditional mediums, such as charcoal and pastels, graphic design, and digital coloring to create expressive characters and tell diverse stories. After her undergrad, Monica became involved with Native nonprofits, combining her love of art and education to develop youth programs and resources, including illustrating children's books. She advocates for cultural representation and serves as a consultant for various institutions and organizations. Monica is a co-founder and the Director of Operations at the Center for Native Futures, a Native fine arts gallery that opened in September 2023. Currently, her artwork is featured in exhibitions at The National Museum of the American Indian, The Field Museum, the University of North Carolina Stone Center. Also, she will be collaborating on a public art piece with the Beacon Hill Black Alliance for Human Rights. Websites: https://www.monicarickertbolter.com/ Center For Native Futures https://www.centerfornativefutures.org/

Joe Frogger cookies have been featured on the menu at the National Museum of African American History and Culture.

Ep.177 features gallerist Kendra Jayne Patrick. Her art gallery operates between Switzerland and the USA. Its programming is focused on the twenty-first century avant-garde, specializing in sculpture, painting, digital, and photography from a post-conceptual and post-internet posture. The program operates from a brick-and-mortar location in Bern, Switzerland and then spare spaces within established New York art galleries; art fairs; and unusual exhibition sites. Adventure, scholarship, and the pleasure of looking govern the gallery's programming and ethos, and all are reflected in its fluid exhibition model. Kendra Jayne Patrick artists and exhibitions have been featured in The New York Times, Vice's GARAGE magazine, Artsy, Vulture, Artnet, ARTnews, Barron's, the San Francisco Chronicle, and DAZED Magazine, Art in America, Cultured, The Guardian, Gallery Talk magazine, PHILE Magazine, Document Journal, Office Magazine, The Art Newspaper, and The New Yorker. Kendra Jayne Patrick artists are represented in collections at the Metropolitan Museum of Art, New York, NY; The Museum of Fine Arts Houston, Houston, TX; The Studio Museum in Harlem, New York, NY; The Dallas Museum of Art, The National Museum of African American History and Culture, Washington, DC. Photo credit: Ernst Fischer Kendra Jayne Patrick https://gallerykendrajaynepatrick.com/ Art Basel https://www.artbasel.com/catalog/gallery/30253/Kendra-Jayne-Patrick https://www.artbasel.com/stories/lambdalambdalambda-kendra-jayne-patrick-hua-international-young-galleries?lang=en NY Times https://www.nytimes.com/2021/12/04/arts/design/art-basel-miami-diversity.html https://www.nytimes.com/2023/09/27/t-magazine/starting-galleries-art-dealers.html Cultured Magazine https://www.culturedmag.com/article/2023/06/12/art-basel-dealers-debut Art Forum https://www.artforum.com/news/art-basel-miami-beach-reveals-2023-exhibitors-list-252980/ Art Newspaper https://www.theartnewspaper.com/2023/02/23/galleries-making-their-art-basel-debuts-this-yearand-what-theyre-bringing Art Dependence Magazine https://artdependence.com/articles/what-to-expect-at-art-basels-2023-edition-in-switzerland/ Artnet https://news.artnet.com/news-pro/where-art-basel-headed-recession-2318140 EXPO Chicago https://www.expochicago.com/exhibitors/exposure/2023-exposure Yard Concept https://www.yard-concept.com/journal/kendra-jayne-patrick Vice https://garage.vice.com/en_us/article/4ad37p/kendra-jayne-patricks-seating-chart-for-a-fall-dinner-party-in-a-pandemic Halsey McKay https://www.halseymckay.com/kendra-jayne-patrick-presents-david-jeremiah-play-press-release Gallery Girls https://gallerygurls.net/art-convos/2021/7/18/art-convo-with-kendra-jayne-patrick NADA https://www.newartdealers.org/programs/nada-miami-2020/presentations/75 Ada Friedman https://www.adafriedmanstudio.com/recent-exhibitions/kendra-jayne-patrick--fall-2022 LinkedIn https://www.linkedin.com/in/kendra-jayne-patrick-247001180/ Glasstire https://glasstire.com/2023/07/27/top-five-july-27-2023/

In leading museums these days, women artists are gaining more prominence. But studies of acquisitions and overall exhibitions show just how much the gender gap remains. The National Museum of Women in the Arts is solely dedicated to the creativity and work of women and recently reopened after an extensive renovation. Jeffrey Brown visited for our arts and culture series, CANVAS. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

When Maggie Kuhn was forced to retire from the job she loved at age 65, her colleagues gave her a sewing machine as a parting gift. Outraged, she shut the sewing machine in a closet and, instead, stitched together the first-ever movement against ageism in the U.S. The Gray Panthers would galvanize gray haired citizenry and youth alike to challenge the way Americans think about aging.  Guests: Katherine Ott, curator and historian in the Division of Medicine and Science at the Smithsonian's National Museum of American History Emily Krichbaum, founding director for the Center for Girls' and Young Women's Leadership at Columbus School for Girls and scholar of women's history Paul Nathanson, founder and former executive director of Justice in Aging (formerly the National Senior Citizens Law Center), a national advocacy group for the elderly poor Jack Kupferman, president of Gray Panthers NYC

Zwischen 16 und 20 Metern lang und bis zu 100 Tonnen schwer soll er gewesen sein, der Megalodon. Und gilt damit als größte Hai-Art der Erdgeschichte. Und soll sogar Wale mit nur wenigen Bissen verschlungen haben. Trotzdem starb er aus. Warum? Das weiß Paläontologe Hans-Dieter Sues. Er arbeitet als Kurator am National Museum of Natural History in Washington D.C. "Aha! Zehn Minuten Alltags-Wissen" ist der Wissenschafts-Podcast von WELT. Wir freuen uns über Feedback an wissen@welt.de. Produktion: Sebastian Pankau Redaktion/Moderation: Elisabeth Krafft +++ Werbung +++ Du möchtest mehr über unsere Werbepartner erfahren? [Hier](https://www.mediaimpact.de/de/unkategorisiert/unsere-werbepartner-welt-podcast) findest du alle Infos und Rabatte. Impressum: https://www.welt.de/services/article7893735/Impressum.html Datenschutz: https://www.welt.de/services/article157550705/Datenschutzerklaerung-WELT-DIGITAL.html

