Podcasts about Ryerson University

Dance is more than movement. It brings together physical activity, social connection and cognitive engagement. In this episode, we explore how dance can benefit people of all ages and abilities. We join a dance class at Canada's National Ballet School with Michael Farewell, a community-dwelling older adult dancer. Then Dr. Rachel Bar, Director of Research and Health at Canada's National Ballet School, shares insights into the growing evidence behind dance and healthy aging.  Whether in a studio, community centre or living room, there's no right or wrong way to dance. Making dance a regular part of your life can benefit your overall wellness and remember… dance like no one is watching. Soon to be 79, Michael Farewell has attended older adult dance classes at Canada's National Ballet School for many years. A Tai Chi enthusiast, he participates in Tai Chi and line dancing at Toronto's Mon Sheong Centre. He retired from Bell Canada two decades ago.  Dr. Rachel Bar was a professional ballet dancer before she completed her PhD in psychology at Toronto Metropolitan University and a post-doctoral fellowship at Trent University's Trent Centre for Aging & Society. Since 2020, Rachel has been Director of Research and Health at Canada's National Ballet School where she oversees the School's Research Institute and Artistic Health Department. Her research spans broadly across both the health and wellness needs of dancers and the benefits of dance for community health and wellness. Specifically, much of her work in community research has focused on dance in older adulthood, including its benefits for people living with Parkinson's disease and dementia, and the knowledge mobilization of this research. Megan Ferris is the Manager of Older Adults and Community School Programs at Canada's National Ballet School (NBS). She is a graduate with distinction from the NBS Teacher Training Program and the Faculty of Arts at Ryerson University specializing in Early Childhood Studies. In her role, Megan focuses on providing dance programming to people of all ages and abilities, while coordinating partnership development as well as evaluation for on-site, in community and online programming. Along with her extensive work in NBS' Community Dance Programs, Megan is also a faculty member and student mentor in NBS' Teacher Training Program.  Jeannie Yeun is a Toronto-based pianist and accompanist who works with Canada's National Ballet School, the School of Canadian Children's Dance Theatre and Royal Academy of Dance examinations. A University of Toronto graduate, she maintains an active freelance career and piano studio in the Greater Toronto Area.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Join Host Miko Lee as she introduces Dr. Robynn Rodriquez's show “Spitting Fire.” Dr. Robynn speaks about Filipinx and colorism with Dr. Joanne Rondilla.   LINKS Dr. Robynn, The People's Professor   SHOW TRANSCRIPT [00:00:00] Opening: Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   [00:00:35] Miko Lee: Welcome to Apex Express. I'm your host, Miko Lee, and tonight we get to hear the podcast from Dr. Robin Rodriguez called Spitting Fire, and I'm so excited for you to listen to it. Check it out, and if you wanna hear more, we're gonna link in the show notes an earlier interview I did with Dr. Robin Rodriguez. So please listen to Spitting Fire with Dr. Robin   [00:01:01] Dr. Robyn Rodriguez: I can't actually remember a specific episode when my parents or my Lola, who helped raise me, explicitly said, “Don't stay out in the sun.” But I always knew growing up that staying out in the sun was something I shouldn't do because being dark was something to be avoided. I remember being embarrassed by my mom who would bust out an umbrella on a bright and shiny day. “Mom, it's not even raining outside,” I remember complaining. I hated the big hats she would wear or insist I wear, or the comments of, “You're getting darker,” also in a disapproving tone. I remember, too, the high praises anyone with lighter skin was heaped, even when I didn't think they were that particularly attractive. Or how if my relatives knew someone was going to be marrying an American, basically a white person, they would exclaim, “Oh, they're going to have beautiful children.” When I brought home a hapa, a dude who was Filipino and white, I was told that if we got married, I would be improving the race. I've always known, whether I can remember being told, “Don't stay out in the sun,” that if there was a skin hue to aspire to, it was to be light.   [00:02:49] To be called mestiza was to receive one of the best compliments. To be a mestiza is always already to be beautiful. Of course, if anyone said I was mestiza, it was always qualified as mestizang morena. That is, someone who exhibits certain types of physical traits that are associated with a mestiza, like having a more pointed nose or being slightly taller than the average Pinay, but not the lighter skin of a genuine mestiza. So that's why I was sometimes called mestizang morena. Still meant as a compliment. After all, I could still enjoy the privilege of being associated with mestizaje, but only partially So many Filipinas in the diaspora, especially those of us who live in white settler colonial societies like what we now know as the United States as well as Canada, so many of us share experiences similar to the ones I've experienced.   [00:03:58] My dear friend and colleague, a fellow sociologist, Dr. Connolly De Leon, who currently teaches at Ryerson University in Canada, made this shared experience a topic of study in her book chapter, “Mas Maputi Ako Sa'yo,” I'm Lighter Than You: The Spatial Politics of Intraracial Colorism Among Filipina-Filipino Youth in the Greater Toronto Area. It was a chapter that was part of the very historic anthology, Filipinos in Canada: Disturbing Invisibility, edited by Roland Coloma, Bonnie McElvaney, Ellen Ethel Dongohan, John Paul Katungol, and Lisa M. Davidson, and it was published in 2012. Now, I've taught, uh, Dr. De Leon's chapter, Connolly's chapter, in my Filipino American experience courses in the past, and it's always, always deeply resonated with my Filipina students. In Dr. De Leon's chapter, she starts off with a quote that so many of us are familiar with in some way. She writes, quote, “You're so dark. Yuck.' My cousin would say to me in disgust as she would place her forearm beside mine to compare her light skin to my dark skin.” End quote. Dr. De Leon continues, quote, “As early as the age of four, as early as the age of four, I was taught to feel ashamed of my complexion. I did not understand what was so shameful about being the particular shade of brown that I was.” End quote. The shaming that Dr. De Leon and so many of us experience comes from colorism, which scholars define as the discriminatory treatment of individuals falling within the same racial group on the basis of skin color.   [00:06:01] On this episode of Spitting Fire, Dr.- Doctora Robyn Speaks, you'll actually hear less from me and more from yet another friend and colleague, Dr. Joanne Rondilia, who I recently hosted as part of a lecture series jointly sponsored by the Bolosan Center for Filipinx Studies, of which I serve as the founding faculty director, and the School for Liberating Education, my platform for offering Filipinx or Filipinos and ethnic studies courses that are often only available to those who happen to be able to get accepted into the four-year, often elite institutions where they are taught. It's where I get to teach all of these amazing courses that I think all of us should have to the broader community. Dr. Rondilia has researched on colorism in the Philippines and the diaspora for over a decade. It was a topic of her 2012 dissertation, which was entitled Colonial Faces: Beauty and Skin Color Hierarchy in the Philippines and the United States. In her 2007 book, co-edited with Paul Spickard, entitled Is Lighter Better? Skin Tone Discrimination Among Asian Americans, she explores colorism as a phenomenon that no- not only plagues Filipinos, but Asian Americans actually more broadly. So now I'm gonna turn to Dr. Rondilia and her lecture entitled Don't Stay Out in the Sun: Understanding Filipinx and Colorism. Go ahead, Joanne. Take it away. So happy you're here.    [00:07:44] Dr. Joanne Rondilla: All right. Thank you so much, Robyn. It's, uh… Do you mind if I call you Robyn? Shall I call you Dr. Robyn?    [00:07:50] Dr. Robyn Rodriguez: Oh my God. You only know me as Robyn. Okay.    [00:07:56] Dr. Joanne Rondilla: I will call you Robyn, but everybody else, you, you are required to call her Dr. Robyn- … Queen Robyn. You know, that's, that's how. But it's, it's such a, a joy to be here. Um, you know, before we opened the doors, uh, Robyn and I were talking about, um, you know, what it is to be an academic and the type of language and, and spaces in which we share our research. And I think one of the things that's really hard, especially for the soul of a lot of, uh, academics, is that we… it's so rare for us to really share our research, uh, with the community, right? ‘Cause I don't think of myself as a researcher. I think of myself more as a, a storyteller Right? And I think that that's really, uh, when students- when I have students who refuse to, like, engage in research, I try to remind them, like, research is not… I don't think of research as, uh, sort of like the white person's, uh, uh, game. I think of research as something that is connected to us, um, and it's our birthright. It's our ancestral birthright, right? Because storytelling is our ancestral birthright, and that's the lens in which I come into, uh, to exploring this issue of colorism.   [00:09:15] So show of hands, for those of you in the room, I'm curious to know how many of you were told, uh, were, were told this: “Don't stay out in the sun or you're- or, or else you'll get too dark.” How many of you were raised with that sort of mantra? Yes. Right. I, I almost feel like these words, uh, are so quintessential to the Filipino experience or the Filipinx experience. Like, “Don't stay out in the sun or else you'll get too dark.” And I'm someone who, I was born and raised on Guam, um, and so everybody on Guam is dark because we are always out in the sun, right? And my mother is very light-skinned. Uh, she came from a middle-class family from San Pablo City in the Philippines. My father's from Lucena, and he ca- he grew up poor, uh, and rai- was raised by a single mother. And so m- there was this definite class difference between my parents, uh, but there's also a, a skin tone difference between my parents. Like, my dad was someone who was very, very kuripot. He was very cheap, but he had this great love for my mother. Um, you know, and I think part of that was he saw her as like, you know, this, this wonderful, like, prize almost, you know. Because she came from a well-to-do family, and, you know, when they got married, her family did not want them to get married because, uh, he was not wealthy. But he was someone who, because he works on Guam as an engineer for the government of Guam, uh, and, and the US military, like that sort of… and, and he had, uh, I think in total like 13 deeds to his name. That's sort of what eased my, my mother's family into, you know, being supportive of their marriage. But there was… And, and on my mother's side of the family, this is a family, and mind you, I love them very much, but this is a family that, um, values beauty a lot, right? My mom and my aunties were all some form of provincial, uh, beauty queen And so this is why me and my brother and my sister were always told, “Don't stay out in the sun or you'll get too dark.” Because the idea was you had to preserve whatever, whatever it was our mother gave us, right? Even though, um, you know, like, uh, you know, even though, like, members of her family say didn't, didn't necessarily find us attractive , you know, the idea was, like, you know, as children of this, this woman or as chil- as, as, you know, members of this particular family, you had to, um, you had to sort of preserve yourself.   [00:12:18] So as a young kid growing up on Guam, I always wanted to go swimming, uh, 'cause my, my neighbors across the street, actually one of them, uh, represented the island of Guam, uh, during the 1988 Olympics in, in Seoul, right? So I always wanted to go swimming. I wanted to learn swimming, but my mother wouldn't let me because I would get too dark And so that, you know, like, there, there was so much of our lives that were limited because of this need to preserve beauty. And this is how I entered the research, uh, the exploration of colorism. So very quickly, for those of you who do not know what colorism is, simply put, colorism is a looks-based or, you know, um, you know, physical look, a looks-based system of discrimination where light skin and Eurocentric features are favored over darker skin and non-Eurocentric features.   [00:13:13] These discriminations typically occur within the same racial or ethnic community. Uh, the term colorism was coined by, um, the writer Alice Walker. And when she first started writing about colorism, she was talking about, she was talking about colorism in a very intimate way. She was talking about the way in which lighter-skinned Black women evoked pain, right, uh, onto darker-skinned Black women. And so this is where she comes up with this term called colorism. Colorism is intimate. It happens within the same racial or ethnic group, typically. And the reason why I say typically is because, um, in our society, we live in a very colorist society. So I'm sure some of you, and you can throw up reactions, some of you know people, may be related to people who say, “I'm not a racist. I don't have a racist bone in my body, in my body. I love Black people. I listen to Beyoncé. Halle Berry's my favorite actress.” Like, you know, they'll go on and on and on about how they're not racist. But when you look at the patterns of what they deem is attractive or, um, sort of civilized among, uh, the Black or African American community, they always resort to people who tend to be, like, lighter skinned, right? And that's also a way that, um, colorism manifests itself. It starts in the intimate space, but it manifests itself in a much larger, um, you know, in a much larger sphere. So for, um, the Filipinx community, when we look at popular culture, right? And, um, I don't know if any of you have heard of the show or are watching a show called, uh, The Cleaning Lady It's a new show that was, uh, it just premiered last week through Fox. And The Cleaning Lady, the reason why this is really big for, uh, the Filipinx community is because the… It, it's supposed… It originally was supposed to be a Filipino storyline, right? And it was a way to sort of introduce, uh, you know, Filipinx characters in the public sphere. But what happened was S- Shannon Sossamon, the actress Shannon Sossamon, uh, was originally slated to play the main character, who is an undocumented, uh, Filipina maid, right? But something happened during the initial table read, so they end up casting Elodie Yung, who's, uh, French Cambodian. So they changed the character a little bit, but when you look at the setting, it's set in Los Angeles. It's really a Filipino family. And my argument when I look at popular media and colorism is that oftentimes in popular media when they're trying to introduce Filipino, Filipinx characters, it's done through the mixed race body. It's done through a mixed race person, right? So for those of you who may be familiar with Shannon Sossamon, she's mixed race. She's a mixed race Filipina, but she's very white-passing, and it's usually mixed race white-passing or mixed race white-pleasing, what I call white-pleasing, uh, Filipinos that popular culture suddenly becomes interested in us, right?   [00:16:45] And that's what we see in a show like The Cleaning Lady. In the next few months, I think Jo Koy, uh, is going to have a movie called, um, I think it's called Easter Sunday. And again, Jo Koy, very Filipino, right? It, it's ingrained in his comedy. But what makes, what allows his fame to happen in the United States is that he's very white-passing and white-pleasing, very different from someone like a Rex Navarette, whose career is much longer, right, than someone like a Jo Koy, right? So there's definitely colorism at play, right? But when we're looking at the intimate spaces, the way colorism plays out in the Filipinx community, it's the lighter skinned Filipino discriminating against the darker skinned Filipino. In the Asian American community, it's the Chinese person discriminating against the, the Cambodian person, right? So there, there's these different levels of, of colorism at play. Colorism, um… It's important to know that colorism is the discriminatory system that makes anti-Black and anti-Indigenous racism exist. It actually maintains anti-Black and anti-Indigenous racism. And the reason why this is important is, one, when we look at anti-Black racism, and you, you're hearing this a lot, you know, um, either in academic circles or even in, uh, sort of, um, more popular conversations. I feel that it's important to talk about anti-Black racism in conjunction with anti-Indigenous racism because they happen hand in hand. And when we look at the founding of the United States, for example, the founding of this country happens through the genocide of Indigenous peoples as well as the enslavement of African peoples. So they're not separate. They come together. And so when we're looking at colorism, the system of colorism, right? Colorism is what, is what allows anti-Black and anti-Indigenous racism to exist Um, what makes, um… And, and, and we see this through the different, uh, colonial periods of the Philippines. There's something very distinct about colorism in the Filipinx community, and it really has to do with our, um, our, our colonial history.   [00:19:25] And so on the worksheet, there's just a very sort of like quick and dirty kind of list of like these three major periods of colonization in the Philippines. What I really wanna ta- uh, point to is the role of the Chinese throughout these historical periods in the Philippines. Because, um, typically when you talk about colorism, uh, colorism is most prevalent in, um, the African American community and the Black diaspora. But there's something very distinct about Filipinx colorism, and it's that our notion of lightness is defined by Eurocentric standards of beauty, right? And this is because of Spanish colonization. But it's also defined by Chinese standards of beauty or East Asian standards of beauty, and this is because of the positioning of the Chinese throughout these colonial periods. Because the Chinese, um, historically were the, um, were the merchant class, they were often elevated above indigenous Filipinos, right? And so that's why today in the Philippines when you see people who are in power and you look at the mixed race or mestizo, you know, uh, the mixed race people who are in power in the Philippines, they're often, uh, mixed race Chinese, right? And that's because of the, the legacy and the presence of Chinese in the Philippines. And so it's, um, it's, it's the history of the Chinese in the Philippines, th- these notions of Chinese lightness that really make colorism in the Philippines and among Filipinx very distinct. Uh, it's a very distinct conversation.   [00:21:14] Um, uh, I wanted to pause and say if you have any questions or if I'm going too quickly, feel free to, you know, put this in the chat, and I will try to address it, um, as I go along. Um, in– At the beginning of the talk, I asked how many of you were told, “Don't stay out in the sun.” And for those of you who said that you were told this, by show of hands, how many of you heard this in the context of family? How many of you were told this in the context of friends or any other intimate, uh, setting? ‘Cause oftentimes these messages are circulated among the family. And so When w- uh, and again, like colorism, you know, relative to racism, colorism has a very… There is this intimate aspect because oftentimes how we understand our own value and our own self-worth has to do with the messages that are articulated in the family, right? So, uh, one of the interviews that I had conducted, uh, was this, with this woman who when I conducted the interview, this was in the Philippines, and she worked in the entertainment industry in the Philippines. And she, um She, uh, had talked about how her lola would address her and her cousins. So the woman I interviewed, very light skin, light eyes, light hair, and that's why she's an entertainer in the Philippines.   [00:22:47] She's a model, and at the time she was hosting a television show. And she said that growing up, her lola always called her Miss Universe, right? And it was because of the way that she looked. Her lola would call her cousin, who was, um, like Spanish mestiza, sh- so, uh, this person who I called Tyler, Tyler was Miss Universe. Her cousin was Miss Philippines 'cause she was mestiza, and then Tyler's sister was Miss Cebu. So here, you know, like… And this is very blatant, and I'm not saying that all families are like this, but here you have this very explicit example of, a lola articulating the differences between these three young girls. Queen of the universe, queen of the Philippines, queen of the province. And in her interview, Tyler had said, “Yeah, it was very clear that Lola had her favorites, and it was in the way that she designated you in this spectrum of, like, these sort of beauty queen titles,” right? In another interview that I had, uh, conducted there, and this was an interview here in, um, the United States, uh, I- in the research I called her Milen. Milen talked about how whenever there was a dance or prom or something like that, there was this whole process of, you know, her and her brothers having to go to Lola's house so that Lola could see, you know, what everyone was wearing and that there could be pictures. But what was very clear was, um, Milen's youngest brother was clear…   [00:24:29] You know, her words were, “He was clearly not a favorite,” and this was largely because he was darker. He was often omitted from the photos. Um, Lola didn't really care about what he was wearing and things like that. She always put attention to Milen, who was very light-skinned, uh, and her two brothers who are also very light-skinned. So there's a very central role in which the family plays in how we understand, um, colorism and how we understand personal value And so as I was, uh, exploring this, uh, in sociology there's a term called the beauty cue, and the beauty cue is a system of classification. It's a societal system of classification that classifies women from lightest to dark to, you know, from most valuable to least valuable. And so what I did using this theory that Margaret Hunter had wr- uh, she wrote about, I added to this conversation by talking about the intimate beauty cue, because the beauty cue itself is about a societal, uh, a societal structure, but the intimate beauty cue is how we understand our value, how our notions of beauty are created in the most intimate spaces.   [00:25:47] And the reason why this is important to look at is because I think each and every one of us can, um, we can look at the TV and we can look at societal messages and say, “Yes, that's how society understands beauty, but that's not me because I'm my own person.” But in the intimate space among family and friends, when you're getting the messages that you're not beautiful or you're not valuable and it's coming from an unconditional love space such as the family, therein lies the problem and why colorism is such an intimate issue, because these are messages that are articulated by people, usually by people that you love or by people that you're closest to.   [00:26:35] There is a gendered aspect to colorism. Women in families are often seen as being more responsible for, um, you know, for beauty or engaging in beauty practices over men. However, men do… You know, like, there is some pressure for men Uh, when we look at colorism in popular media, again, in the US sphere, the few chances we get to see Filipinos or Filipinx in popular media, they are oftentimes light-skinned, mixed-race people, such as, and again, the example of, um, The Cleaning Lady. We have the example of Jo Koy and his future projects. It's not until we get into the independent sphere that we can see more variation. But when major institutions such as, uh, a Fox network or Netflix is trying to introduce a public to the Filipinx community, they're gonna go with what they feel is safe, and it's usually someone who's light-skinned, someone who is white passing, someone who's white pleasing, right? You know, there is something about, uh, the way in which popular media uses the mixed-race person or the mixed-race body. When you look at skin-lightening advertisements, oftentimes it's a mixed-race person that is being used to model such products. Uh, this is over t- I think it's over 10 years ago now. Um, there is a company in the Philippines called Glutamax, and when they launched their line, they used a mixed-race, um, Black Filipina model named Jinkee Oda.   [00:28:27] And what they did was they showed the sort of before and after, and one of the taglines in the advertisement in Tagalog, it said, “You could be white like me,” because it showed this progression of her being dark-skinned and then being light-skinned. And again, like, here for this particular, um, product, you're seeing the usage of, um, you know, that, that progression. It harks to very old, uh, beauty advertisements that, um, sold products specifically to Black women, um, you know, especially skin-lightening products to Black women. So there's, there's a way in which the mixed-race person is often used to sell beauty, to sell product, to sell, to sell us our notions of, um, lightness Having said that, I'm not trying to demonize the mixed race person. I, you know, I, I don't think it's fair to, um, I do not think it's fair to, for example, um, boycott Jo- Jo Koy because he's so fair, right?   [00:29:35] Or, um, yes, I love that comment, how we lift up Olivia Rodrigo, but our love for her or Saweetie is very, is, it's fairly limited. Exactly. You know, um, you know, like, I, I don't want to attack the person, but if you're light, you cannot… You, you have to recognize the amount of privilege that you have, right? Um, and then when we're looking at skin lightening products, again, like this is a global, um, this is a, you know, a multi-billion dollar global industry. Um, in 2018 it was valued at 8.3 billion. 2022, those numbers have gone, have gone up. Um, and as of late there has been a lot of talk about, uh, skin lightening products for various reasons. Globally it's because that market is so high, but here in the United States this has become an issue because skin lightening products and the usage and sale of skin lightening products has actually reached our policies.   [00:30:41] So for example, uh, the CARES Act. Um, because of the work of… Excuse me Because of the work of Ilhan Omar in the CARES Act, what, um, what was able to happen was the enforcement of the usage of a particular ingredient called hydroquinone. So this ingredient, uh, it's a derivative of mercury, which is very harmful to the skin. Um, this is a very popular ingredient that is used by a lot of, uh, skincare professionals. Now there's an enforcement about how you can buy or have access to this particular, uh, ingredient. So skin-lightening products and the, the conversation about skin-lightening products has been a huge issue as of late. Um, I wanna end with two thoughts, and it's this. I want you to, to reflect, and I know this was a lot of me talking. I want you to reflect on the way in which we articulate ideas of colorism on a daily basis. I want you to think about, you know, just, uh, a few weeks ago, for those of you who may have gathered with family, what are the ways in which you've heard these, you know, certain ideas about colorism articulated? It's often, “Oh, this, uh, this person is so beautiful.” Sometimes there's a comparison of children. Sometimes when you're greeted by the people you love, there's comments about, oh, how dark or light you've gotten. Um, included in the conversations about colorism is body size, how much weight you have or have not lost. You know, um, the, this is all part of the c- colorism conversation. There's a daily… There's a way in which we articulate ideas of colorism on a daily basis. I want you to reflect on, um, the beauty practices that we engage in, you know? If we… You know, like, if I dye my hair blonde or if I wear, you know, green contacts, what is my reason behind it?   [00:32:50] Is it because I want to engage in a sense of play? Or is it because I'm trying to escape a part of my identity, right? These are, these are important questions for us to ask because these are the daily, everyday ways that we, um, sort of, we contribute to these ideas of colorism. Um, and that, um, I believe is connected to the everyday practice of anti-racism, right? Um, you know, it's important to understand that, like, there's no end because, you know, with respect to colorism, this is a systemic issue. And so what we have to do is tackle it piece by piece. Sometimes it's about the practices that we engage in, uh, individually, but it's also about the way in which we engage with the people around us. With respect to colorism, because it's so intimate, right, it's about having the hard conversations, um, with the people that we love the most, right? Our friends and family    [00:33:55] Dr. Robyn Rodriguez: Thank you so much. Thank you so much, Dr. Randilia. You know, I actually have a, a question. I'm wondering, Jo-Ann, do you feel, especially with increasingly more, um, kind of mixed race, uh, especially kind of Black and Filipinx, um, figures, um, you know, uh, in popular culture, is your sense that there is a shifting around colorism, um, or not?   [00:34:28] Dr. Joanne Rondilla: I think that there's small shifts, right? So I think of, uh, for… And I'm looking at the com- the comment, the Magandang Morenx, and then also, you know, we, we do have like, um, you know, the, the Black and Filipinx sort of mixed race entertainers like her and Saweetie. Um, also, uh, there's some no- notable athletes that are Black and, um, Filipinx. Like, I think of, I think of their popularity as moments as opposed to actual, like, movements, right? And the reason being is because white supremacy is so prevalent, it's going to take so much to dismantle that system, right? The magnitude of, of white supremacy is, is beyond anything that we can, you know, like, we can quantify, right? And so, um, I, you know, like, so I, I think of, uh, I, I think of something like the Magandang Morenx movement, I think that they're important. I, I think of them more as moments because… And it's not because, uh, they're not powerful. It's because white supremacy is just so prevalent, right? Um, and so, and I, I don't mean to be the pessimist in, in that, you know.   [00:35:50] Um, I think the way that we, the way we move forward is to do the heart and soul work, right? To do the anti-racist work, to recognize the ways in which, um, we contribute to anti-Black and anti-Indigenous racism, but to make the conscious decision that this is gonna, like, I, I'm going to work towards eradicating it e- while knowing that eradication may not happen in your lifetime. And I'd hate to be the pessimist. It's not gonna happen in our lifetimes. But our jobs right now is to plant the seeds towards that vision, right? It's to plant the seeds to make these moments the actual movement, to make it so overwhelming to white supremist systems that white supremist systems have no choice but to go away. But it takes so much, um, so much seed planting. Um-    [00:36:49] Dr. Robyn Rodriguez: So Joanna, it looks like there's two questions that are sort of interrelated, and both, I think you probably saw them, um, kind of connect with concretely, you know, some ideas around or strategies around addressing, um, both colorism and anti-Blackness in the intimate space of the family or among friends, et cetera.   [00:37:10] Dr. Joanne Rondilla: Okay. Think that is an excellent, uh, question and something that I have grappled with and, you know, is very close to my heart. The first thing I'll say is there's no easy way to bring this up with family and friends, right? Especially, you know, um, in our families, especially in our respective families. Um, how… I mean, you know your moms and dads, you know your lolas. You, you know them, and you know they're hella stubborn, right? Like… And so the advice that I have is this: It's impossible to change someone's mind. What you can do is model certain behavior, right? What you can do is model certain language, right? And that alone will speak volumes- Yeah because you are not gonna change, you know, maybe you're not gonna change, like, your lolo or lola's mind. But the people around you are listening. And so here, here's an example, right? Um- W- uh, for me, e- especially in, like, having these conversations with my mom, because she's very much the driving force, uh, for a lot of the research that I do, you know, um, I know my mom, and I know that if I make her feel like crap, like if I make her feel stupid or if I make her feel like, um, what she's saying is old and antiquated, I, I know that I'm not gonna get through to her.   [00:38:36] So what I had to do with my mom was event- was create a love language of understanding, right? Because by creating a love language of understanding the ways in which, like, some of her comments have hurt me, when I started to actually honestly articulate my pain, it's not that my mom let go of some of these ideas, but she started to create an understanding of the impact of her words. And what that did was it changed the way she would… Like, she wouldn't say the things she would say. She wouldn't tell me how dark I was. She wouldn't make comments about, like, me being fat or whatever, right? Because she understood, she understood the impact of that. And as I started to, to realize, like, okay, we may not come to an agreement, but there's a love language that we can speak to, that's how I started seeing changes in, in the way that we interact, right?   [00:39:33] Um, and so you can't change someone's ideas, but what you can do is plant seeds and sort of, and really stand your ground in terms of how you feel about certain ideas, right? But you have to do that in a love language 'cause Filipinos, the language we speak is love, right? So that, I, I think that's, that's what's important. It- You have to understand that you may not change someone's mind, but you're also making it so that the people around are listening. ‘Cause I see the way that, like, my niece, you know, my nieces and nephews, they had just… They have such a better way of dealing with my mom when she would say terrible racist things, right? They had a better way of communicating with her and articulating their, their frustration and their anger, and it would change. It may not have always changed my mother's ideas, but it definitely changed her behavior, and it changed her consciousness, and I think that that's all we can really do, um, is develop that love language.   [00:40:39] Dr. Robyn Rodriguez: And if I may, if, uh, if I can just also add, you know, I, I, I think what you said is absolutely spot on and really resonates, um, Joanne. And, and I would add also, I think that there's something, um, really important about how these broader social movements can also-    [00:40:55] Dr. Joanne Rondilla: Mm-hmm …    [00:40:56] Dr. Robyn Rodriguez: become so important. I mean, so just in my own family, you know, my eldest was, uh, biracial, Black Filipino. And, um, of course, having a biracial, uh, grandson didn't necessarily mean that my mother could also grapple with her own deep anti-Blackness. Um, and it was always a struggle. And, and I agree with Joanne. Sometimes, you know, it is really understanding the particularities of the, of your own dynamic with, with specific intimates in your circle and understanding that certain kinds of lo-lov-love languages open up possibilities for conversation whi- whereas other approaches close off. But I do have to say, you know My mother, you know, is going to be 79. It really took, it took all the movements that happened- Mm-hmm … in response to the George Floyd murder, it took all of the movements around anti-Asian hate for my mother for the very first time, and this is some- You know, I'm her daughter. I've been teaching around race and talking about race. I, you know, I, I produced a biracial grandson for her, right? Um, and it– we could never have real frank conversations about white supremacy, could not really touch it, you know? There was a way that my mother didn't want to, to name white supremacy as something that actually shaped her life. And, you know, those are really com- there may be complicated reasons for that, but being able to name that was always really, really hard. Talking about anti-Blackness was hard. But all of those movements did something for her, and it shifted things in ways that I thought w-were going to be impossible at, by the time- Yeah you know, in her period of life. And not only did she– was she able to have some real kind of honest conversations, but she actually became a kind of advocate, and then used her own platforms to start conversations about white supremacy, um, and kind of race in our community. So I guess that's to say that it's not entirely hopeless, you know?   [00:42:57] I think- Yeah … it is true change can be slow. It can be incremental. It comes in these gentle kinds of ways, um, over time that require a lot of love and patience. And couple that with, I think, also kind of these movements that are also equally invi- uh, important to grow, um, that together that you can see change is, is really absolutely possible. Um, so, you know, just to kind of share that. But it, it is. You know, it's so hard 'cause even within a family where there are biracial, uh, family members, right? It– that isn't itself even going to necessarily change even when they have, right, a loved one, um, that ought to be- Yeah … challenging that for them.   [00:43:44] Dr. Joanne Rondilla: Yeah, absolutely. And I think, too, um, you know, another thing that helped me, especially, you know, like with my mom… So when I did the research, I did spend some time in the Philippines, and my mom came with me, right? So seeing my mom's very light-skinned, um, you know, uh, Filipina navigate the Philippines. And so I just wanna say for the record, I know I look really light, and it's because we're in COVID, and your girl has not had some sun, okay? Like just, just so that… ‘Cause I'm looking at them like, “God, yeah,” like I know I look light. I swear, you know, I'll show you pictures. But, you know, um, I, I didn't– At the time when my mom came with me to the Philippines, I did not realize how important it was for me to observe her in the Philippines because I was able to get these glimpses of my mom before she was a mom, right? And I was able to understand, like, okay, like… So one of the sort of things that I learned was, like, all these hurtful things that, like, my mom would say to me about the way that I look and what have you, I learned that part of the reason why she leaned in so hard to, with me is because when we would travel, you know, like go around to, like, malls or whatever in the Philippines, people would always tell her, “Oh my gosh,” like, “your daughter looks just like you.”   [00:45:09] And, like, if my mom were sitting next to me, and you can see this in, like, uh, photos with the two of us, like she's very vanilla, and next to her I look like burnt caramel. And I think that there was something about the embodiment of my body size, 'cause I'm big, you know, and, and my, my darker skin tone. It's almost like I was the physical embodiment of everything that she had feared and everything that she was told you should not. And for her, it was confronting, like, I gave birth to this, to this person who's everything that I, you know, that I was told was wrong, right? And so I think I, I… You know, like just watching her navigate, I began to understand, like, the context in which she was raised. I, I started to understand the messaging that she, uh, was, was given. Because when I finished the dissertation, I, I felt like I finished the dissertation at a place where I could actually forgive my mother for all the things that she would say about me. I c- I could forgive her for, like, the comments that she would make because all those things that she imposed onto me was a product of her own pain, and I was able to have something that she did not have, which is a sense of healing. ‘Cause until her very last breath, she was so trapped by these notions of beauty. She was so trapped by needing to be beautiful because this was the constant messaging that she was given, right? And so What we can offer, you know, and the way that we, um, the way that we engage in our sense of healing, especially with the people that we love, really comes down to I know that when my mom left the world, I planted all the seeds that I needed to plant in her, right? I know… Sorry. I know that I have this healing, something that she could not have. I know that her grandchildren don't have to suffer the pain that she did. So I think understanding our family, right? Understanding, like, um, you know, uh, the people, our family and friends, understanding them in that respect, putting into context the reason why they do the painful things we do, choosing how w- choosing the way in which we heal from the things that they did to us, that's all we can really do, right? And all of this, I think, and I'd hate to sound so cheesy but all of this is encased in, like, this deep, profound sense of the love that we have for ourselves, the love that we have for each other. In the midst of confronting immense colonial legacies that time and time again tell us that we are not worth it, right? If we can find that light, and if we can find that value, and if we can share that value with the people around us, that's all we can really do.    [00:48:20] Dr. Robyn Rodriguez: Joanne.   [00:48:25] Thank you.    [00:48:26] Dr. Joanne Rondilla: Sorry about that.    [00:48:27] Dr. Robyn Rodriguez: You don't have to apologize. I think that's one thing about this space, Bulosan's space, the School for Liberating Education, is we all do this out of deep, deep, deep love, right? That that's the whole purpose- Yeah … of being able to host, um, share s- to create space like this, to share space like this. Um, we all know, um, people like you, me, uh, those of us who chose this path into academia, we didn't do this because we wanted to produce knowledge for an institution that wasn't built for and by us.    [00:49:00] Dr. Joanne Rondilla: Mm-hmm.    [00:49:00] Dr. Robyn Rodriguez: But it was precisely to produce knowledge that could heal and liberate our people. Yeah. And so, you know, so appropriate for you to feel all of those feelings, and that's why it was so important to have you here, because this is such, uh, for so many of us, a deeply, deeply hurtful kind of… We s- we struggle with this, and I think what I-    [00:49:25] Dr. Joanne Rondilla: Mm-hmm …    [00:49:26] Dr. Robyn Rodriguez: What's so valuable, what you bring to the table is it's so much more complicated than the colorism. There are all of the ways in which colorism intersects with class, intersects with body. I, I mean, you know, even the whole notion of, like, the magandang morenx. I mean, you know, that there are even these fine distinctions that exist in the Philippines about the morena mestiza. You know? Like, that was, like, the, the way that I would get, like, weirdly, like, sideways complimented. Like, “Oh, she's a morena mestiza, though,” you know? Mm-hmm. What does that mean? But, you know, our bodies, um, are subject to such scrutiny within at least that context, and even in this context, right? We're constantly dealing with… We're actually dealing with multiple contexts, right? Contexts, Filipinx folks in the diaspora, where our bodies are subject to examination and evaluation- Mm-hmm … every single day, and we subjected ourselves also, our bodies to- Yeah … these valuations all the time. And, you know, um, and we do this work because we're trying to find, you know, a way out, right?   [00:50:29] A way, um, to heal all those, um, bits of hurt and brokenness and, you know- I mean, thank you so much, uh, Joanne, for not just sharing your amazing research, but also your heart with us. And I think I can m- I can feel that, um, people came away with, uh, from today with just that much more, um, just healing. And, you know, that's the point. That is why we do what we do here. Yeah. Um, uh, that's why we created, uh, the Balosan Center and, um, why I launched the School for Liberating Education. Um, this is the whole, this is the reason why we do this. And so I, with that, I do wanna thank everybody for joining us, um, and, you know, really invite everyone to continue to follow, uh, the work, um, that we're doing at the Balosan Center, what we're doing at the School for Liberating Education.   [00:51:27] The next major thing actually is next week. So my next book is coming out, um, on Asian American activism. Uh, it's actually really cool to talk about coming full circle, Jo-Ann, because basically this is a collab between our professor, our old professor, um, when we were undergrads at UC Santa Barbara, Diane Fujino and I, um, ended up collaborating on a couple things, and this is the latest collab, which is a anthology on Asian American activism. And one of the things I'm doing is launching a mini course, um, on Asian American activism, uh, that's based on the book, but also stuff I've done, um, on activism. So next week, I guess on Thursday, we're officially launching, um, the, the new, uh, the registration for the new course. And so we're launching it with this conversation I have with, um, Art Nagin Concordia, who is the godfather of ethnic studies in the K through 12 system, basically the ninong of ethnic studies in K through 12. Uh, was one of the key authors for the ethnic studies model curriculum and does m- uh, ethnic studies work at Santa Barbara, actually, also with Diane. So anyway, um, that's coming up next week. But do keep following, um, you know, the, the work that we're doing. This is, uh, you know, such important work, um, supporting our scholars and our artists, our community historians. And again, thank you so much, Jo-Ann. Yeah, no. I really think we have our real, real conversation. ‘Cause one of the projects I always wanted to do is, uh –    [00:53:09] Dr. Joanne Rondilla: Yes.    [00:53:09] Dr. Robyn Rodriguez: No, thank you … a podcast that gets real, real, like real, real. Yes. Like, let's really talk about-    [00:53:13] Dr. Joanne Rondilla: Just so you know, you're- … those    [00:53:14] Dr. Robyn Rodriguez: real stories …    [00:53:15] Dr. Joanne Rondilla: you're looking at, like, 25 years- of friendship, so I know lots of, uh, Robyn's secrets. I have lots of pictures 'cause I- Yeah. Oh, my God … was very good at documenting these things.    [00:53:24] Dr. Robyn Rodriguez: You, you did that photo shoot of my… I think you did a before and after of my ja- my, my, my eyebrows.    [00:53:30] Dr. Joanne Rondilla: I have a photo of you, like, in a, in a, like, a face mask.    [00:53:34] Dr. Robyn Rodriguez: Yes. Yes, yes. You can- So- If, if, if I look this good coming on 50- … it's because Joanne taught me about makeup and skincare regimens.    [00:53:46] Dr. Joanne Rondilla: Well, I'm gonna, I'm gonna launch a course on my skincare regimen.    [00:53:51] Dr. Robyn Rodriguez: Oh my God.    [00:53:54] Dr. Joanne Rondilla: Skincare after your 30s, right?    [00:53:57] Dr. Robyn Rodriguez: No, seriously, I'm about to launch, I'm not, I'm not even joking. I'm totally launching a whole, uh, journey to 50, so y'all can come because I, I'm, I'm, I'm going. I'm getting there. As of next, or the week after next, it's T minus 365 days to 50. So join in the fun. Anyway, Joanne, it's so great to see you. I wish I could give you a big hug. Uh,   [00:54:21] Dr. Joanne Rondilla: well, we'll see each other soon hopefully.   [00:54:23] Dr. Robyn Rodriguez: I can't wait to, like, really break bread with you because- Yes … you know, I always know I eat well when I'm with you. Like, I r- I will still- I still dream about the ice cream, that homemade ice cream you make. Like, nothing compares ever again to the ice cream that I consumed that you make. So thanks again. Thanks everyone.    [00:54:43] Dr. Joanne Rondilla: Thank you so much everybody. Hope to see you. Thank you.    [00:54:58] Miko Lee: Please check out our website, kpfa.org/program/apexexpress to find out more about our show and our guests tonight. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preti Mangala-Shekar and Swati Rayasam. Tonight's show was produced by me Miko Lee, and edited by Ayame Keane-Lee. Have a great night.   The post APEX Express – 8.27.26. Dr. Robynn's Spitting Fire on Colorism appeared first on KPFA.