An American MiG-23 pilot reveals long-held secrets in this in-depth conversation about a declassified program, Constant Peg. On today's show, we'll meet John Mann who flew in the first-of-its-kind adversary training program, Constant Peg, and take a deep dive into some of the most popular questions we got from you, our listeners. Established in 1977, this top-secret program aimed to train American pilots against the very same MiGs they may one day see in combat. Mann was an instructor who flew the MiG-21 and 23, and co-host John Barry flew in the program as a trainee. This one is going to be cool!If you missed Part One, check that out on Wings Over the Rockies YouTube channel: America's Secret MiG-23s | Behind the Wings - YouTube.Episode 30 marks the end of Season 3 of the Behind the Wings Podcast. We'll be taking a short break and will be back in the new year for Season 4.Key Takeaways: John Mann served 24 years in the US Air Force where he had the opportunity to fly many aircraft, including the F-4, F-15, MiG-21, and MiG-23. Mann first flew as a trainee at Constant Peg and later flew the MiGs as a trainer. The MiG-23 was a very fast, beefy airplane, but it didn't turn well. Pilots would attend to overcome "Buck Fever", learn how the MiGs flew, and practice dogfighting. The maintainers at Constant Peg were the backbone of the program, facing specific challenges sourcing parts, with no maintenance book, and often receiving aircraft that were in a compromised condition. John Mann's advice: There are lots of opportunities in aviation. Go pursue your dreams! Resources: Red Eagles: America's Secret MiGs by Steve Davies CONSTANT PEG: Secret MiGs in the Desert > National Museum of the United States Air Force™ > Display (af.mil) Red Eagle Brief Mikoyan-Gurevich MiG-23 MLD "Flogger" | Wings Over the Rockies Air & Space Museum (wingsmuseum.org) Dark Eagles : a history of top secret U.S. aircraft programs AF Declassifies Elite Aggressor Program (archive.org)

Learn How To Help The Library Of Congress HonorThe Veterans, Living Or Deceased, For...Veterans DayNationwide Campaign to Collect Stories from the Men & Women Who Served their Country with Monica Mohindra of the Veterans History Project When we think of U.S. military veterans, we often imagine those who saw combat overseas, but just as relevant and heroic are those who served in other capacities, including Uniformed Public Health Officers and those who were deployed to respond during a natural disaster or public health crisis. The Commissioned Corp of the U.S. Public Health Service is one of eight uniformed services. Founded more than 200 years ago, its members play a critical role in protecting our nation's health in all 50 states and overseas. Monica Mohindra, Director of the Veterans History Project, joins Mark Alyn to discuss how the VHP is actively seeking stories from these veterans with oral history interviews, original photographs, letters and other corresondence to be archived and made accessible for future generations. LIVING HISTORY — Collecting, preserving & making accessible firsthand recollections of U.S. military veterans who served from WWI through todayTIMELESS TREASURES — Audio & video-recorded oral history interviews, unpublished memoirs and collections of original photographs, letters, diaries/journals, artwork and historical documentsALL INCLUSIVE — Veterans from all branches and ranks who served at any point are eligible to participate in the Veterans History ProjectVETERANS DAY SEARCH — VHP actively seeks Commissioned Corps veteran's oral history interviews, original photographs, letters & other correspondence VHP Director, Monica Mohindra, has worked for more than 15 years with the Project. She has coordinated major initiatives with Members of Congress, the National Museum of the American Indian, the National Endowment for the Humanities, PBS, Ken Burns/ Florentine Films, the HISTORY Channel, the Vietnam Veterans Memorial, and the Department of Veterans Affairs, among others. Energized by the large collections development initiatives which enable exploring new audiences and new participation in the Project, the most meaningful part of her work is helping uncover and shed light on the individual personal stories of US veterans.

Alva Mooses photographed by Mauricio Cortes Ortega at Shandaken Projects, Governor's Island 2023. Alva Mooses is an interdisciplinary artist. Her work explores the intersections of printed media, ceramics, and sculpture while engaging with earth-based materials to signal the memory of geological time. Her ceramic series titled ear to the earth/ culebra, truena, tormenta was exhibited at Jane Hartsook Gallery as part of her artist residency at Greenwich House Pottery. The slip-cast reconfigured globes move away from historical representations of the earth as a perfect sphere on a steady axis toward a transformative body—the pieces are glazed, distorted, mended, and kiln-fired multiple times. culebra, truena, tormenta translates to snake, thunder, storm, referring to the Mexica earth and mother goddess Coatlicue whose entire skirt, head, and belt represent snakes. The legendery 16th century Coatlicue statue was buried and unearthed multiple times since the Spanish conquest out of concern that the statue would inspire religious and political resistance; it now lives in the National Museum of Anthropology in Mexico City. The writer Mirene Arsanios describes Alva's ceramic globe series as: “Broken or no longer erect, the globe stands and their measuring systems are inoperative—the deconstructed globes undermine the project of western geography and the violence of its measuring tools, favoring instead a world, earth, and planet governed by the erotics of its own materials.” Alva holds a BFA from The Cooper Union and an MFA from Yale University. She has exhibited her work in the U.S., Latin America, and Europe. She has completed fellowships and residencies at the Lower East Side Printshop, Shandaken Projects, Socrates Sculpture Park, Center for Book Arts, Greenwich House Pottery, The University of Chicago, Tou Trykk in Stavanger, Norway, and Casa Wabi, in Oaxaca, Mexico, among others. She serves on the faculty at Hunter College in the Department of Art and Art History and lives with her daughter and partner in Brooklyn. ear to the earth/ culebra, truena, tormenta, 2022 | ceramic | 20x15x8 inches | Photo by Alan Wiener courtesy of Greenwich House Pottery. ear to the earth/ culebra, truena, tormenta, 2022 | ceramic | 16x10x9 inches | Photo by Alan Wiener courtesy of Greenwich House Pottery. Undercurrents, 2023 | Drawing with CNC machine | 13x17 inches