Trevor Thompson is a Canadian sports broadcaster known for his 25-year tenure as a reporter, anchor, and host with FanDuel Sports Network Detroit (formerly Fox Sports Detroit and Bally Sports Detroit where he primarily covered the Detroit Red Wings and Detroit Tigers.Originally from Dresden, Ontario, he began his career in Vancouver as an in-house announcer and sideline reporter for the NBA's Grizzlies and NHL's Canucks, later working as a reporter for CTV Sportsnet in Toronto covering the Maple Leafs, Raptors, Blue Jays, and CFL's Argonauts. He joined the Detroit regional sports network in 2000 and became a fixture in local sports coverage through multiple ownership and branding changes.Thompson's on-air work included the popular segment "Trev Takes On," in which he tested his hockey skills against Red Wings players such as Pavel Datsyuk and Dylan Larkin. He has won eight Michigan Regional Emmy Awards for his reporting and hosting, and in 2020 he received the Ty Tyson Award from the Detroit Sports Broadcasters Association. In May 2025, his full-time position with the network was eliminated following the Red Wings' regular season, but he returned later that year as a rink-side reporter for the team's broadcasts. He also co-hosts the Bleav in Lions podcast with former Detroit Lions player Glover Quin. Trevor Thompson grew up in Dresden, Ontario, Canada. He graduated from Conestoga College in Kitchener, Ontario, where he played basketball, and attended what is now Toronto Metropolitan University (formerly Ryerson University) in Toronto. He was honored by the Dresden Sports Hall of Fame in 2025 for his contributions to sports broadcasting.Thompson began his broadcasting career in Vancouver, serving as an in-house announcer and sideline reporter for the NBA's Vancouver Grizzlies and NHL's Vancouver Canucks. He later worked for over two years as a reporter at CTV Sportsnet in Toronto, covering the Toronto Maple Leafs, Toronto Raptors, Toronto Blue Jays, and Toronto Argonauts of the CFL. In 2000, he joined the Detroit regional sports network (later known as Fox Sports Detroit, Bally Sports Detroit, and FanDuel Sports Network Detroit), where he spent 25 years primarily covering the Detroit Red Wings and Detroit Tigers through various ownership changes. His work featured segments like "Trev Takes On," and he earned recognition including seven Michigan Regional Emmy Awards and the 2020 Ty Tyson Award. Following the elimination of his full-time role in May 2025, he returned as a rink-side reporter for FanDuel Sports Network Detroit's Red Wings broadcasts in the 2025-26 season. He continues to co-host the Bleav in Lions podcast.#trevorthompson #reporter #host #detroitredwings #detroittigers #fuelduelsportsnetworkdetroit #chrispomay #livewithcdptalkshow #barrycullenchevroletdealership https://x.com/iamtrevort  / trevor-thompson-5415247  https://beacons.ai/chrisdpomay https://www.cameo.com/chrispomay book a personalized video message from yours truly CDP! https://www.paypal.com/paypalme/chris... if you wish to support my media content on my You Tube Channel. https://podcasts.apple.com/ca/podcast...https://www.barrycullen.com/Want to create live streams like this? Check out StreamYard: https://streamyard.com/pal/d/54200596...

About This Episode In this episode of Stageworthy, host Phil Rickaby speaks with acclaimed playwright, actor, and screenwriter Anusree Roy about her newest play, Through the Eyes of God, now onstage at Theatre Passe-Muraille. The conversation explores Roy's evolving artistic process, the deeply personal roots of her storytelling, and her journey between theatre and television writing. In this episode: Writing as an act of witnessing and responsibility The emotional and ethical weight of socially engaged theatre Navigating the Canadian theatre landscape as a playwright of colour Collaboration, trust, and the rehearsal room as community Sustaining an artistic life while carrying urgent stories And much more! Guest:

We explore the plight of the homeless in downtown Toronto with Stephen Armstrong and Bob Duff, by focussing on the St Simons Shelter in Cabbagetown. “The measure of a society is found in how they treat their weakest and most helpless citizens”…. Abraham Lincoln. “A nation's greatness is measured by how it treats its weakest members.” ~ Mahatma Ghandi   Guest Bio Our guest today is Bob Duff who was a guest in 2017, and again in 2023. Bob is the executive director of the St Simons Shelter for the homeless in the Cabbagetown area of downtown Toronto – now located in the Isabella Hotel. Bob shared his personal story of his trajectory from Bay Street family man, to homelessness, to becoming a tireless front-line worker with the downtown homeless population. He holds Degrees: B.A. in journalism from Ryerson University, and a MA economics from University of Ottawa, and a Juris Doctorate from Stetson University Florida.   For career counselling for you or someone you care about, start with a free discovery call: careercycles.com For gamified, story-based professional development, learn about and schedule a demo of Who You Are Matters!

Kann man Montage unterrichten? Kann man Intuition und Kreativität in einem Seminarraum weitergeben? Oder ist der Schneideraum ein mystischer Ort, dessen Gesetze man nur durch jahrelanges, einsames Schneiden erlernt? Diese Fragen sind so alt wie die Filmschulen selbst. Doch wenn jemand vom Schauspiel vor die Kamera stolpert, um dann dahinter seine wahre Berufung zu finden, lohnt es sich, genau zuzuhören. Heute geht es im „Credit to the Edit Podcast" um genau diesen Spagat zwischen Theorie und Praxis. Wir sprechen darüber, wie man Studierenden die Angst vor dem leeren Timeline-Fenster nimmt und warum das Drehbuch manchmal nur eine höfliche Empfehlung ist. Zu Gast ist der Filmeditor Kaya Inan, der nicht nur preisgekrönte Filme  montiert, sondern sein Wissen auch u.a. an der Filmakademie Baden-Württemberg weitergibt. Dabei geht es weniger um den erhobenen Zeigefinger, als vielmehr um das „Hosen runterlassen": Kaya berichtet entwaffnend ehrlich, warum er seinen Studierenden auch mal seine misslungenen Rohschnitt-Fassungen zeigt und weshalb ein „Safe Space" im Schneideraum wichtiger ist als jedes Tastaturkürzel. Kaya Inans Weg zur Montage war dabei alles andere als geradlinig. Ursprünglich wollte er Schauspieler werden und landete über ein Casting in einer Gratiszeitung sogar in einem Kinofilm. Doch am Set faszinierte ihn nicht das Rampenlicht, sondern das, was danach passierte. Der Besuch im Schneideraum wurde zur Initialzündung. Heute vermittelt er genau diese Faszination in Seminaren. Zu Gast Kaya Inan, 1983 im schweizerischen Muri als Sohn türkischer Gastarbeiter geboren, ist ein vielfach ausgezeichneter Filmeditor, der zwischen Schweiz und Deutschland arbeitet. Über ein Streetcasting landete er als Neunzehnjähriger zunächst als Schauspieler in der Schweizer Komödie „Achtung, fertig, Charlie!", entdeckte dort aber seine Leidenschaft für den Schnitt und studierte von 2006 bis 2011 Montage an der Filmakademie Baden-Württemberg, inklusive eines Auslandsjahres an der Ryerson University in Toronto. Heute montiert Kaya Spiel- und Dokumentarfilme wie „Above and Below", „Cahier Africain", „In den Gängen", „Wanda, mein Wunder", „Papa Moll und die Entführung des fliegenden Hundes" oder die Serie „Hausen" und wurde u. a. zweimal mit dem Schweizer Filmpreis für die beste Montage sowie dem Bild-Kunst Schnitt Preis ausgezeichnet. Er ist Mitglied der Schweizer, der Deutschen und der Europäischen Filmakademie und gibt seine Erfahrung als Lehrender an Filmhochschulen wie der Filmakademie Baden-Württemberg und der Zürcher Hochschule der Künste weiter, wo er mit Seminaren zu szenischer und musikalischer Montage die nächste Generation von Filmeditor:innen begleitet.  Hört rein, wenn ihr wissen wollt, warum man Filme manchmal am besten lernt, wenn man sie komplett neu erfindet – und warum selbst erfahrene Editoren manchmal nicht weiterwissen (und das völlig okay ist).   Timeline-Shortcuts 00:00 Anmoderation 03:20 Kann man Montage lehren? 05:55 Vom Schauspieler zum Editor: Kayas Werdegang 15:34 „Entschleunigung": Die Kunst des Sichtens 18:40 Dozent oder Editor? Über Ehrlichkeit im Unterricht 28:00 In die Figur hineinversetzen: Empathie als Schnittwerkzeug 38:30 Musikalische Montage & „Above and Below" 43:10 Seminar „Reinventing the Scene": Das Drehbuch als Option 52:56 Kategorien feat. Liv, Jolle, Revan und Viola ❤️ 01:05:41 Abmoderation Weiterführende Links Kaya Inan – Wikipedia Filmakademie Baden-Württemberg

Realije The Beatbox Emcee is a multidisciplinary artist whose craft is inspired through the foundations of hip hop culture. He has been beatboxing and emceeing for 10 years. Realije graduated from Etobicoke School of the Arts as a Drama Major in 2012 and later went to and graduated from Ryerson University for Environment and Urban Sustainability in 2017. Throughout his time in university he threw his own DIY shows and workshops at a student co-op he lived at. He also was the events curator for the student group on campus called Urban Hip Hop Union. He continues to curate his own and collaborate with other parties to produce underground local arts and music events in Toronto and Vancouver.

LAZARUS BLACK Writers of the Future Winner – Biography Lazarus Black is an American author of genre fiction living under the shadow of a Pacific Northwest volcano with three Goddesses, his wife and two daughters. “Psychic Poker” is Lazarus's first sale, but hardly his last. It juxtaposes poker, the synthesis of probability and human behavior, with psychic powers, the solution to both probability and the chaos of free will. What if every player is psychic? What if no player has an advantage? What if their lives are at stake? But the strength of the story is in the reluctant main character: Tyson Young, a middle-aged Aussie with an acute wit. Lazarus writes from life. His stories are inspired by the diverse communities he has lived in, plus friends and family across the globe. He specifically attacks stereotypes and reinvents tropes to reflect authentic experiences that are sometimes stranger than fiction. He once earned a free funeral until the mortician learned his name was Lazarus and a good laugh was had by all (bystanders included). A true lover of learning, Lazarus has traversed North America dozens of times, has been a professional artist, advertising creative, software developer, database designer, epigrapher, executive, educator, inventor, game designer, pool hustler, heathen clergyman, machinist's apprentice, glass blower, scholar, actor, many other roles, and now published author of fiction. He hopes you enjoy “Psychic Poker” and look forward to reading more from him in the future. For more about Lazarus go to www.lazarus.black ROBERT J. SAWYER Bestselling Author, Writers of the Future Judge – Biography Dr. Robert J. Sawyer, called “the dean of Canadian science fiction” by The Ottawa Citizen, has won all three of the science fiction field's top honors for best novel of the year, the Hugo, the Nebula and the John W. Campbell Memorial Award, as well as eleven Canadian Science Fiction and Fantasy Awards (Auroras). The ABC TV series Flash Forward was based on his novel of the same name. Maclean's: Canada's Weekly Newsmagazine says, “By any reckoning, Sawyer is among the most successful Canadian authors ever.” Sawyer's novels are top-ten mainstream bestsellers in Canada. His twenty-three novels include Frameshift, Factoring Humanity, Calculating God, Wake and the Neanderthal Parallax trilogy: Hominids, Humans, Hybrids. He's often seen on TV, including such programs as Rivera Live with Geraldo Rivera, Canada AM and Saturday Night at the Movies, and he's a frequent science commentator for Discovery Channel Canada, CBC Newsworld and CBC Radio. Sawyer holds an honorary doctorate from Laurentian University and has taught writing at the University of Toronto, Ryerson University, Humber College, the National University of Ireland and the Banff Centre. He edits Robert J. Sawyer Books, the science fiction imprint of Red Deer Press. He was born in Ottawa in 1960, and now lives near Toronto with his wife, poet Carolyn Clink. He has served as a judge since 2005. “The list of past winners and runners-up reads like a Who's Who of the last quarter century of the SF/F field. And the physical anthologies—packed with brilliant stories and thoughtful essays, all wonderfully illustrated by the artist winners—is always a joy to behold: a terrific book, and a terrific launch to the careers of the latest batch of the very best new writers in the field.” —Robert J. Sawyer Find out more at: www.sfwriter.com

Greg Marchildon speaks with Dr Esyllt W. Jones about her Book Radical Medicine (ARP Books). Jones is Professor in the Department of History at the University of Manitoba. This recording was produced by Michael Smith at Ryerson University. If you like our work, please consider supporting it: bit.ly/support_WTY. Your support contributes to the Champlain Society's mission of opening new windows to directly explore and experience Canada's past.

In today's episode, we explore the challenges and ethical considerations of artificial intelligence development with Dr. Christopher DiCarlo, a revolutionary philosopher, professor, and AI ethicist. Is proactive governance necessary in this topic area? Is artificial intelligence capable of surpassing human intelligence? Tune in to decide for yourself! Dr. DiCarlo is the author of Building a God: The Ethics of Artificial Intelligence and the Race to Control It, a book that addresses the future of AI and whether ethical governance can be achieved by identifying the key components, obstacles, and points of progress gained so far by the global community. He can often be found teaching in the Faculty of Philosophy at the University of Toronto and the Life Institute at Ryerson University in Toronto. Join in now to discover: How philosophical ideas extend into science to help us better understand why humans reason the way they do. The benefits of learning the “relation of systems” and “information theory.” How to get the very best that AI has to offer while limiting the very worst that could happen. What “chain of thought” system is, and what it means for the capacity of large language models. From healthcare and education to manufacturing and sustainability, AI-powered tools will likely improve productivity and enhance how massive global industries operate. However, it may be necessary to proceed with caution in order to avoid irreversible harm… To learn more about Dr. DiCarlo and his ongoing work, be sure to visit his website! Episode also available on Apple Podcast: http://apple.co/30PvU9C Upgrade Your Wallet Game with Ekster!  Get the sleek, smart wallet you deserve—and save while you're at it! Use coupon code FINDINGGENIUS at checkout or shop now with this exclusive link: ekster.com?sca_ref=4822922.DtoeXHFUmQ5  Smarter, slimmer, better. Don't miss out!

Patrice Dutil speaks with Christopher Moore about the infamous massacre that took place in May 1754 that sparked the Seven-Year War. Christopher Moore writes “History News”, a very popular blog on Canadian History (christophermoorehistory.blogspot.com) and is the author of a dozen books including Three Weeks in Quebec City: The Meeting that Made Canada (Allen Lane). This podcast was produced by Hugh Bakhurst in the Allan Slaight Radio Institute at Ryerson University. See this “Finding” on the same topic: George Washington's French Canadian Victims, 1754 If you like our work, please consider supporting it: https://bit.ly/support_WTY. Your support contributes to the Champlain Society's mission of opening new windows to directly explore and experience Canada's past.

Patrice Dutil discusses the significance of the founding of the Parti québécois by René Lévesque on 11 October 1968 with Xavier Gélinas, a specialist on the Québec "Quiet Revolution" and curator of Politics at the Canadian Museum of History. This podcast is available in French on Témoins d'hier. This podcast was produced by Naomi Katz and Richard Anstey in the Allan Slaight Radio Institute at Ryerson University. If you like our work, please consider supporting it: bit.ly/support_WTY. Your support contributes to the Champlain Society's mission of opening new windows to directly explore and experience Canada's past.

Are you a business owner approaching retirement or just starting to think about a future sale? In this episode of Retirement Planning Simplified, Joe sits down with Matt Holmes, partner at Homes Riseleys CPA, to uncover the biggest mistakes business owners make when it comes to succession planning and selling their business and how to avoid them. He explains new tax rules for 2024 and how they can affect business sales, including updates to the capital gains exemption, AMT, and anti-avoidance legislation.  Matt brings decades of tax and structuring experience to this conversation covering everything from tax-saving strategies to real-life horror stories of owners who waited too long to plan.  Here's what you're in for: 00:00 Common Mistakes in Business Value Creation 04:26 Importance of Planning for Unexpected Sales 07:28 Successful Business Transitions 11:07 Structuring and Tax Advisory for Business Owners 20:34 Nuances of Selling to Family vs. Third Parties 25:30 New Rules and Legislation for 2024 32:48 Conclusion   ABOUT MATT HOLMES Matt Holmes is a seasoned tax advisor with over 25 years of experience helping small to medium-sized business owners achieve their goals through tailored business, tax, and accounting strategies. A Chartered Accountant and graduate of Ryerson University, Matt specializes in corporate reorganizations, estate planning, and succession strategies for owner-managed businesses across industries like healthcare, real estate, and tech. His expertise lies in tax minimization and wealth maximization, particularly during business transitions, sales, and generational transfers. You can reach out to Matt through: LinkedIn:https://www.linkedin.com/in/matt-holmes-15294b14 Website: https://www.holmescpa.ca (Company)   ABOUT JOE  CURRY Joe Curry is the host of Business and Exit Planning Simplified and the owner and lead financial planner at Matthews + Associates in Peterborough, Ontario. A Certified Financial Planner and Certified Exit Planning Advisor, Joe is passionate about helping business owners maximize value, plan successful exits, and find purpose beyond their business. His mission is to ensure clients retire with confidence—financially secure and personally fulfilled. You can reach out to Joe through: LinkedIn: https://www.linkedin.com/in/curryjoe Website: https://www.retirementplanningsimplified.ca/   https://www.facebook.com/RetirementPlanningSimplified/                https://matthewsandassociates.ca/    ABOUT BUSINESS AND EXIT PLANNING SIMPLIFIED The Business and Exit Planning Simplified podcast offers clear, actionable guidance to help business owners maximize value, plan successful exits, and achieve financial freedom. Hosted by Joe Curry, a Certified Financial Planner and Certified Exit Planning Advisor, each episode delivers expert insights, real-life case studies, and practical strategies tailored for service-based entrepreneurs approaching retirement. The podcast empowers listeners to transition with clarity, confidence, and a renewed sense of purpose. —------------------------------------------------------------- Disclaimer: Opinions expressed are those of Joseph Curry, a registrant of Aligned Capital Partners Inc. (ACPI), and may not necessarily be those of ACPI. This video is for informational purposes only and not intended to be personalized investment advice. The views expressed are opinions of Joseph Curry and may not necessarily be those of ACPI. Content is prepared for general circulation and information contained does not constitute an offer or solicitation to buy or sell any investment fund, security or other product or service.  

Greg Marchildon discusses the significance of this event of a hundred years ago with Patrice Dutil and David MacKenzie, authors of "Embattled Nation: Canada's Wartime Election of 1917" (Dundurn Press). This podcast was produced by Sumeet Dhami and Pernia Jamshed in the Allan Slaight Radio Institute at Ryerson University. If you like our work, please consider supporting it: bit.ly/support_WTY. Your support contributes to the Champlain Society's mission of opening new windows to directly explore and experience Canada's past.

Host Sarah Burke interviews Cristina Howorun about her journey from traffic reporter to award-winning journalist at City TV, despite her health challenges. Cristina discusses kidney disease and her experience getting a kidney transplant which eventually began to fail. She finds herself going through the same search to find a living donor as she faces kidney failure again. Cristina emphasizes the importance of mentorship and support from other women in the industry, and she highlights her commitment to investigative journalism and social issues. More About Cristina Howorun: After earning a Master's degree in Political Studies from Queen's University and working for the federal government, she answered her true calling and became a journalist. Cristina earned a degree in Broadcast Journalism from Ryerson University while flying around in a helicopter delivering traffic reports for a variety of radio and TV stations. After graduating, she worked as a Political Affairs reporter for CTV News Windsor and CTV News London before landing at CityTV in Toronto.  Cristina has covered every election since 2008, she's been embedded with the troops in the Mojave Desert, tracked down a suspected terrorist in Libya, exposed shocking levels of abuse and negligence in long-term care homes and shined a light on the dangerous living and working conditions in Ontario's jails. Six years ago, Cristina received a lifesaving kidney transplant from her cousin- but in 2024 was once again diagnosed with end stage kidney disease. She is currently on dialysis- but has not let that stop her from continuing her passion for journalism, story telling and has even completed several specials and a documentary while undergoing life-sustaining therapies. She has several projects on the go, and her latest documentary “My Fake Billionaire Boyfriend” is expected to premiere on CityTV by early summer. https://www.instagram.com/howorun/ “Prison Moms”- https://toronto.citynews.ca/video/2023/05/29/full-episode-prison-moms-veracity/  "The Gun Chase"  https://toronto.citynews.ca/video/2021/04/22/full-episode-veracity-the-gun-chase-a-documentary-about-torontos-gun-problem/  "Fighting Traffick"  https://toronto.citynews.ca/video/2021/10/25/full-episode-veracity-fighting-traffick/  Debt to Society https://toronto.citynews.ca/video/2024/08/26/full-episode-debt-to-society-veracity/ Breaking Brethren   https://toronto.citynews.ca/video/2022/03/28/full-episode-veracity-breaking-brethren/  The Long Road Home  https://toronto.citynews.ca/video/2023/02/27/full-episode-the-long-road-home-veracity/ Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode of Subtext & Discourse Art World podcast is brought to you by AIPAD and The Photography Show. AIPAD represents fine art photography galleries around the world and is proud to present the 2025 edition of its flagship event, The Photography Show. The fair will showcase photography from the earliest processes to cutting-edge contemporary work that pushes the boundaries of the medium, from April 23 – 27 at The Park Avenue Armory in New York City. Go to www.aipad.com/show for more information and to plan your visit.   The Association of International Photography Art Dealers (AIPAD) encourages public support of fine art photography through education and communication by enhancing the confidence of the public in responsible photography collecting. First organized in 1979, AIPAD and its current members span the globe with members in North and South America, Australia, Europe and Asia. AIPAD has become a unifying force in the field of photography and is dedicated to creating and maintaining high standards in the business of exhibiting, buying and selling photographs as art. - AIPAD official website https://www.aipad.com/ - Follow AIPAD on Instagram https://www.instagram.com/aipadphoto/ - Talks programme by AIPAD on YouTube https://www.youtube.com/@aipadphoto   Lee Marks (Lee Marks Fine Art) was a founding member of AIPAD and was President from 1991 until 1995. Established in 1981, LMFA represents a small stable of international photographers and presents bi-monthly, online exhibitions by theme or represented artists. She also advises collectors on other photography acquisitions as well as insurance appraisals. - Lee Marks Fine Art official website https://www.leemarksfineart.com/ - Membership page on AIPAD https://www.aipad.com/member/lee-marks-fine-art - Follow Lee Marks on instagram - https://www.instagram.com/lee.marks.9809/   Robert Klein (Robert Klein Gallery) was an early member of AIPAD and was President from 1995 until 2008. Robert Klein Gallery was established in 1980 and maintains an extensive and ever-changing inventory of 19th-century, 20th-century, and contemporary fine art photography. During his tenure, Robert engineered the 2006 expansion of The AIPAD Photography Show New York to the Park Avenue Armory, firmly establishing it as one of the leading photographic fairs in the world. - Robert Klein Gallery official website https://www.robertkleingallery.com/ - Membership page on AIPAD https://www.aipad.com/member/robert-klein-gallery - Follow Robert Klein Gallery on instagram https://www.instagram.com/robertkleingallery/   Stephen Bulger (Stephen Bulger Gallery) served on the Board beginning in 2001 and became First Vice President in 2003. He was President from 2009 until 2012. Stephen Bulger Gallery, Toronto, opened in 1995, and offers an active exhibition schedule of 19th century, 20th century and contemporary international photographers. He has published numerous catalogues and books, and has curated over 120 exhibitions. Stephen is also co-founder and a member of the Board of CONTACT, Toronto's photography festival. He is a graduate of the School of Image Arts at Ryerson University, Toronto, where he was the founding Manager of the Ryerson Gallery.  - Stephen Bulger Gallery official website https://www.bulgergallery.com/ - Membership page on AIPAD https://www.aipad.com/member/stephen-bulger-gallery - Follow Stephen Bulger on instagram https://www.instagram.com/stephen.bulger/ and his gallery https://www.instagram.com/stephenbulgergallery/   Richard Moore (Richard Moore Photographs) served on the AIPAD Board of Directors for 12 years and was President from 2017 until 2021. RICHARD MOORE PHOTOGRAPHS, founded in 2000, is a private dealer of photographs, primarily vintage works by 19th and 20th century American photographers. Specialties include California photography, The Photo-Secession, Group f/64, Dorothea Lange,  Farm Security Administration (FSA) photographers, Social Documentary photography and Photo-journalism. - Richard Moore Photographs official website https://www.richardmoorephoto.com/ - Membership page on AIPAD https://www.aipad.com/member/richard-moore-photographs - Follow Richard Moore Photographs on instagram https://www.instagram.com/richardmoorephoto/   Michael Dooney https://beacons.ai/michaeldooney This episode of Subtext & Discourse Art World Podcast was recorded on 21. March 2025 between Perth (AU), Toronto (CA), Shelbyville, IL, Oakland, CA, and Boston, MA (US).