Learn How To Help The Library Of Congress HonorThe Veterans, Living Or Deceased, For...Veterans DayNationwide Campaign to Collect Stories from the Men & Women Who Served their Country with Monica Mohindra of the Veterans History Project When we think of U.S. military veterans, we often imagine those who saw combat overseas, but just as relevant and heroic are those who served in other capacities, including Uniformed Public Health Officers and those who were deployed to respond during a natural disaster or public health crisis. The Commissioned Corp of the U.S. Public Health Service is one of eight uniformed services. Founded more than 200 years ago, its members play a critical role in protecting our nation's health in all 50 states and overseas. Monica Mohindra, Director of the Veterans History Project, joins Mark Alyn to discuss how the VHP is actively seeking stories from these veterans with oral history interviews, original photographs, letters and other corresondence to be archived and made accessible for future generations. LIVING HISTORY — Collecting, preserving & making accessible firsthand recollections of U.S. military veterans who served from WWI through todayTIMELESS TREASURES — Audio & video-recorded oral history interviews, unpublished memoirs and collections of original photographs, letters, diaries/journals, artwork and historical documentsALL INCLUSIVE — Veterans from all branches and ranks who served at any point are eligible to participate in the Veterans History ProjectVETERANS DAY SEARCH — VHP actively seeks Commissioned Corps veteran's oral history interviews, original photographs, letters & other correspondence VHP Director, Monica Mohindra, has worked for more than 15 years with the Project. She has coordinated major initiatives with Members of Congress, the National Museum of the American Indian, the National Endowment for the Humanities, PBS, Ken Burns/ Florentine Films, the HISTORY Channel, the Vietnam Veterans Memorial, and the Department of Veterans Affairs, among others. Energized by the large collections development initiatives which enable exploring new audiences and new participation in the Project, the most meaningful part of her work is helping uncover and shed light on the individual personal stories of US veterans.

Not sure what retirement holds for you? Or maybe you know someone that's just a little uncertain about what's next for them as they retire from professional services marketing? This podcast is for you. Frank talks to his friend and mentor, Laurin McCracken, who went from professional services marketing legend to one the top watercolor painters in the world in his retirement. This is a fun conversation about figuring out what to do in retirement, how to find fulfillment, and how to put your best professional services marketing skills to use for YOU!   In his first career, Laurin McCracken, FSMPS, was a renowned marketing and business development expert and a transformative leader in the Society for Marketing Professional Services (SMPS). Today, Laurin McCracken, AWS, NWS, is a realist watercolorist. His approach to still life painting emulates that of the Dutch and Flemish still life painters of the 16th and 17th centuries. He is a signature member of more than a dozen watercolor societies including the American Watercolor Society and the National Watercolor Society. His paintings have won multiple awards and have been included in competitive and invited exhibitions around the world. His paintings are in the permanent collections of the Watercolor Museum, Fabriano, Italy, The National Museum of China in Beijing, The Museum of the University of Mississippi and other institutions.   Resources: https://www.federalreserve.gov/monetarypolicy/publications/beige-book-default.htm    Music by RomanSenykMusic on Pixabay. www.pixabay.com 

This year the collection of Native films by the Smithsonian Institution's National Museum of the American Indian includes 35 films from six different countries. A selected list of films in the Native Cinema Showcase is going online free of charge. The films include a documentary about a young Navajo woman exploring the source of environmental threats on the Navajo Nation and a dramatic account of a woman's interaction with a Maori stranger. We'll hear about the films and filmmakers in this new curated selection of Native-produced and Native-themed film. GUESTS Peshawn Bread (Comanche), writer, producer and director for the film The Daily Life of Mistress Red  Jason Asenap (Comanche and Muscogee), writer and director for the film Marlon  Lydell Mitchell, produced the film Heroes of the West Cynthia Benitez, program manager for the Native Cinema Showcase for the National Museum of the American Indian

We have our finger on the pulse of today's top stories. Dan kicks off the program with a variety of guests who will breakdown the day's news.This hour's guests:Omar Kaywan from Goose Insurance to discuss travel insurance.Lea Filson on Plymouth's upcoming events.Shane Rhinewald from the National Museum of Play with this year's Toy Hall of Fame inductees. And Kate Bradshaw with the Bay Area News Group has tips to avoid cooking fires this Thanksgiving.

In this episode, we examine the real history behind one of the most celebrated holidays: Thanksgiving. It's a pretty big deal in the U.S., with all the food and big gatherings and special traditions. But why do we celebrate Thanksgiving like we do?Join Joy and co-host Asa as they explore the history of Thanksgiving. Did the Pilgrims and Native Americans actually sit down for dinner together? Why do we eat turkey? And why do many Native Americans consider Thanksgiving a Day of Mourning? All that, plus a new First Things First featuring cranberry sauce, presidential turkey pardons and the first Thanksgiving day parade.Read more about the history of Thanksgiving from Native Knowledge 360° here: https://americanindian.si.edu/nk360/informational/rethinking-thanksgivingThis project from the National Museum of the American Indian provides educational resources based on the experiences and voices of Native Americans.This episode was sponsored by:IXL (IXL.COM/FIELDTRIP) To get a 20% off an IXL membership.Factor (Factormeals.com/brainson50) Code forever50 to get 50% off.Disney (movies.disney.com/wish) Only in theaters November 22, tickets available now. Rated PG, parental guidance suggestedDo you have your Smarty Pass yet?? Get yours today for just $4/month (or $36/year) and get bonus episodes every month, and ad-free versions of every episode of Brains On, Smash Boom Best, Moment of Um, and Forever Ago. Visit www.smartypass.org to get your Smarty Pass today!