Greetings & welcome back to the podcast. This episode we are joined by Mrs. Amber Kanwar – host of the In the Money Podcast - a video podcast where Amber sits down with a top portfolio managers to deliver insights & advice on investing to everyday investors. New episodes are out every Tuesday and Thursday, and are available on YouTube, Apple, Spotify or wherever you get your podcasts. Prior to launching the In the Money Podcast, Mrs. Kanwar spent ~15 years at BNN Bloomberg where she interviewed hundreds of portfolio managers, CEOs, political leaders and newsmakers - working her way up from intern, to segment producer and anchor.Mrs. Kanwar also earned a masters of journalism degree at Ryerson University, and a Bachelor of Management & Organizational Studies at Western University. Among other things we discussed Building a New Media Company, the Art of Conversation & 15 Years at BNN.Enjoy.Thank you to our sponsors.Without their support this episode would not be possible:Connate Water SolutionsATB Capital MarketsBroadbill EnergyJSGEPACAstro Rentals Support the show

In today's episode, we explore the challenges and ethical considerations of artificial intelligence development with Dr. Christopher DiCarlo, a revolutionary philosopher, professor, and AI ethicist. Is proactive governance necessary in this topic area? Is artificial intelligence capable of surpassing human intelligence? Tune in to decide for yourself! Dr. DiCarlo is the author of Building a God: The Ethics of Artificial Intelligence and the Race to Control It, a book that addresses the future of AI and whether ethical governance can be achieved by identifying the key components, obstacles, and points of progress gained so far by the global community. He can often be found teaching in the Faculty of Philosophy at the University of Toronto and the Life Institute at Ryerson University in Toronto.  Join in now to discover: How philosophical ideas extend into science to help us better understand why humans reason the way they do.  The benefits of learning the “relation of systems” and “information theory.” How to get the very best that AI has to offer while limiting the very worst that could happen. What “chain of thought” system is, and what it means for the capacity of large language models. From healthcare and education to manufacturing and sustainability, AI-powered tools will likely improve productivity and enhance how massive global industries operate. However, it may be necessary to proceed with caution in order to avoid irreversible harm… To learn more about Dr. DiCarlo and his ongoing work, be sure to visit his website! Episode also available on Apple Podcast: http://apple.co/30PvU9C Upgrade Your Wallet Game with Ekster!  Get the sleek, smart wallet you deserve—and save while you're at it! Use coupon code FINDINGGENIUS at checkout or shop now with this exclusive link: ekster.com?sca_ref=4822922.DtoeXHFUmQ5  Smarter, slimmer, better. Don't miss out!

Andrew Barnsley is an Emmy and Golden Globe-winning Executive Producer based in Toronto and Los Angeles. A six-time Canadian Screen Award winner, he has produced acclaimed series such as Schitt's Creek, Son of a Critch, JANN, and Kids in the Hall. With a career spanning comedy, documentary, and drama, Andrew has played a key role in shaping Canadian television. He is also the President of Toronto Film School and an active member of industry organizations, including the Producers Guild of America. He holds degrees from Ryerson University, York University, and St. Thomas University. https://www.torontofilmschool.ca/ https://project10.ca/ @rabarnsley Connect with your host Kaia all Alexander: https://entertainmentbusinessleague.com/ https://twitter.com/thisiskaia  Produced by Stuart W. Volkow P.G.A. Get career training and a free ebook “How to Pitch Anything in 1 Min.” at www.EntertainmentBusinessLeague.com 0:09 Welcome to Hollywood Wolfpack 10:10 Building Momentum in Your Career 21:37 The Importance of Vulnerability 25:19 Genuine Connections in the Industry 36:15 Evolution of Comedy in Television 40:31 The Heart of Comedy Pitches Summary In this episode of Hollywood Wolfpack, Kaia converses with Andrew Barnsley, an Emmy and Golden Globe-winning executive producer renowned for his influential work in television, particularly with shows like Schitt's Creek, Son of a Critch, and Kids in the Hall. Andrew brings a wealth of experience and knowledge to the conversation, offering valuable insights into the landscape of comedy and storytelling within the entertainment industry. His journey began in a small town in Alberta, Canada, and evolved into a significant career that spans multiple genres including drama, documentary, and comedy. Kaia goes deep into Andrew's early inspirations and how his entrepreneurial spirit and love for comedy shaped his path in the entertainment business. He candidly shares how he found himself drawn to television production without a clear roadmap, navigating through various challenges with a mindset focused on creating opportunities. Andrew reflects on key moments in his career that led to breakthrough successes, emphasizing the importance of resilience in an industry filled with rejection and competition. His perspective reveals how embracing discomfort and learning from failures can catalyze growth and evolution within one's career. Andrew discusses the intricacies of developing successful comedy that transcends cultural boundaries, shedding light on the evolution of comedic storytelling over the past few decades. He points out that today's successful comedies often rely less on traditional joke formulas and more on character-driven narratives that resonate on a universal level. This shift is exemplified in shows like Schitt's Creek, which reached a global audience and fostered conversations about important social topics through humor. We also explore the significance of mentorship in Andrew's life, as he discusses the relationships he has cultivated throughout his career. He stresses the value of building genuine connections rather than engaging in conventional networking, offering advice to aspiring professionals on how to find their own "wolf packs" in the industry. This focus on community and collaboration highlights the importance of surrounding oneself with supportive peers and mentors who can provide guidance and encouragement. Learn more about your ad choices. Visit megaphone.fm/adchoices

Canadian based Romanian Hyperrealist Artist Sinziana Iordache specializes in detailed graphite drawings of luxury watches. Sinziana's produces photorealistic and hyperrealistic drawings with each meticulously placed stroke, every shade and tone carefully chosen. Her artworks reflect not just timepieces but the epitome of horological elegance.  Sinziana was born in Constanta, Romania in July,1986, the only child of Elena Chris, an accountant and web designer, and Ion Iordache, a consultant and trainer in security management. While she was still a toddler, her family moved west to Resita near the Serbian border—her father was serving as a captain in the military—and where she says she had a very happy childhood. Her mother's interest in precision art appealed to Sinziana from an early age and she would easily amuse herself for hours. Education began at the Traian Vuia High School and Politehnica University, Timisoara studying architecture before Sinziana moved to Canada in 2007 following her mother and step-father who had emigrated in 2003. Sinziana attended the Ryerson University in Toronto where she studied Interior Design which would become the catalyst for her starting her own business. Nowadays she is a partner at Unfold Creative Studio and spends much of her time outside the business on drawing luxury watches, which can be time consuming. It can take 150 hours to draw one watch. Sinziana lives in Toronto with her partner, the artist Alex Sauret and her cat. Sinziana's links:https://sinzianaiordache.com/'https://www.instagram.com/sinzianaiordache Some of Sinziana's favorite artists:Elizabeth Waggett (painting, drawing)Kit King (painter) CJ Hendry (hyperrealist)Golsa Golchini (painter)Vanessa Hogge (ceramist)Karen Konzuk (jewelry)Heather Knight (ceramist)Gaby Wormann (mechanical art)Carla Grace (wildlife painter)Zai Divecha (paper artist)Lauren Williams (textile artist)Julia Ibbini (paper art) Host: Chris Stafford@theaartpodcast on InstagramThe AART Podcast on YouTubeEmail: theaartpodcast@gmail.com Produced by Hollowell StudiosBecome a supporter of this podcast: https://www.spreaker.com/podcast/wisp--4769409/support.

Canadian based Romanian Hyperrealist Artist Sinziana Iordache specializes in detailed graphite drawings of luxury watches. Sinziana's produces photorealistic and hyperrealistic drawings with each meticulously placed stroke, every shade and tone carefully chosen. Her artworks reflect not just timepieces but the epitome of horological elegance.  Sinziana was born in Constanta, Romania in July,1986, the only child of Elena Chris, an accountant and web designer, and Ion Iordache, a consultant and trainer in security management. While she was still a toddler, her family moved west to Resita near the Serbian border—her father was serving as a captain in the military—and where she says she had a very happy childhood. Her mother's interest in precision art appealed to Sinziana from an early age and she would easily amuse herself for hours. Education began at the Traian Vuia High School and Politehnica University, Timisoara studying architecture before Sinziana moved to Canada in 2007 following her mother and step-father who had emigrated in 2003. Sinziana attended the Ryerson University in Toronto where she studied Interior Design which would become the catalyst for her starting her own business. Nowadays she is a partner at Unfold Creative Studio and spends much of her time outside the business on drawing luxury watches, which can be time consuming. It can take 150 hours to draw one watch. Sinziana lives in Toronto with her partner, the artist Alex Sauret and her cat. Sinziana's links:https://sinzianaiordache.com/'https://www.instagram.com/sinzianaiordache Some of Sinziana's favorite artists:Elizabeth Waggett (painting, drawing)Kit King (painter) CJ Hendry (hyperrealist)Golsa Golchini (painter)Vanessa Hogge (ceramist)Karen Konzuk (jewelry)Heather Knight (ceramist)Gaby Wormann (mechanical art)Carla Grace (wildlife painter)Zai Divecha (paper artist)Lauren Williams (textile artist)Julia Ibbini (paper art) Host: Chris Stafford@theaartpodcast on InstagramThe AART Podcast on YouTubeEmail: theaartpodcast@gmail.com Produced by Hollowell StudiosBecome a supporter of this podcast: https://www.spreaker.com/podcast/aart--5814675/support.

In part two of our three-part series “Voices,” we feature an exciting new voice in the world of sound studies, Stacey Copeland.  In part one last month, we examined the role voices play in professional sports and unpacked some of the understandings of ability and masculinity that inform the sound of the quarterback's voice in the NFL. Copeland's audio documentary, “This is the Sound of My Voice,” examines another group of professionals—women broadcasters and podcasters, who struggle with sonic sexism from male colleagues, audiences, and sometimes, even themselves. The documentary was originally presented on radio in three parts, but Stacey graciously edited a shorter version for this episode of Phantom Power. Stacey Copeland is a media producer and Joseph-Armand Bombardier (CGS) Ph.D. candidate at Simon Fraser University's School of Communication in Vancouver, Canada. She received her Master of Arts from the Ryerson York joint Communication and Culture graduate program where she studied with a focus on radio production, sound studies, media culture and gender studies. She completed her Bachelor of Arts in Radio and Television Arts from Ryerson University with a minor in English and a specialization in audio production for radio, music and film. It was during her Master's work that Copeland co-founded FemRadio, a Toronto, Canada based feminist community radio collective. Currently, she is the supervising producer at Amplify Podcast Network, a collaborative project dedicated to reimagining the sound of scholarship. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In part two of our three-part series “Voices,” we feature an exciting new voice in the world of sound studies, Stacey Copeland.  In part one last month, we examined the role voices play in professional sports and unpacked some of the understandings of ability and masculinity that inform the sound of the quarterback's voice in the NFL. Copeland's audio documentary, “This is the Sound of My Voice,” examines another group of professionals—women broadcasters and podcasters, who struggle with sonic sexism from male colleagues, audiences, and sometimes, even themselves. The documentary was originally presented on radio in three parts, but Stacey graciously edited a shorter version for this episode of Phantom Power. Stacey Copeland is a media producer and Joseph-Armand Bombardier (CGS) Ph.D. candidate at Simon Fraser University's School of Communication in Vancouver, Canada. She received her Master of Arts from the Ryerson York joint Communication and Culture graduate program where she studied with a focus on radio production, sound studies, media culture and gender studies. She completed her Bachelor of Arts in Radio and Television Arts from Ryerson University with a minor in English and a specialization in audio production for radio, music and film. It was during her Master's work that Copeland co-founded FemRadio, a Toronto, Canada based feminist community radio collective. Currently, she is the supervising producer at Amplify Podcast Network, a collaborative project dedicated to reimagining the sound of scholarship. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

In part two of our three-part series “Voices,” we feature an exciting new voice in the world of sound studies, Stacey Copeland.  In part one last month, we examined the role voices play in professional sports and unpacked some of the understandings of ability and masculinity that inform the sound of the quarterback's voice in the NFL. Copeland's audio documentary, “This is the Sound of My Voice,” examines another group of professionals—women broadcasters and podcasters, who struggle with sonic sexism from male colleagues, audiences, and sometimes, even themselves. The documentary was originally presented on radio in three parts, but Stacey graciously edited a shorter version for this episode of Phantom Power. Stacey Copeland is a media producer and Joseph-Armand Bombardier (CGS) Ph.D. candidate at Simon Fraser University's School of Communication in Vancouver, Canada. She received her Master of Arts from the Ryerson York joint Communication and Culture graduate program where she studied with a focus on radio production, sound studies, media culture and gender studies. She completed her Bachelor of Arts in Radio and Television Arts from Ryerson University with a minor in English and a specialization in audio production for radio, music and film. It was during her Master's work that Copeland co-founded FemRadio, a Toronto, Canada based feminist community radio collective. Currently, she is the supervising producer at Amplify Podcast Network, a collaborative project dedicated to reimagining the sound of scholarship. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Born in 1975, I fell in love with reading and with sailing at a young age. I had two dreams in life: to write a novel and to sail around the world. In 2009, I finally completed my first novel. My seventh published work, WOOL, became an international bestseller and has been translated into nearly 40 languages. My career as a writer has taken me all around the world; I've met amazing readers everywhere I go, and I've seen some extraordinary places. Now I'm embarking on a journey to complete my second dream, that of sailing around the world. This website is a history of both of those dreams. His website is HughHowey.com. ROBERT J. SAWYER Bestselling Author, Writers of the Future Judge – Biography Dr. Robert J. Sawyer, called “the dean of Canadian science fiction” by The Ottawa Citizen, has won all three of the science fiction field's top honors for best novel of the year, the Hugo, the Nebula and the John W. Campbell Memorial Award, as well as eleven Canadian Science Fiction and Fantasy Awards (Auroras). The ABC TV series Flash Forward was based on his novel of the same name. Maclean's: Canada's Weekly Newsmagazine says, “By any reckoning, Sawyer is among the most successful Canadian authors ever.” Sawyer's novels are top-ten mainstream bestsellers in Canada. His twenty-three novels include Frameshift, Factoring Humanity, Calculating God, Wake and the Neanderthal Parallax trilogy: Hominids, Humans, Hybrids. He's often seen on TV, including such programs as Rivera Live with Geraldo Rivera, Canada AM and Saturday Night at the Movies, and he's a frequent science commentator for Discovery Channel Canada, CBC Newsworld and CBC Radio. Sawyer holds an honorary doctorate from Laurentian University and has taught writing at the University of Toronto, Ryerson University, Humber College, the National University of Ireland and the Banff Centre. He edits Robert J. Sawyer Books, the science fiction imprint of Red Deer Press. He was born in Ottawa in 1960, and now lives near Toronto with his wife, poet Carolyn Clink. He has served as a judge since 2005. “The list of past winners and runners-up reads like a Who's Who of the last quarter century of the SF/F field. And the physical anthologies—packed with brilliant stories and thoughtful essays, all wonderfully illustrated by the artist winners—is always a joy to behold: a terrific book, and a terrific launch to the careers of the latest batch of the very best new writers in the field.” —Robert J. Sawyer Find out more at: www.sfwriter.com