Heute in unserem Japan-Podcast: Japans neue Insel, Fake-Video zum Premierminister geht viral, ein Nationalmuseum ohne Geld, Rattenplage in Tokyo, Medikamentenknappheit, ein ungewöhnliches Gefängnis, Gunma als Autoparadies, der sehr teure Nachtragshaushalt, Corona-Kredite und eine ungewollte Bahnlinie.

Michael D. Fay is a former USMC Combat Artist with multiple tours in Iraq and Afghanistan. Mike enlisted in the United States Marine Corps in 1975 and was discharged in 1978 as an 81 mm mortarman (MOS 0341). In 1978, he returned to Penn State Univeristy and graduated in 1982 with a Bachelor of Science in Art Education. In 1983, re-enlisted into the Marines and served as an avionics technician (MOS 6322) in the Presidential Helicopter Squadron (HMX-1) and Marine Medium Helicopter Squadron 365 (HMM-365) until 1993. Fay served a tour on recruiting duty (MOS 8411) and was a recruiter of the year for 1989 and 1990. He left active duty at the end of September 1993. Fay returned to service in the USMCR in January 2000. He was assigned as an official combat artist. He is now retired from the Marine Corps. Fay's artwork is in the Marine Corps Combat Art collection, the National Museum of the Marine Corps and the collection of the James A. Michener Art Museum in Doylestown, Pennsylvania.Fay has also had solo exhibitions at the Farnsworth Museum, where he was the target of a protest group. His artwork has been published in Leatherneck Magazine—the official magazine of the Marine Corps Association—and the New York Times. The Guardian called his work "exceptionally moving and thought-provoking", and said, "Over the past decade, Fay has seen action as a war artist with US troops in both Iraq and Afghanistan, but his latest journey was to a military veterans' hospital in Richmond, Virginia. In the resulting New York Times blogs, he relays his meetings with three young men severely wounded in Afghanistan. His account of their injuries and rehabilitation is gripping, but what really deepens the reporting are his drawings, reproduced alongside the articles."Fay has also recorded wounded veterans recovering from their injuries. As part of this work he founded the Joe Bonham Project to document the experiences of the wounded. After retirement, Fay campaigned for enhanced recognition and improved working opportunities for war artists. Fay also uses sculpture. He holds a Master of Fine Arts in Illustration; his thesis was called The Boy Who Drew Soldiers.

Michael D. Fay is a former USMC Combat Artist with multiple tours in Iraq and Afghanistan. Mike enlisted in the United States Marine Corps in 1975 and was discharged in 1978 as an 81 mm mortarman (MOS 0341). In 1978, he returned to Penn State Univeristy and graduated in 1982 with a Bachelor of Science in Art Education. In 1983, re-enlisted into the Marines and served as an avionics technician (MOS 6322) in the Presidential Helicopter Squadron (HMX-1) and Marine Medium Helicopter Squadron 365 (HMM-365) until 1993. Fay served a tour on recruiting duty (MOS 8411) and was a recruiter of the year for 1989 and 1990. He left active duty at the end of September 1993. Fay returned to service in the USMCR in January 2000. He was assigned as an official combat artist. He is now retired from the Marine Corps. Fay's artwork is in the Marine Corps Combat Art collection, the National Museum of the Marine Corps and the collection of the James A. Michener Art Museum in Doylestown, Pennsylvania.Fay has also had solo exhibitions at the Farnsworth Museum, where he was the target of a protest group. His artwork has been published in Leatherneck Magazine—the official magazine of the Marine Corps Association—and the New York Times. The Guardian called his work "exceptionally moving and thought-provoking", and said, "Over the past decade, Fay has seen action as a war artist with US troops in both Iraq and Afghanistan, but his latest journey was to a military veterans' hospital in Richmond, Virginia. In the resulting New York Times blogs, he relays his meetings with three young men severely wounded in Afghanistan. His account of their injuries and rehabilitation is gripping, but what really deepens the reporting are his drawings, reproduced alongside the articles."Fay has also recorded wounded veterans recovering from their injuries. As part of this work he founded the Joe Bonham Project to document the experiences of the wounded. After retirement, Fay campaigned for enhanced recognition and improved working opportunities for war artists. Fay also uses sculpture. He holds a Master of Fine Arts in Illustration; his thesis was called The Boy Who Drew Soldiers.

Ever wonder how a world-class marketer transitions from managing multi-billion dollar CPG brands to running the food and beverage department of the popular retail giant Target Corporation? Imagine the thrill of going from a government major, to acquiring a JD/MBA, to becoming the CMO of Target, and ultimately, the Executive Vice President of Food and Beverage. This intriguing journey is none other than that of our esteemed guest, Rick Gomez. He opens up about his exciting pivot from CPG to retail, his successful marketing strategies for young audiences, and his notable board roles at the Smithsonian's National Museum of the American Latino and Wendy's Corporation.In this deep-dive conversation, Rick sheds light on his rewarding transition from being a CMO at Pepsi to his current role at Target. Get ready to explore his motivation behind this significant career change, his tenacity in overcoming the challenges that arose during the transition, and how he's making a difference working with frontline store representatives across America. Rick also gives us a peek into his aspiration of becoming a CEO and shares the invaluable lessons he's gleaned over the past three years.We also venture into the unique way Target approaches food and beverage, transitioning from simply selling to celebrating food. Rick discusses how Target harnesses affordability, ease, and convenience to foster communal experiences around food and beverage. We delve into the exciting innovations that Target has introduced, like the ability to order Starbucks via their Drive Up service. Moreover, Rick shares how Target works in concert with vendors, suppliers, and merchants to deliver 'affordable joy' to its guests and the importance of personal branding and authentic leadership in today's competitive market.