In this episode, David Skok, founder and CEO of The Logic, discusses his journey from traditional journalism to leading a digital-first news outlet. He reflects on his time at The Boston Globe, where he helped the publication transition to a digital subscription model. This experience laid the foundation for his decision to launch The Logic, focusing on Canada's innovation economy and providing high-quality, in-depth reporting.David explains how Clayton Christensen's theory of disruptive innovation influenced his approach to digital media. He saw an opportunity to address gaps in Canadian tech and business coverage, and launched The Logic in 2018. He highlights the challenges of building a digital publication in a space dominated by legacy media and how his publication has carved out its niche by focusing on critical, analytical journalism.The discussion also covers the impact of Bill C-18 on the media landscape in Canada, with David offering insights into how it aims to level the playing field between big tech platforms and smaller news organizations. He also touches on the role of The Logic Summit, an annual event that brings together leaders in tech and business, as part of his broader mission to foster a stronger innovation ecosystem in Canada.And John Ruffolo of Maverix Private Equity joins Matt Cohen to discuss the latest tech and venture capital news.About David Skok:David Skok is the founder and CEO of The Logic, a business news publication focused on Canada's innovation economy, with five bureaus across the country. Backed by the Financial Times, The Logic has become a prominent source of in-depth business journalism under his leadership.With over 25 years of experience, David previously held senior roles at The Toronto Star and The Boston Globe, where he led digital strategy and helped grow BostonGlobe.com's digital subscriptions by 40%. He also co-created Globalnews.ca, one of Canada's leading digital news platforms.David holds a Nieman Fellowship from Harvard University and a Bachelor's degree in journalism from Ryerson University. He also serves on the board of the Online News Association and advisory boards for several journalism institutions.In this episode, we discuss:News Rundown with John Ruffolo:* (01:31) Elon Musk's epic week * (02:00) Discussion on the rise of reusable rocket systems and the implications for space exploration* (03:26) Information Venture Partners (IVP), a Toronto-based venture capital firm, decides not to raise its fourth venture fund, citing market conditions and personal circumstances* (05:00) The trend of venture funds consolidating and shifting towards more niche or special purpose vehicle (SPV) investments is explored* (09:00) Geoffrey Hinton, known as the "AI godfather," wins the 2024 Nobel Prize in Physics for his contributions to AI* (12:00) Shopify President Harley Finkelstein's controversial comments about the lack of ambition in the Canadian tech sector, and the push for more risk-taking in AI development* (14:50) John Ruffolo responds, emphasizing the need for better access to capital and support for Canadian entrepreneurs, rather than a lack of ambition being the primary issue* (19:00) Matt and John discuss the large investments being made in U.S. data center developments and AI infrastructure, noting the contrast with Canada's lack of similar projects* (23:00) A story about Anguilla's earnings from the ".ai" domain surge, and how it now accounts for 20% of the island's government revenueInterview with David Skok:* (24:53) David Skok discusses his early years in journalism and how his experiences shaped his career* (27:21) His experiences at The Boston Globe, leading its transition to a subscription-based model and the lessons learned from that time* (31:00) The evolution of digital content consumption and how consumers' preferences for news have changed* (33:36) Clayton Christensen's disruptive innovation theory on David's decision to start The Logic, and his approach to navigating the shifting media landscape.* (41:55) The founding of The Logic, initial challenges, and the importance of building a subscription-based media outlet* (45:00) The competitive nature of the Canadian media landscape and the challenges of securing talent and resources for a startup media company* (49:13) David explains The Logic Summit, how it serves as a platform for bringing together Canada's innovation and business leaders, and its growing significance* (51:58) The implications of Bill C-18 and how it affects relationships between media outlets and tech platforms like Google and Meta* [56:43] The rise of generative AI, the challenges of copyright for news organizations, and the impact on journalistic integrity* [59:00] David outlines The Logic's approach to using AI and how they manage its integration with journalistic standards.Fast Favorites:* Favorite podcast: Pivot by Kara Swisher and Scott Galloway* Favorite newsletter or blog: Stratechery by Ben Thompson* Favorite tech gadget: His iPhone* Favorite new trend: Generative AI* Favorite book: The Innovator's Dilemma by Clayton Christensen* Favorite CEO to watch: Marc Benioff from SalesforceFollow Matt Cohen and Tank Talks here!Podcast production support provided by Agentbee.ai This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit tanktalks.substack.com

Sara Vanos, Executive Director of Marketing & Admissions for MBA Programs at HEC Paris, discusses what makes the HEC Paris MBA unique, the school's admissions process, career opportunities and more. Topics Introduction to HEC Paris MBA and Sara Vanos (0:00) Program Highlights - What Makes the HEC Paris MBA Unique? (3:20) HEC Paris MBA Admissions & Scholarships - How to Improve Your Chances? (29:15) Career Opportunities after HEC Paris - What to Know & How to Prepare (52:50) About Our Guest Sara Vanos is Executive Director of Marketing & Admissions for MBA Programs at HEC Paris, where she has been for over 10 years. Previously, Sara worked in the careers office for the University of Toronto Rotman. Sara got her EMBA from HEC Paris and her undergraduate degree from Ryerson University. Show Notes HEC Paris Full-time MBA HEC Paris MBA GMAT/GRE Requirements Touch MBA's Writeup & Highlights of HEC Paris MBA MBA Application Resources Get free school selection help at Touch MBA Get pre-assessed by top international MBA programs Get the Admissions Edge Course: Proven Techniques for Admission to Top Business Schools Our favorite MBA application tools (after advising 4,000 applicants)

Originally Published April 21, 2022. Today's guest is John Thibault, an award-winning author and founder of the Silicon Valley startup iLobby. John is the author of the #1 international bestseller How to Change a Law and has a wealth of experience in government affairs, having worked at MCA Universal and serving as the first VP of Business Development and Marketing at eBay. In this episode, he shares how individuals can influence change at both local and national levels, empowering everyday citizens to make a difference. Stay tuned as we delve into actionable steps for transforming your community and beyond!   John Thibault (T-BO) is an award-winning author and the founder of Silicon Valley startup, iLobby. He wrote the #1 International bestseller, bestseller "How to Change a Law,” “Sway” and "The Political Game."   Previously he served in government affairs at MCA/Universal. He was also the first VP of business development and marketing at eBay and the first VP of marketing at Financial Engines. He holds a bachelor's degree from Ryerson University and an MFA from UCLA. He enjoys skiing and lives with his wife and three children in Northern California.   Social Media: X: https://twitter.com/ajohnthibault LinkedIn: https://www.linkedin.com/in/john-thibault/ Facebook: https://www.facebook.com/author.johnthibault/ Website: https://www.ilobbyco.com   Thanks for listening to the show! It means so much to us that you listened to our podcast! If you would like to continue the conversation, please email me at allen@drallenlycka.com or visit our Facebook page at http://www.facebook.com/drallenlycka. We would love to have you join us there, and welcome your messages. We check our Messenger often.   This show is built on “The Secrets to Living A Fantastic Life.” Get your copy by visiting: https://secretsbook.now.site/home   We are building a community of like-minded people in the personal development/self-help/professional development industries, and are always looking for wonderful guests for our show. If you have any recommendations, please email us!   Dr. Allen Lycka's Social Media Links Facebook: http://www.facebook.com/drallenlycka Instagram: https://www.instagram.com/dr_allen_lycka/ Twitter: https://www.twitter.com/drallenlycka LinkedIn: https://www.linkedin.com/in/allenlycka YouTube: https://www.YouTube.com/c/drallenlycka   Subscribe to the show. We would be honored to have you subscribe to the show - you can subscribe on the podcast app on your mobile device

About the Guest(s):Anthony Memme: Anthony Memme is the Digital Print Manager at Atlantic Packaging, with a storied career spanning over three decades in the printing industry. Beginning his journey straight out of university, he's worked at notable organizations such as SGSco before joining Atlantic Packaging. Anthony holds a background in graphic communications and management from Ryerson University (currently Toronto Metropolitan University). His extensive experience in both digital and traditional printing methods allows him to offer deep insights into the evolving landscape of the packaging industry.About the Sponsors:Specright has some amazing things happening! Please check them out below and help support the podcast!* Specright eBook - How to define sustainable packaging strategies!* Gartner Report* Packaging Pros eBook* Home Page* Book a demo with SpecrightMeyers has some incredible sustainable packaging options!* Get the 2023 Sustainability Report* Meyers Packaging EPR eBook - it is FREE!!Get the dopest Packaging shirts at www.packagingfashion.comBook a demo with Trayak (LCA's on demand!)SmartSolve has water soluble label and paper materials. Learn more!The Scrapp App is going to revolutionize home and corporate recycling. Download for your device today!Episode Summary:Welcome to another insightful episode of the People of Packaging podcast, hosted by Adam Peek. In this episode, Adam sits down with Anthony Memme, the Digital Print Manager at Atlantic Packaging. Tune in as they delve deep into the transformative world of digital printing, especially its application in direct-to-corrugated technology. Anthony shares his wealth of experience gathered over 30 years in the printing industry—spanning from the traditional methods to the exciting advancements in digital printing.Throughout the conversation, Adam and Anthony explore the numerous benefits of digital printing over conventional methods, highlighting its agility, quality, and sustainability. With keywords like sustainability in packaging, corrugated digital print, and print quality improvements, the episode enriches listeners with practical insights on how brands and marketers can leverage digital printing technology for more efficient and sustainable operations. Anthony also shares intriguing stories about Atlantic Packaging's innovation journey, including their commitment to manufacturing quality paper products without cutting down a single tree since 1945. This episode is packed with actionable advice and fascinating examples that will be immensely valuable to anyone interested in the future of packaging and digital printing.Key Takeaways:* Versatile Printing Solutions: Digital printing allows for greater agility, enabling quicker changes to graphics and customization for brands, which is proving critical in a fast-paced market environment.* Quality Advancements: Technologies such as Durst's water-based ink print with digital primers have significantly improved print quality on both coated and uncoated corrugated boards.* Sustainability: Digital printing stands out for its minimal waste generation, lower chemical usage, and lack of need for extensive tooling, aligning with green objectives.* Future of Printing: The future of digital printing involves not just innovations in ink technology but also advancements in digital finishing and die-cutting processes.* Market Applications: The flexibility and quality of digital print make it particularly appealing for modern retail and marketing campaigns, enhancing customer engagement through vibrant, varied packaging.Notable Quotes:* "The digital print market, especially directly onto corrugated, has evolved much faster than I anticipated."* "One of the key advantages of digital printing is allowing customers to be agile and adaptable to market demands."* "We have yet to cut a single tree for our paper manufacturing since Atlantic Packaging's inception in 1945."* "The Durst SPC water-based printer achieved a level of quality that rivals traditional litho printing."* "In the world of sustainability, digital printing minimizes waste, setup time, and the use of harmful chemicals."Resources:* Anthony MMemmeemmi LinkedIn: * Atlantic Packaging: Visit Atlantic Packaging* Durst Printing Technology: Durst SPC Digital PrinterWe hope you enjoyed this informative episode! Stay tuned for more enlightening content as the People of Packaging podcast continues to explore the fascinating world of packaging technology and innovation. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.packagingisawesome.com/subscribe

Serial entrepreneur Chris Jones, Founder and President of CANNABIS XPRESS, a leading chain of cannabis retail stores started in Ontario, is back on the podcast to tell us his adventure of expanding his successful store concept to small-town New Brunswick, one of the most innovative markets in Canada. About ChrisChris Jones is an entrepreneur and cannabis industry executive. He is currently the Founder and President of CANNABIS XPRESS, a leading chain of 13 cannabis retail stores in Ontario and New Brunswick, Canada.Previously, he founded another cannabis retail company in Ontario and sold it after it hit a run rate of approximately $15 million via an all-cash sale to a public company. Before entering the retail industry, he was actively involved in and led multiple acquisitions and investments ranging from several million to over a billion dollars during his time at Origin House, later acquired by a top US-based multi-state operator - Cresco Labs.Chris has also developed and taught classes at George Brown College through their School of Continuing Education. One of them more recently was called Cannabis Business Strategy, which includes a lineup of coveted guest speakers such as Bruce Linton (Founder of Canopy Growth Corporation – which was previously the largest cannabis company in the world by market capitalization). He currently teaches a management course at George Brown called Management Fundamentals.Before that, he built his finance and business development experience at two global construction companies based in Canada: EllisDon and Aecon. Additionally, he led business development and negotiations for a boutique trial-focused law firm in Toronto.Outside of work, Chris travels, takes language courses in Spanish, walks his dog, enjoys the outdoors, and is undefeated in Muay Thai. He obtained his Master of Business Administration from McMaster University's DeGroote School of Business and a Bachelor of Commerce from Ryerson University's Ted Rogers School of Management.You can reach Chris at christopher.lloyd.jones1@gmail.com  About MichaelMichael is the president and founder of M.E. LeBlanc & Company Inc, a senior retail advisor, keynote speaker and media entrepreneur. He has been on the front lines of retail industry change for his entire career. He has delivered keynotes, hosted fire-side discussions and participated worldwide in thought leadership panels, most recently on the main stage in Toronto at Retail Council of Canada's Retail Secure conference with leaders from The Gap and Kroger talking about violence in retail stores, keynotes on the state & future of retail in Orlando and Halifax, and at the 2023 Canadian GroceryConnex conference, hosting the CEOs of Walmart Canada, Longo's and Save-On-Foods Canada. Michael brings 25+ years of brand/retail/marketing & eCommerce leadership experience with Levi's, Black & Decker, Hudson's Bay, Pandora Jewellery, The Shopping Channel and Retail Council of Canada to his advisory, speaking and media practice.Michael also produces and hosts a network of leading retail trade podcasts, including the award-winning No.1 independent retail industry podcast in North America, Remarkable Retail, Canada's top retail industry podcast; the Voice of Retail; Canada's top food industry and the top Canadian-produced management independent podcasts in the country, The Food Professor, with Dr. Sylvain Charlebois. Rethink Retail has recognized Michael as one of the top global retail influencers for the fourth year in a row, Coresight Research has named Michael a Retail AI Influencer, and you can tune into Michael's cooking show, Last Request BBQ, on YouTube, Instagram, X and yes, TikTok.Available for keynote presentations helping retailers, brands and retail industry insiders explaining the current state of the retail industry in Canada and the U.S., and the future of retail.

On this episode, my guests are Jesse Mann (editor-director) and Tyson Sadler (director), the brains behind the documentary The Last Tourist. Jesse is both a picture editor and director whose professional work has spanned commercial, tv and film projects. The Last Tourist is her second feature film as editor. Her first film, as both editor and director, Material Success, screened internationally and won the Audience Choice at the Canadian Film Festival and Best Film at the Canadian Film Festival (2012). Most recently, she both directed and edited the online horror mini-series “The Confinement” (2021). She is a member of the Directors Guild of Canada and an associate member of the Canadian Cinema Editors. Jesse has an B.F.A. from Ryerson University's School of Image Arts.Tyson Sadler is an explorer, traveller and award-winning filmmaker. He has directed video content and documentaries for The New York Times, Associated Press, and The Huffington Post. His films have been screened at festivals around the world including Tribeca Film Festival, South by Southwest, The Edinburgh Fringe Festival, and the Toronto International Film Festival. An early pioneer i virtual reality documentary, he has worked tirelessly to use cutting edge technology to tell stories that build empathy around causes such as climate change, forced migration, and human rights.Show Notes:The Film's InceptionIndustry PolarityRegulating TravelAddressing the Root ProblemsGreenwashing Animal and Child Welfare TourismHow the Wealth Gap Increased During COVIDWhat was Left on the Cutting Room FloorHomework:WATCH THE FILM HEREThe Last Tourist Film Website | Instagram | FacebookThe Last Tourist TrailerJesse Mann's Website | InstagramTyson Sadler's Website | InstagramTranscript:Chris: Welcome Jesse and Tyson to the End of Tourism Podcast. Jesse: Thanks Chris for having us. Tyson: Thanks for having us. Chris: Thank you so much for joining me today to talk about your documentary film, The Last Tourist. So, it was released in 2022 to great reception.And as you might imagine, many of my listeners have pointed me in its direction. And after watching the film, I found myself really grateful that people finally approached these themes in the medium of documentary filmmaking and with what seemed to be a budget to do justice to what those themes confront. And so first I'd like to ask you two how The Last Tourist got started and what the inspiration behind the film's creation was and how did you decide to write a treatment for it? Tyson: Ultimately, you know, I think the inspiration for The Last Tourist came from a combination of personal shared experience and a shared passion for travel and particularly responsible travel.You know, in early 2018, I was approached [00:01:00] by the executive producers to write a treatment, for a short film around responsible tourism in the country of Peru. And through, you know, some follow up conversations, we sort of quickly realized that we had an opportunity because, a large scale documentary, on the subject of responsible tourism just didn't exist yet. I mean, we have wonderful films out there which challenge our conversations with our relationship with climate change and our relationship with our food source like An Inconvenient Truth or like Food Inc., but we didn't at that time yet have a documentary which really challenged our perceptions of the global impact of the travel and tourism industry and so over conversations with with our team and the producers we quickly realized that we had a unique opportunity to make "An Inconvenient Truth" for the travel industry and in early 2018, we seized on that opportunity to explore the positive and negative impacts of tourism on destinations.Jesse: And I think just to add to what Tyson was saying, I think originally [00:02:00] it started off as a short project and yourself and the executive producers who brought us together kind of pushed for it to become the large scale project that had ended up being filmed in 15 different countries or 16 with 400 hours of footage.So, sometimes you don't know, especially myself as a co-writer and editor, when you come on to a project, in the initial stages, you think, "Oh, you know, this is wonderful. It sounds like a great project." I had been an avid traveler, lived in a few different countries over 20 years and I thought, yeah, this is a story that needs to be told, but I will say in no way in the beginning, did I ever think it was going to be, and I think Tyson didn't either, was it going to be such a huge project. And you comment, Chris, on the expansiveness of the subject and the different kind of facets of the tourism [00:03:00] industry we were able to look at.And really I have to say that I'm happy that we got to touch on all those points and to the chagrin of my personal sleep and Tyson's as well, but it started off small, I have to say that, and it grew into something tremendous that I think we're very proud of.Tyson: It really was a natural progression of our desire to raise awareness about responsible tourism and its consequences. We had our world premiere, honestly, I think it was about two years ago now at the Vancouver International Film Festival, two years ago. And a little over two years ago, a little over two years ago.And the film is still doing a festival run. Just last weekend, Jesse was at the the Innsbruck Film Festival and it's still been getting a wonderful response, great conversations around it. And we're streaming on platforms around the world, you know, Crave in Canada, Hulu in the U.S., Amazon Prime in other countries. I was just in French Polynesia and was able to find our film on Amazon Prime, which was really delightful [00:04:00] to see that. Jesse: Yeah, it makes us happy as filmmakers to know that the story that we spent a lot of time trying to create in a way that we thought would connect with audiences worldwide is actually getting out there. And so it's really nice to be speaking to you on your podcast as well and kind of extend that out to potentially more people who haven't seen the film or some who just want to talk more about the topics. Chris: And I wanted to ask you two, given the fact that the film was released, you know, still very much in a pandemic during the, the COVID 19 times what the reactions were given the fact that tourism had ground to a halt in that time you know, I received a lot of Mail regarding your film, like, ah, you have to check this out.You have to watch this, right? And so a lot of people really excited about the project, about the film. But then I guess I'm also curious about[00:05:00] if there was much of an industry backlash in regards to the degree of sincerity perhaps around which the film exhibited these kind of deep and sometimes dire consequences that visit themselves on places and people in the name of tourism.Tyson: Yeah. I think the reactions to the film have been in my experience, almost entirely positive. But people don't come to me with criticism, they come to me with congratulations, but I think there's a lot of individuals in the tourism industry and sponsors that have really welcomed our film, The Last Tourist, as a necessary and eye opening piece of work.It sparked a lot of interesting conversations and prompted the industry to, in many ways, I think, reevaluate some of their practices. You Jesse: If we back it up to when we were just when we were meeting with all of the different professionals that we interviewed across the different facets of the tourism industry, I mean, when you and I were writing the story, there were so [00:06:00] many different conflicting opinions on how to solve one issue that we still come across that sometimes when we meet those industry experts outside of, let's say, film audiences.Because When we were writing it, we had to kind of decide which side of the coin we were going to follow through our story with, and whether it's a topic of let's say regulation, that was a topic that Tyson and I had a lot of conversations about when we were making the film because the industry in itself is kind of very polarized in terms of regulation.There's some strong proponents within the tourism industry who want regulation. And then there's some who are very against it. And Tyson and I had a lot of conversations about that. And I think we still do when we meet certain industry professionals out there and I think that's a really important topic as well.[00:07:00] Now that you are bringing up, post covid and the pandemic where we saw kind of what happens when things are shut down. You know, we see both the positive and the negative. I mean we mentioned it in the film, but almost every single person that we interviewed in our film lost their means of income during that time. Gone.And at the same time, the world experienced kind of you know, a refuge from, you know, airplane emissions and damage to destinations. And, you know, these were calculable things like we could see that this was a definite impact. So, I think there's these kind of topics and these conversations are where we see a lot of polarity.And I think that we tried our best to focus on the people and the developing nations in our story. But, there are a lot [00:08:00] of stories that were left on the cutting room floor and so it is good to discuss them after in a podcast like this. I know that's kind of a long winded interjection, but I do believe that we do have some polarity for sure Tyson and I have come across, but just not in terms of what Tyson is talking about, in terms of not not so much with the audiences It is more a bit in the industry. Tyson: I'll share an observation. During the process of creating this film, we interviewed literally dozens of travel experts, you know from academics to tour operators across the industry.It's universally recognized that responsible tourism and sustainable tourism is a good thing. But then when we dive a little bit deeper I found a very fractured kind of industry because everybody believes that they know how to do responsible tourism, right. And everybody else, often, isn't executing responsible tourism correctly.And so, on a foundational level, sure, we all believe in responsible tourism, but I think, the approach at how we get there isn't universally accepted, throughout the industry, and I think [00:09:00] that that's, on a basic level, we kind of explore those themes in the film as well as we interview people who kind of take different approaches to how to engage responsibly with tourists and host communities.Jesse: And we had to make some hard decisions, obviously based on the research that was coming in on what side we wanted to promote in the story. But sometimes I think it's fair to say, Tyson, if you agree with me that we did try to leave it a bit more open for audiences to try to make their own decision based on what we had learned, because it's not always an easy answer for every situation.It's quite nuanced, I think. Tyson: Absolutely. Chris: And you mentioned Jesse, regulation. In terms of the people you interviewed and your research, generally speaking, what does that look like, or what might that look like in particular locales or within the industry?Jesse: Well, I think we've seen quite a bit of it post pandemic because where we thought there was going to be [00:10:00] an ease back into traveling that has not happened. All the reports are coming back in that tourism is back up in droves and a lot of the same problems, if not more are back with travel again.And so we've seen places like Machu Picchu has started regulating the amount of people that are able to visit annually. Worldwide, there's different popular tourist destinations who have decided to limit the amount of tourism and tourists that come to certain destinations.You know, I think when it comes to destinations, we just have to be really careful that it doesn't become a tax that is elitist because that happens a lot with regulation across the board. You've seen it with cigarettes, you've seen it with airfare as well. You're paying a higher price for travel. And although I do believe personally and Tyson, you [00:11:00] can speak to this as well, but because we haven't discussed this recently, but when you put a strong tariff or tax on travel, I think it is important, but I think it has to be calculated so that it's not elitist because if we only have people traveling in the world who can afford it, if it becomes so unaffordable, this is totally against the core value of travel, which is to unite all people of all different socioeconomic statuses and really connect with different cultures and people, and if it's just suddenly becomes for people who can afford a really overpriced flight, I think that will completely take away the value of the core value of travel.But I do strongly believe that, and this I think is a very controversial thing to say. I do believe that things have to be regulated and there has to be something done, especially about the amount of flights that are happening on this planet. Because, you know, for instance, I don't know the statistics for Canada, but I was looking at it the other day for[00:12:00] the UK.And I think something like 70 percent of all flights in the UK are taken by 15 percent of the population, and I don't doubt that that's very similar for a lot of the Western world without knowing all the statistics specifically, so I think that that has to be really taken into consideration when putting out regulation in terms of flights or destinations and such.Chris: Yeah, I've thought about it quite a bit as well, and the elitization of travel, and this understanding that, well, we remove subsidies, for example, for air travel or other things, that we'll just have rich people flying around the world, which is more often than not the case already. Most flights are undertaken for business travel and that's a huge thing that I think most people don't know about, but instead of getting people with corporate backed funds or just rich people flying around the world, we're obviously looking for people with strong principles and good behavior to be the ones [00:13:00] traveling.But then how do you measure that? How do you quantify that in a way that honors the kinds of worlds we want to live in? And it's not just this like, oh, it's impossible. Sure. And we could take that understanding that to quantify such a thing would be next to impossible, but then it could also open up these kind of doors of imagination where in like what kind of infrastructures would we want to put in place that were not maybe Government sanctioned or not maybe top down, but actually from the bottom up, creating these kind of international or intercultural bonds and practices between people that would allow not just for the kinds of people who locals in quote unquote "destinations" want to receive to be able to travel, but then also to create the conditions whereby that kind of, for lack of a better word, behavior or principles could be deepened in the world.I mean, it'd be extremely difficult to, [00:14:00] to manage, but How would you quantify that? How would you measure that? Jesse: Yeah, and I think that's such a, such a complicated issue and I love what you're saying though. I think it's absolutely wonderful. And I do think it's possible to move in that direction.I'm not sure I have the answer for that and maybe Tyson wants to speak to it, but I also want to say that something that I think could be part of the solution is also promoting train travel as well. And I know that that kind of that stops at domestic. But at the same time, you know, I think governments should be allocating a lot of funds to push train travel to create and develop train travel and to also subsidize train travel more because it's just a wonderful way to reduce emissions and to actually continue allowing people to travel. Tyson: Yeah. There are some countries here in Europe, Jesse, and I think Europe is just far beyond a lot of the rest of the world. Canada, I think we're still living in the dark ages, you know, when it comes to long [00:15:00] distance train travel.Jesse: That's a shame. It hasn't been made a priority. Tyson: It just doesn't exist.Chris: Well, I'm curious also for you two how your own travels in your lives might have come to bear on your production or pre production and research in the film. Maybe you could tell us a little bit of how you've seen the world over the course of your life and your travels and if that came to bear at all in the making of the film.Tyson: Personally for me, I traveled extensively, for 20 years prior to embarking on this film. I worked in the travel industry. I worked for an airline for many years. I was also a journalist and I've done work for several large publications, which allowed me to travel to very, some very remote and exotic destinations around the world.This travel really exposed me to the beauty and the wonder of the world. But also the environmental and the cultural challenges that a lot of these destinations face. You know, the experiences, with travel for both work and for pleasure, I think they served as a [00:16:00] catalyst, for me just to delve deeper into this topic.And so when I was approached about directing and writing a film on this topic, I don't think there could have been a better fit. Like it just, everything just kind of fell into place and I just felt like I was really well poised because prior to that I had traveled to 70 different countries in a number of different capacities.I had personally engaged in a number of behaviors that we are critical of in the film in terms of animal interaction, you know, interaction with other cultures. And my travel through two decades was really an eye opening and learning experience for me. And what this film really is, I think for me and in many points in the film is a reflection of my past travels and things that have been illuminated in my mind in terms of what are some important aspects that we really need to address if we want to be more conscious and responsible travelers.Jesse: And I think from my end I surely [00:17:00] had not traveled to as many destinations as Tyson. But I did indulge my wanderlust in my twenties and thirties. I lived in a few different countries, Holland, South Africa, Germany, Canada. And I think that the absolute best aspect for me personally of travel is meeting the people.I absolutely love meeting people in different cultures and seeing the differences and the similarities and learning the wisdom as much as I possibly can in such a moment of my life, when I'm in a destination, if it grants me such a gift. And I think from that, I still do have such a deep, deep gratitude to my privilege and being able to travel in and meet such people.I've made such beautiful friendships over the course of 20 years and many I still keep in touch with across the various places I've lived. And I think that when you come back, [00:18:00] perhaps from living in different cultures in different countries and you come back to your home, the place you were raised in and where you were born and where you were raised culturally, and you can note the vast differences, and it's not a negative thing, but you start to pick up on the ways in which many people can see different cultures or different countries in a way that is completely disconnected from the actual truth and and this knowledge often comes with privilege.I was privileged enough to be able to travel to these destinations to meet certain people and to dissuade certain prejudices, but not everyone can. And so part of this film, I have to say, ironically, is that if you can't travel, this film is also a wonderful film to watch because it's something that you can meet these people [00:19:00] in these destinations.You know, there's so many places that I've been to also that are so many places I have not been to that were featured in the film as well. And with documentary filmmaking and making, and especially as an editor, I really do feel like I get to know these people so well, and I don't think that's just exclusive to myself.I think audiences, hopefully, if I've done it correctly, if Tyson and I have, have made the film correctly, that these people's hearts have come through in the film. And, this is something that Tyson and I really worked hard on. And I'm sorry if I'm deviating from the question a bit, but it does connect very deeply to my love of travel is is people and also my love of editing people and so it was something we worked really hard to focus on is how do we give these people a podium. They have their voice there. They're saying their truths. How do we give them a podium [00:20:00] and as the white filmmakers who are coming into different countries, how do we take a step back and really let them preach their wisdom? And so it was a balance for us really in finding the right voices, obviously speaking to the right professionals and speaking to professionals within different cultures that you see featured in the film and really making sure that their knowledge, their voice, their direction was giving us direction on how we edited and formulated the story and stories of everyone that we met in the travels of the production as well. Chris: And on that note, I'm curious for each of you, what was the most important topic or theme that came up in the film for you personally?Tyson: For me, maybe it's an echo of Jesse's sentiments there, but really it comes down to the impact on the communities that so graciously host us when we when we do travel. Travel you know has you know has an encyclopedia [00:21:00] of challenges that come with traveling responsibly unless we address the people. And I think we address this and the the film addresses this, but we can't begin to you know to start focusing on the environment unless we first focus on the communities who are there and helping them emerge from poverty. We can't begin to focus on how we can solve the problem of poaching in the African savannah unless we first address the root causes of why it's there and how it affects the host communities and how poverty affects people's decisions to be involved in this trade. Jesse: That was something that Jane Goodall was was really adamant about speaking in the film about as well Tyson: Yeah, and so to answer your question Chris, I mean ultimately it comes down to the communities and the people, the humanity of it all. First, we need to address the human aspect and then we can address the secondary aspects of what it means to be a responsible traveler.[00:22:00] Jesse: So for me, personally, the most incredible voices in the film that when they came in, I just thought, "oh, wow," were definitely Lek from Elephant Nature Park and one of our contacts in Kenya Judy Kefergona, who ended up being one of the main speakers and narrators throughout a huge portion of our film.These two women were just heroes. Like just with Judy, with the words that she was able to express for the people working in not just only the tourism industry in Kenya, but the people of Kenya who were vulnerable to unethical tourism, and then speaking to so many different subjects that were connected to so many different stories worldwide with such eloquence and such power and such knowledge [00:23:00] and encourage really, I think. She spoke about these topics. I was just enamored, just blown away and so grateful for her coming onto our film and Lek Chailart is just a modern day hero. She is the tiniest woman with the biggest heart who when I saw her story in our film against the backdrop of these beautiful giants, these elephants that she has rescued. And essentially she's an elephant whisperer in the truest sense of the word. And it's just such a magical thing to see.Listeners won't be able to understand this. I'm getting goosebumps when I just talk about her and this was the kind of thing that when Tyson and I were looking through footage and looking through stories that we were looking for, "Oh, that's the moment, ah! the moment. I got the goosebumps. That's it. It's there. And we found it in the stories, not just these two women, everyone you see featured in the story and some that were left on the cutting room floor, unfortunately there that gave us beautiful insight that we still used in crafting the story, that just wasn't able to [00:24:00] make it into the actual film for timing constraints.But really, I would have to say that these two, it's not specifically the stories, although both of them touch on really important stories, including child welfare and animal welfare, which to me, those two stories were really close to my heart. And we felt really strongly that they needed a really important part in the film.But it was really these two women who I just felt so grateful for in the film. Chris: I mean, the, the chapter on animal welfare was quite devastating for me in part because it had reminded me that in my early twenties, I had visited Thailand and I had gone to an elephant sanctuary. Not a zoo but a sanctuary, and had the opportunity to ride an elephant for a short time, and I felt really uncomfortable probably because I was on top of an elephant, just the kind of immediate awkwardness of such a thing, having never seen one in person, having never [00:25:00] experienced that before, but also kind of like, "what am I doing here?" And so, that part of the film really kind of opened up for me why I felt that perhaps existential discomfort, not just about being on top of an animal of that size, but in the context of the dynamic, you around how that was happening and why that was happening and not having the context for it so long ago.And of course, this is one of the things that we touch on in the episodes, in the interviews, in the podcast, is how can we come to understand these things when our visits are so short in these places, when we are only in a place for just a very brief time and there's really no context for the history and the culture and the political dynamics that surround these things.And then, most travelers, most tourists just end up leaving and the consequence of one's presence on the scene is kind of forgotten, at least by the tourist or traveler. Yeah, so thank you for [00:26:00] for that. Jesse: That question did come up actually at the recent screening of the film in Innsbruck at the Nature Film Festival, whereas someone in the audience asked very specifically, even though it would be great to stay at a destination for a long time, most people are, saving up for short travel when they have time off work. And they need to take this kind of tour because they can only afford this one. And what do you say to those people who want to travel better, but feel like they're kind of stuck or don't know where to go. But I would say in short, I think that touches on an issue that we have in the modern world with a lot of things. We are all overtired, overworked, and we don't have time to be ethical, we don't have time to do the research, we don't have time to investigate, if anything is against our core values, and we don't have time to and I get that, you know, it's not easy for everybody.And if you do have the [00:27:00] time and you are able to really do a deep dive then you're very privileged, because you have the time, which just means that you have the money. So we did try to give a lot of smaller tips at the end of the film in terms of how you can do smaller acts of, of kindness and of conscious traveling, to travel local, to put money into local economies to make sure that you're not requesting your sheets to be washed every day, making sure that you're traveling using reusable, to make sure that you're and I guess this goes into a little bit more of the extensive questioning is to ask the destination that you're traveling to what their policies are in connection with the locals, in connections with the environment. Unfortunately, there is a lot of greenwashing in tourism. And you know, that's in all industries right now worldwide. So it's not going to be so easy for someone who isn't an investigative [00:28:00] journalist to really find out the truth behind it all the time, but we can do our best.And there are quite a few links on the website thelasttouristfilm.com where you can see some of the different organizations that we spoke with that have lists upon lists of different collaborating companies that you can look to that can can show you places that are not greenwashing or that are working with locals, but back to the idea of taking the time and it is about taking the time, whether it's an hour even, just to take the time and do a bit of research and this especially comes back to the topic of child welfare and people who are still, en masse, volunteering worldwide to orphanages and orphanages where children have existing family members and that these orphanages have become of monetary value to developing nations [00:29:00] because they make money and it's really easy for us to pass judgment on places that do this, and it's definitely wrong, but if we as travelers are going there and saying with our travel dollars, this is something we want to invest in, then people in developing nations are going to say, this is how I make money.And it's the same with animal welfare. You pay for an animal sanctuary that you haven't done the research on. They're going to keep perpetuating that cycle. It's going to be the same with child welfare. So, if you do want to be ethical, you have to fit in a little bit of research in your travel time. And that's it. And I know it's not so easy for everybody.Tyson: Yeah, I'd like to expand a little bit on a theme that sort of both of you have talked about. Jessie, you had mentioned greenwashing. Chris, you had mentioned that you had been to an elephant sanctuary in Thailand. One of the most memorable takeaways that I had from this film is just the massive amount of greenwashing [00:30:00] and deception that exists within the industry.I came to know a lot of companies that appeared to just be normal travel companies doing the same thing that has been going on in the travel industry but marketing "green" although nothing really changes. It's just their marketing strategy that's changed. If we look at, for example, in Thailand, there are a number of places that call themselves an elephant sanctuary, an elephant retirement home, an elephant rescue center. And we can't rely on those names anymore to know that the service provider is giving us an ethical experience. We really need to ask deeper questions. It's the trend in the industry now to use this type of language, " sustainable," "responsible," "eco," all of these buzzwords.And I've just come to find these completely meaningless, in those terms. We really need to ask some deeper, more challenging questions of these experiences and the tour operators and the service providers to actually know whether what they're doing is ethical or not because it is very easy to call yourself a [00:31:00] sanctuary, when in fact, it's the complete opposite. If it truly was an elephant sanctuary, we wouldn't be able to ride the elephants, in that place and they would be providing them a life of dignity free from exploitation. And it's the same with children. Calling these places orphanages ,I think it's a misnomer. It's incorrect. You know, 70 percent of children who live in these quote unquote "orphanages" actually have at least one living parent.But it's all under the guise of trying to gain sympathy from the traveler. "Oh, come see an elephant at a retirement home. Come see a child at an orphanage." It's just a piece of marketing that doesn't reflect the truth. We have a lot of companies doing the same unethical practices they've been doing for decades.However, they've just really changed their marketing to appear more green.Chris: Yeah, it seems to be a never ending cycle where responsible isn't good enough, that now we got to be regenerative. So many of these words just end up becoming, marketing tools. Tyson: I'm hearing that word a [00:32:00] lot more these days as well. Chris: Yeah, so how do we proceed, not just with a degree of dedication towards research and, and and planning, but also deep discipline as to how these words are unfortunately, as you said, becoming kind of meaningless in their significance..I want to take a little turn with you both to ask about what happened as the film was going through post production and its release because most of the footage that you have is quote unquote pre pandemic and the COVID 19 pandemic hit, obviously, in 2020 and from what I understand your team was entering into the post production process and, of course, tourism ground to a halt almost completely, worldwide. And throughout the film, there are people that you two interview that contend with the consequences and context of tourism and look [00:33:00] to a more honorable path that it might take. But I'm curious in regards to the people that you did interview who had found a degree of success and perhaps within a more small scale, a more honorable way of doing tourism that those flights, those trains, the reception of people in their villages went from a hundred to zero, basically overnight.So much of the dire consequences of tourism revolve around or end up as exile, local people can't afford to produce food anymore in their places. And the education systems kind of move them towards getting jobs in the next city or even in other countries, and I'm curious in the context of the film and I guess the treatment that you put forward, you know, never perhaps thinking that something like this could happen. What was the fallout among the people that you interviewed in regards to their understandings of tourism and if it was [00:34:00] still this kind of for lack of a better word, golden goose or calf or sacred cow that they could rely on for the rest of their lives.What did you hear kind of in the ether as you were doing that post production? Tyson: I think it substantially expanded the wealth gap. I think during COVID the people that were hit the hardest are the people in the tourism industry that often are paid the least.Depending on what their jobs were, they were the ones who were suffering layoffs and they were the ones whose businesses couldn't afford to sustain themselves. And so I think, for the most vulnerable populations, the pandemic was absolutely devastating.People couldn't afford to put food on the table and pay rents, not just, I think, in developing countries, but even in the developed world. Airlines were laying off massive amounts of employees. Hotels were cutting staff. This was a global challenge that affected everyone. However, at that same time, we did hear stories that, you know, CEOs of major airlines were taking million dollar bonuses[00:35:00] for cutting costs. And that was an observation of mine, through that experience, you know, that the people who needed tourism the most for daily sustenance and to put bread on the table were the ones who were absolutely the most affected and the people kind of at the top of the tourism industry were still fine and they were also taking bonuses, which really bothered me just because the wealth gap just seemed to get further and further apart through that. But we do know, with the stories, that were featured in our film... there's a wonderful lodge in Ecuador, a homestay that we look at and they lost their income during that time.The elephant sanctuary in Thailand, the one that does do great work, not one that greenwashes an elephant sanctuary but they lost a lot of revenue where it was very challenging to feed the elephants and to house the elephants because they didn't have that revenue coming in to support the project. Jesse: We were hearing in in Africa, right?Some of the rangers [00:36:00] were who were placed in defense of the elephants and animals and rhinos and such were just gone. They just weren't there anymore at that time because if they're not getting paid, they can't stay there. And so poaching also went up in those areas as well.But you know, I think that in terms of what the positive was, I think a lot of people were hoping that post COVID that there was going to be hope for change, for renewal for doing things differently. And I think this was in when we were in post that this was maybe, potential to show people how things can be different by showing kind of the polar opposite and the effect and also showing how intrinsically connected people's livelihoods are to this industry and how vulnerable they are to massive change like this. I mean, the Dominican Republic that has [00:37:00] almost 90 percent of their GDP related to tourism? Tyson: Island nations are the ones who are most affected by tourism. You know, the Bahamas, the Dominican Republic. The Caribbean islands specifically. I don't know if it's as high as 90%, but the vast majority of their GDP from island nations comes from the travel and tourism industry, and they were certainly hit the hardest during the pandemic. Jesse: And so I think that we can see from that, I think the hope for us during post production was, okay, you know, this is a horrific blow to the people most vulnerable in this industry, but if we can get this message out after the pandemic, perhaps this could be something that could really change. And to be fair, change is slow sometimes and I mean, it's wishful thinking that post pandemic right after that suddenly everyone was going to become ethical travelers but I see so much potential just in the discussions online the people that we're [00:38:00] meeting at different screenings, the interest that we're getting worldwide, just to have these conversations and see that there is an interest in change.And when you talk about moving change, it does often come from the people, and I think, across the world over the past few decades, we've all been seeing again, I think our power as people, as citizens, as individuals, and the power that we have to come together over certain issues that we feel need radical change and even if it is slow change, I do see the inklings of that change happening within the tourism industry and I think it's really positive.Tyson: You still have a lot of work ahead of us. Chris: Amen. I think that's really, really important and, and perhaps fits properly inside of the context of the dominant culture, at least of North America or the quote unquote West, wherein, the pandemic also produced a deepening of the [00:39:00] culture of "everything now."Suddenly it was like, "okay, well, I can't go out here, so everything has to be deliverable, and at the tip of your fingers, right? And what might come with that is this notion that, we also expect social change to happen overnight. Right? And that it might be overshadowed by this kind of dominant culture of wanting everything now and also the unwillingness to do the necessary work, which is sometimes generational.Right? Not just a week or a month or a year, but generations.In that regard, the themes of the film are extremely broad and you go into a lot of detail and depth with each. So I'm very grateful for that, but I'm also curious what might've gotten left out.What might, one day end up on a director's cut of the film. Jesse: Oh, so much. Tyson: Ask the editor. Jesse: Oh. Well, I mean, you had so many stories that you brought [00:40:00] to the table that were beautiful, beautiful stories. Forgive me. I don't remember his name and you'll remember Tyson.But one of the. Tyson: I know who you're talking about. Jesse: Oh, do you? One of the men you interviewed at the UN had a really beautiful story to tell. And then we also had a really beautiful story from Costa Rica. An animal welfare and environmental story. Oh, my goodness. There were so many stories.Tyson: We had a wonderful story from Cusco Peru with an organization that was putting the first female porters on the Inca Trail and really fighting for gender equality on the Inca Trail.Jesse: What was that company's name again, Tyson? Well, the reason why I bring it up is because it's so unique that I just think, "oh, we should definitely highlight that to listeners" because they were taking female porters and they were reorganizing the whole industry based on their [00:41:00] precedent because they were treating porters with dignity, with safe conditions, with, valuable wages and this is something that's just not done across the industry on the Inca Trail with the male porters and there was some really, really horrific footage that we came across of the way these porters were living just not too far from where the tourists were sleeping comfortably in their tents. And this is a wide practice across the industry and Miguel from this company Evolution Treks and the gallon, do you remember his full name, tyson? Tyson: Miguel Angel Gongora Jesse: from Evolution Treks, yeah, a wonderful, wonderful man who was really, really passionate about changing the industry. And we spoke with many of the female porters, and yeah, that was a story that we were really, really sad to lose that [00:42:00] story. Tyson: Yeah. Yeah. With only 90 minutes, you know, we yeah, really had to make some challenging decisions on what to be included in the film and I really feel that a 90 minute film can scratch the surface, it can spark some interest in a number of these themes, but certainly, and maybe that's next steps for us, but I certainly think that what this the subject matter, deserves is a series, you know, cause we could dive much deeper.Jesse: Tyson and I have been talking about it. Tyson: Yeah, we, we can dive much deeper into each of these subjects and create a 90 minute doc on each of them. And so, at some point in the future, we'll be making some pitches and writing some additional treatments into how we can make a six part series and expand on the themes in this film, you know, from the environment to gender inequality to animal welfare and everything deserves a lot more time, but hopefully, what we've done with this film is just been able to spark a number of conversations and inspire people to go and do some additional research [00:43:00] into how these themes impact these communities.Chris: Yeah, well, thank you both so much for that. I have a lot more questions, but maybe that'll also be saved for a sequel. Jesse: Yeah, we'd love to speak to you again, Chris, if you'd like, in the future. Chris: That'd be great. Before we finish, I'd like to ask you what might be next for you two in your respective filmmaking and writing lives?Tyson: My world currently revolves around photographing wildlife particularly large wildlife. Yeah, I've been spending a lot of time traveling recently and in the ocean. I mentioned to you, I mean, tomorrow I'm hopping on a flight and I'm heading to Norway to go photograph large marine mammals in Norway. So that's that's where my life is taking me right now is in pursuit of wildlife filmmaking and photography. Jesse: Although I wish I could, I could say similarly, I right now my life is a little bit calmer. I had a baby 20 months ago. So, I've been on an extended maternity leave [00:44:00] and I'm currently just in development of projects for the future.I finished up this project in full right before my child was born. And I still have a few projects that were finished up recently, but as of the moment I'm completely in development and yeah, I really look forward to developing something with Tyson in the future in regards to what he was talking about a series on travel and on a lot of stories that we were so passionate and so blessed to come across, but that we just didn't have the ability to give the podium to in our film, but yeah, so I'm really excited for the future and just coming from this festival that I was at recently, I'm just so invigorated with the energy of the audiences and the passion to travel better and to demand better travel from the industry and from travelers as a whole. So this just really gives me a lot of hope. Chris: Well, congratulations on your [00:45:00] motherhood. Thank you. And having a little one in your life and this work and Tyson and the opportunity to be able to travel as you do, and to try to honor the lives of those beautiful four leggeds and no leggeds and the tailed and finned ones. So finally, how can our listeners watch The Last Tourist? Are there any screenings coming up? Jesse: Definitely on the website, thelasttouristfilm.com, right when you go to the webpage, there's a whole list of all the different avenues you can watch the film.But maybe Tyson could elaborate more. Tyson: Absolutely. Yeah, you can connect with us on Instagram at Last Tourist Film, as well. We're just kind of wrapping up the fall festival season before we do some additional screenings next spring. We just wrapped up in Germany and Iceland.I think streaming is the best way to find us, in Canada we're streaming on Crave. In the United States, we're streaming on Hulu. Delta Airlines, Emirates Airlines. In other countries around the world, you can also find us, I [00:46:00] know in France, in French Polynesia, Hong Kong on Amazon Prime. And there's a number of other markets that the film will be opening in very shortly which is really exciting.It's not available everywhere, unfortunately, around the world, but if you have a desire to see it, you know, please get in touch with us and we'll do our best to make sure that you have an opportunity to see the film. You can host a private screening. There's a number of ways that you can see this film, but please let's keep the conversation going.Let's get in touch. I'd love to hear from a number of the listeners, and let's find a way that we can allow everyone to see this film. Jesse: And what's been really exciting is we've got a lot of interest from schools. So, educational screenings have been happening all across the world, and that's just been amazing.Those are the best for us, I think. And I would just say, if any of the listeners have any further questions for us, we're always open to taking questions and chatting. Personally, Tyson and I can both be reached at our Instagram. So you can I think Tyson's is @TysonSadler, and mine is [00:47:00] @JesseMann, two S's, two N's. So if you want to leave that for your listeners, they're welcome to contact us. And anyone who's listening can contact us directly that way, who want to host a screening or find out ways to watch. Chris: Absolutely. Yeah, I'll make sure that all the websites and handles are available for our listeners at theendoftourism. com. And on behalf of them on behalf of myself, I'd like to thank you both for joining me today. Your film is incredibly inspirational, necessary, and deeply important for these times and I don't doubt that our listeners think the same. So, I wish you the most beautiful paths ahead on your travels with your families.And ...We get the opportunity to speak again sometime. Tyson: Thank you, Chris. This has really been a meaningful conversation. Thank you. Jesse: Yeah. Thank you so much for giving us this space and I wish you all the same. Chris: My pleasure. Get full access to ⌘ Chris Christou ⌘ at chrischristou.substack.com/subscribe