Before Europeans landed in North America, five Indigenous nations around what would become New York State came together to form the Haudenosaunee Confederacy. When the Europeans arrived, the French called them the Iroquois Confederacy, and the English called them the League of Five Nations. Those Five Nations were the Mohawks, Oneidas, Onondagas, Cayugas, and Senecas; the Tuscaroras joined the Confederacy in 1722. Some founding father of the United States, including George Washington and Benjamin Franklin admired the Haudenosaunee and incorporated their ideas into the U.S. Constitution. Despite that admiration, though, the United States government and the state government of New York did not always treat the Haudenosaunee with respect, and Haudenosaunee leaders had to navigate a difficult terrain in maintaining their sovereignty.  Today we're going to look at the relationship between the Haudenosaunee and the United States through the stories of four individuals: Red Jacket, Ely S. Parker, Harriet Maxwell Converse, and Arthur C. Parker. Joining me in this episode is Dr. John C. Winters, Assistant Professor of History at the University of Southern Mississippi and author of The Amazing Iroquois and the Invention of the Empire State. Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. The mid-episode music is “Falling Leaves (Piano),” by Oleksii Holubiev, from Pixabay, used under the Pixabay Content License. The episode image is “Red Jacket (Sagoyewatha),” painted by Thomas Hicks in 1868; the painting is in the public domain and can be found in the National Portrait Gallery, Smithsonian Institution. Additional Sources: Haudenosaunee Confederacy “Haudenosaunee Guide For Educators,” National Museum of the American Indian. “The Haudenosaunee Confederacy and the Constitution,” by Jennifer Davis, Library of Congress, September 21, 2023. “Indian speech, delivered before a gentleman missionary, from Massachusetts, by a chief, commonly called by the white people Red Jacket. His Indian name is Sagu-ua-what-hath, which being interpreted, is Keeper-awake,” Library of Congress, 1805. “The Graves of Red Jacket,” Western New York Heritage. “Red Jacket Medal Returned to Seneca Nation [video],” WGRZ-TV, May 17, 2021. “Ely S. Parker,” Historical Society of the New York Courts.  April 2, 2015 in From the Stacks “‘We Are All Americans:' Ely S. Parker at Appomattox Court House,” by Mariam Touba, New York Historical Society, April 2, 2015. “Engineer Became Highest Ranking Native American in Union Army,” by David Vergun, DOD News, November 2, 2021. “Building to be Named for Ely S. Parker First Indian Commissioner of the BIA Recognized,” U.S. Department of the Interior, December 15, 2000. “‘The Great White Mother': Harriet Maxwell Converse, the Indian Colony of New York City, and the Media, 1885–1903,” by John. C. Winters, The Journal of the Gilded Age and Progressive Era, 21(4), 279-300.  “Harriet Maxwell Converse,” PBS.org. “Harriet Maxwell Converse,” Poets.org. “Research and Collections of Arthur C. Parker,” New York State Museum. “Arthur C. Parker and the Society of the American Indian, 1911-1916,” by S. Carol Berg, New York History, vol. 81, no. 2, 2000, pp. 237–46.  Learn more about your ad choices. Visit megaphone.fm/adchoices

In conversation with Marc Lamont Hill Tanisha Ford's Our Secret Society is a biography of Mollie Moon, the socialite, powerbroker, and founder of the National Urban League Guild, who was a key fundraiser for the Civil Rights Movement. It also serves as a social history and who's who of Black Americans from the 1930s through the 1960s, as Moon moved in New York and Harlem society circles that included the likes of Lorraine Hansberry and Langston Hughes. A history professor at The Graduate Center, CUNY and a former Smithsonian research associate at the National Museum of American History, Ford was named to The Root's 2019 list of the ''100 Most Influential African Americans.'' Her other books include Dressed in Dreams, Kwame Brathwaite, and Liberated Threads, which was awarded the 2016 Organization of American Historians' Liberty Legacy Foundation Award. The Steve Charles Chair in Media, Cities and Solutions at Temple University, Marc Lamont Hill is the host of BET News and the Coffee and Books podcast. The recipient of honors from the National Association of Black Journalists, GLAAD, and the International Academy of Digital Arts and Sciences, he is the author of six books, including Beats, Rhymes, and Classroom Life; Nobody: Casualties of America's War on the Vulnerable, from Ferguson to Flint and Beyond; and Except for Palestine: The Limits of Progressive Politics. Because you love Author Events, please make a donation to keep our podcasts free for everyone. THANK YOU! (recorded 11/8/2023)

Historic Jeep Prototype November 13As global war loomed in 1940, the Army sought a swift reconnaissance vehicle to navigate rugged terrain and deliver firepower to the front lines. Bantam, a small and agile company experienced in building light four-cylinder cars, appeared ideal for the task. On September 23, 1940, they delivered the world's first Jeep prototype – the Bantam reconnaissance car.However, both Willys and Ford expressed interest in competing for the contract. The Army shared Bantam's designs with them, leading to Willys submitting its MA Quad on November 13 and Ford submitting two prototypes – the Pygmy GP-001 and GP-002 – on November 23.Although none of the prototypes met the Army's desired weight of less than 1,300 pounds, Ford's Pygmy introduced several innovations such as hinged headlamps for engine bay illumination and a second top bow to prevent driver discomfort. Despite their differences, all three competitors received orders for 1,500 vehicles each.Ultimately, the final standardized version became the Willys MB, which Ford also built as the GPW during the war. Roughly 660,000 Jeeps were built, roughly 18% of all motorized manufacturing during the war The rugged Jeep quickly became an icon of World War II and a symbol of wartime production by the auto industry. As Pulitzer Prize-winning war correspondent Ernie Pyle put it: "It's as faithful as a dog, strong as a mule, and as agile as a goat." Edwell Bourne Sr., a World War II veteran and mechanic, also praised the Jeep's durability: "It's very rare to trace a whole class of vehicles to a single one, but this is where it all began."Several theories surround the origin of the name Jeep. Some suggest it derives from a slurring of "GPV," an acronym for General Purpose Vehicle or Government Purpose. Others attribute it to Eugene the Jeep, Popeye's resourceful jungle pet. However, the term "Jeep" was already used by the Army in 1914 to describe new test vehicles.While Bantam's Reconnaissance Car and Willys' Quad have since vanished or been wrecked, today, GP No. 1 Ford's first prototype still exists- the oldest known Jeep now resides at the Veterans Memorial Museum in Huntsville, Alabama, while another prototype – Bantam serial number 1007 – is on display at the National Museum of American History. Both now honor the greatest generation's fight and Detroit's role in the arsenal of democracy, standing testament to America's ingenuity during World War II.www.nodrivingloves.com#cars #car #collectorcars #oldcars #cartalk #electriccars #ev #hotrod #carhistory #automotivehistory #automobile #thisdayinautomotivehistory #thisdayinhistory #classiccars #onthisday #NaPodPoMo #ithappenedtoday #jeep #ww2

Beneath starched Shakespearean togas and the pungent fug of gladiator sweat there are real Romans waiting to be discovered. To know what it was to be Roman you need to gather the scattered clues until they form a living, breathing human, witness to the highs and horrors of Europe's greatest empire. Mary Beard, Britain's best-selling historian of the ancient world, rebuilds the lives of six citizens of the Roman Empire, from a slave to an emperor. Her investigations reveal the stressful reality of Roman childhood, the rights of women and rules of migration, but it's the thoughts and feelings of individual Romans she's really interested in.In the second episode we meet a woman caught up in a brutal civil war. Turia's story starts with the murder of her parents. She tracks down their killers and fights off scavenging relatives desperate for a piece of her inheritance. Before she has a moment to settle her new husband is forced on the run, fleeing the murderous junta that's taken over the empire after the murder of Julius Caesar. She's badly beaten by the leadership's thugs as she pleads her husband's case, but will her sacrifices ensure his safety? Producer: Alasdair CrossExpert Contributors: Greg Woolf, UCLA; Matthew Nicholls, Oxford University; Helen King, Open UniversityCast: Voice of Laudatio Turiae read by Don GiletSpecial thanks to the National Museum of Rome, Baths of Diocletian

Stand Up is a daily podcast that I book,host,edit, post and promote new episodes with brilliant guests every day.   Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls   Check out StandUpwithPete.com to learn more  Tim Wise, whom scholar and philosopher Cornel West calls, “A vanilla brother in the tradition of (abolitionist) John Brown,” is among the nation's most prominent antiracist essayists and educators. He has spent the past 25 years speaking to audiences in all 50 states, on over 1000 college and high school campuses, at hundreds of professional and academic conferences, and to community groups across the nation. He has also lectured internationally in Canada and Bermuda, and has trained corporate, government, law enforcement and medical industry professionals on methods for dismantling racism in their institutions. Wise's antiracism work traces back to his days as a college activist in the 1980s, fighting for divestment from (and economic sanctions against) apartheid South Africa. After graduation, he threw himself into social justice efforts full-time, as a Youth Coordinator and Associate Director of the Louisiana Coalition Against Racism and Nazism: the largest of the many groups organized in the early 1990s to defeat the political candidacies of white supremacist and former Ku Klux Klan leader David Duke. From there, he became a community organizer in New Orleans' public housing, and a policy analyst for a children's advocacy group focused on combatting poverty and economic inequity. He has served as an adjunct professor at the Smith College School of Social Work, in Northampton, MA., and from 1999-2003 was an advisor to the Fisk University Race Relations Institute in Nashville, TN. Wise is the author of seven books, including his highly-acclaimed memoir, White Like Me: Reflections on Race from a Privileged Son, as well as Dear White America: Letter to a New Minority, and Under the Affluence: Shaming the Poor, Praising the Rich and Sacrificing the Future of America. His forthcoming book, White LIES Matter: Race, Crime and the Politics of Fear in America, will be released in 2018. His essays have appeared on Alternet, Salon, Huffington Post, Counterpunch, Black Commentator, BK Nation, Z Magazine and The Root, which recently named Wise one of the “8 Wokest White People We Know.” Wise has been featured in several documentaries, including “The Great White Hoax: Donald Trump and the Politics of Race and Class in America,” and “White Like Me: Race, Racism and White Privilege in America,” both from the Media Education Foundation. He also appeared alongside legendary scholar and activist, Angela Davis, in the 2011 documentary, “Vocabulary of Change.” In this public dialogue between the two activists, Davis and Wise discussed the connections between issues of race, class, gender, sexuality and militarism, as well as inter-generational movement building and the prospects for social change. Wise is also one of five persons—including President Barack Obama—interviewed for a video exhibition on race relations in America, featured at the National Museum of African American History and Culture in Washington DC. Additionally, his media presence includes dozens of appearances on CNN, MSNBC and NPR, feature interviews on ABC's 20/20 and CBS's 48 Hours, as well as videos posted on YouTube, Facebook and other social media platforms that have received over 20 million views. His podcast, “Speak Out with Tim Wise,” launched this fall and features weekly interviews with activists, scholars and artists about movement building and strategies for social change. Wise graduated from Tulane University in 1990 and received antiracism training from the People's Institute for Survival and Beyond, in New Orleans. Join us Thursday's at 8EST for our Weekly Happy Hour Hangout! Pete on Tik Tok Pete on YouTube Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll  Follow and Support Pete Coe

Legendary historian and the first Black secretary of the Smithsonian Institution, Lonnie Bunch, joins The Blackest Questions for an intimate one-on-one discussion about some of the country's forgotten Black historical figures. Bunch talks about his heroes and gets candid about what needs to change in museum leadership across the board. He also describes the hurdles and setbacks of opening the National Museum of African American History and Culture. He explains what it was like to be an integral part of such a significant project. See omnystudio.com/listener for privacy information.

End Seeking & Live As Truth These Vlogs are Dedicated to my Mom. I Love You. Also to Andrew & the HOME DAO. https://thehomedao.com Everything filmed with iPhone 11 / 14. Edited in Premiere Pro. SCRIPT

The golden era of Polish comic books started in the 1960s. Today its popularity has reached momentum with a whole array of titles being translated to foreign languages. The Comic Book Museum, the first such institution in Poland, is now taking shape in Kraków. It started operations in 2021 in a temporary space consisting of a small gallery and research room filled with books on comic art, historic comics and artefacts related to comic heroes. Its members have organised comic book exhibitions, including a major retrospective held at the National Museum in Kraków in 2018. Host John Beauchamp meets Artur Wabik, a visual artist specialising in murals and graffiti. Wabik is a comic book collector, curator and occasionally also a comic script writer. Since 2020 he has been a board member of the Comic Books Museum Foundation, whose collection includes 40,000 items related to the history of comic books in Poland. You can check out our TFN article on the museum here. Follow Comic Book Museum Facebook page to learn more on prospective exhibitions, workshops, meetings with comic artists and writers, and other events.

Award-winning novelist Kevin Chen sits down with I-C-R-T's Tim Berge to talk about life's twists that led him to write "Ghost Town", which won the prestigious Taiwan Literature Award for Books by the National Museum of Taiwan Literature and the Golden Tripod Award. It was also was one of the New York Times' most anticipated books of Fall 2022; was selected by Library Journal for their Best of World Literature 2022; and was longlisted for the 2023 PEN Translation Prize.

Click to listen to episode (4:53).Sections below are the following:Transcript of AudioAudio Notes and AcknowledgmentsImagesSourcesRelated Water Radio EpisodesFor Virginia Teachers (Relevant SOLs, etc.)Unless otherwise noted, all Web addresses mentioned were functional as of 11-6-23. TRANSCRIPT OF AUDIO From the Cumberland Gap to the Atlantic Ocean, this is Virginia Water Radio for the weeks of November 13 and November 20, 2023. MUSIC – ~28 sec – Lyrics: “What you gonna do when the river runs dry, when there's no more water in your well?  You won't know when to give it that one last try, you won't be warned before the final bell.” That's part of “River Runs Dry,” by Blacksburg, Va., musician Kat Mills.  The song, in which water sources are metaphors for the songwriter's inspiration, opens a Thanksgiving-season episode featuring expressions of gratitude for literal water sources not running dry.  Here are three such expressions, by people from North America, Vietnam, and Kenya. 1. The Haudenosaunee people, an alliance of six Native American tribes that was formerly known as the Iroquois Confederacy, has a traditional “Thanksgiving Address of Greetings to the Natural World.”  The address includes greetings to 17 aspects of the world, such as people, plants and animals, the moon and stars, winds and thunder, and the creator.  Here's the greeting to The Waters: “We give thanks to all the waters of the world for quenching our thirst and providing us with strength.  Water is life.  We know its power in many forms- waterfalls and rain, mists and streams, rivers and oceans.  With one mind, we send greetings and thanks to the spirit of Water.  Now our minds are one.” 2. Vietnamese spritutal leader Thich Nhat Hanh has written many “gathas,” that is, short reflections or meditations, on daily activities. Here is his gatha for “Turning on the Water.” “Water comes from high mountain sources. Water runs deep in the Earth. Miraculously, water comes to us and sustains all life. My gratitude is filled to the brim.” And 3.  About 10 years ago, a group of Kenyan schoolgirls wrote a poem in gratitude for a newly drilled well in their community.  Here's that poem. Dear water, It was hard to get to you. Waking up at dawn Buckets on our heads Donkeys loaded with jerrycans. Miles we walked In the scorching heat To look for you. Dear water, At last you came. Sweet water Our backs are rested The miles are no more Diseases are gone. For you are closer to us. Dear water, You are such a blessing. One can find countless other expressions of awareness of and gratitude for water's many vital purposes in writings by poets, politicians, professors, prophets, pundits, and plenty of others. For one last, short reading, we return to one of the water metaphors in our opening music, and quote a Benjamin Franklin comment that applies not only to water but also to anything one has and can lose: “When the well's dry, we know the worth of water.” Thanks to people everywhere who know and speak about the worth of water.  Thanks also to Kat Mills for permission to use this episode's music, and—with hope that this won't be the case for you or anyone—we close with about 30 more seconds of “River Runs Dry.”  Happy Thanksgiving!MUSIC - ~30 sec – Lyrics: “What you gonna do when the river runs dry?  Guess I'll have to pack up and leave my home.” SHIP'S BELL Virginia Water Radio is produced by the Virginia Water Resources Research Center, part of Virginia Tech's College of Natural Resources and Environment.  For more Virginia water sounds, music, or information, visit us online at virginiawaterradio.org, or call the Water Center at (540) 231-5624.  Thanks to Stewart Scales for his banjo version of “Cripple Creek” to open and close this episode.  In Blacksburg, I'm Alan Raflo, thanking you for listening, and wishing you health, wisdom, and good water. AUDIO NOTES AND ACKNOWLEDGEMENTS “River Runs Dry,” by Kat Mills, is on the 2003 album “Long Time,” from Sweetcut Music; used with permission.  More information about Kat Mills is available online at https://katmills.com/home.  This music was used previously by Virginia Water Radio most recently in Episode 557, 12-28-20. Click here if you'd like to hear the full version (1 min./11 sec.) of the “Cripple Creek” arrangement/performance by Stewart Scales that opens and closes this episode.  More information about Mr. Scales and the group New Standard, with which Mr. Scales plays, is available online at http://newstandardbluegrass.com. IMAGES Following are images of some Virginia water bodies for which the Commonwealth's citizens can be thankful.  Photographs by Virginia Water Radio. Lake Drummond in Dismal Swamp, April 30 2005.Catoctin Creek at Featherbed Lane in Loudoun County, June 25, 2010.Jeremy's Run near Rileyville in Page County, July 22, 2012.Craig Creek in Montgomery County, April 26, 2015.  SOURCES USED FOR AUDIO AND OFFERING MORE INFORMATION AZ Quotes, “Benjamin Franklin Quotes About Water,” online at https://www.azquotes.com/author/5123-Benjamin_Franklin/tag/water.  This is the source of the Franklin quote used in the audio. Be Here Now Network, “44 Mindful Moves in Daily Life—Thich Nhat Hanh's Gathas,” online at https://beherenownetwork.com/thich-nhat-hanhs-gathas/.  This is the source of the Thich Nhat Hahn quote used in the audio. Borgen Project, “Kenyan Schoolgirls Dedicate a Poem to Water,” by Sarah Sheppard, September 7, 2015, online at https://borgenproject.org/kenyan-schoolgirls-poem/. Columban Interreligious Dialogue, “Being Grateful for the Gift of Water, Cagayan de Oro, Philippines,” online at https://columbanird.org/being-grateful-for-the-precious-gift-of-water/. Abu Amina Elias, “Hadith on Water: Best charity is giving water to thirsty people,” posted by Daily Hadith Online, July, 23, 2017, online at https://www.abuaminaelias.com/dailyhadithonline/2017/07/23/best-sadaqah-water-thirsty/. GoodReads, “Benjamin Franklin/Quotes/Quotable Quote,” online at https://www.goodreads.com/quotes/53013-when-the-well-is-dry-we-know-the-worth-of. Zachiah Murray, “How to Do Gatha Practice,” posted by Lion's Roar, July 25, 2022, online at https://www.lionsroar.com/how-to-practice-gathas/. Smithsonian Institution's National Museum of the American Indian, “Haudenosaunee Guide for Educators,” 2009, online (as a PDF) at https://americanindian.si.edu/sites/1/files/pdf/education/HaudenosauneeGuide.pdf. Thai Plum Village, “Thich Nhat Hanh,” online at https://www.thaiplumvillage.org/thichnhathanh. Thich Nhat Hanh Foundation, online at https://thichnhathanhfoundation.org/thich-nhat-hanh. Saffet Catovioc, “Islamic Texts Related to Water,” posted by Green Faith Water Shield, undated, online (as a PDF) at https://www.faithinwater.org/uploads/4/4/3/0/44307383/islamic_sacred_texts-water-greenfaith.pdf. World Vision, “Video: Schoolgirls share their poem ‘Dear Water,'” May 6, 2019, online at https://www.worldvision.org/clean-water-news-stories/video-schoolgirls-share-poem-dear-water. RELATED VIRGINIA WATER RADIO EPISODES All Water Radio episodes are listed by category at the Index link above (http://www.virginiawaterradio.org/p/index.html).  See particularly the “Overall Importance of Water” subject category. Following are links to other episodes for Thanksgiving. Episode 291, 11-23-15 – Thanks for Musical Measures of Water.Episode 343, 11-21-16 – Wild Turkey and Water.Episode 395, 11-20-17 – Thanks for the Water – 2017 edition.Episode 500, 11-25-19 – The Variety of Virginia's Water Story – for 500th episode.Episode 642, 11-21-22 – Thanks for the Water – 2022 Edition. FOR VIRGINIA TEACHERS – RELATED STANDARDS OF LEARNING (SOLs) AND OTHER INFORMATION Following are some Virginia Standards of Learning (SOLs) that may be supported by this episode's audio/transcript, sources, or other information included in this post. 2020 Music SOLs SOLs at various grade levels that call for “examining the relationship of music to the other fine arts and other fields of knowledge.” 2017 English SOLs 5.4, 6.5, 7.4, 8.4, 8.5, 9.3, 9.4, 10.3, 10.4, 11.4 – Symbols, imagery, figurative language, and other literary devices. 2018 Science SOLs Grades K-4: Living Systems and Processes1.5 – Animals, including humans, have basic life needs that allow them to survive. Grades K-5: Earth and Space Systems3.7 – There is a water cycle and water is important to life on Earth. Grades K-5: Earth ResourcesK.11 – Humans use resources.3.8 – Natural events and humans influence ecosystems.4.8 – Virginia has important natural resources. Grade 66.6 – Water has unique physical properties and has a role in the natural and human-made environment.6.9 – Humans impact the environment and individuals can influence public policy decisions related to energy and the environment. Life ScienceLS.9 – Relationships exist between ecosystem dynamics and human activity. Earth ScienceES.6 – Resource use is complex.ES.8 – Freshwater resources influence and are influenced by geologic processes and human activity. 2023 History and Social Science SOLs Grade One: Commonwealth of Virginia1.2 – The student will apply history and social science skills to explain how communities honor local and national traditions and recognize designated Virginia holidays. Grade Two: United States of America2.3 – The student will apply history and social science skills to explain how communities honor local and national traditions and recognize designated Virginia holidays.2.5 – The student will use history and social science skills to identify the geographic location, use of resources, and identify the contributions of Indigenous peoples past and present. Grade 5: United States History to 1865USI.2 – The student will apply history and social science skills to describe how early cultures developed throughout North America. Grade 8: World GeographyWG.2 – The student will apply social science skills to evaluate the significance of natural, human, and capital resources.WG.3 – The student will analyze the characteristics of the United States and Canadian regions by (among other things) analyzing cultural influences and landscapes.WG.7 – The student will analyze the characteristics of the Sub-Saharan African region by (among other things) analyzing cultural influences and landscapes.WG.9 – The student will analyze the characteristics of the South Asian and Southeast Asian regions by (among other things) analyzing cultural influences and landscapes.WG.14 – The student will apply history and social science skills to determine cultural patterns and interactions across time and place. Grade 11: Virginia and United States HistoryVUS.1 – The student will apply history and social science skills to describe the early North America by distinguishing how different Indigenous People of North America used available resources to develop their culture, language, skills and perspectives.Vi