Meet filmmaker Gillian Greenfeld who holds a BA in anthropology from the University of British Columbia and an MFA in documentary from Ryerson University.  Currently, she is just finishing up co-directing "Phoolan," a feature documentary on the life of Phoolan Devi, India's celebrated feminist “Bandit Queen.” The film is now in post-production and set to be released in the new year (https://phoolandevimovie.com/). Gillian is also the president of Cielo Films, a newly-launched independent film company aiming to produce thought-provoking films on women's rights. To learn more about Carole Dean and From the Heart Productions please visit www.FromtheHeartProductions.com.

Wellness + Wisdom | Episode 650 How does every moment provide you with an option to either choose fear or to choose love? Adam Lane Smith + Andrey Korikov join Josh Trent on the Wellness + Wisdom Podcast, episode 650, to discuss why pain is the strongest motivational force, how guilt comes from fear, what happens when you don't know who you truly are, and why pity is detrimental to men. "We have to have pain, it's fundamental. We form this idea that pain is bad. It's scary and it hurts, but we believe that all pain is going to kill us and that's wrong. Pain can make you grow." - Adam Lane Smith

Mark interviews Lloyd Penney, the editor of Amazing Stories magazine about his work on Amazing Stories, his forty years of engagement with the fanzine community, and more. Prior to the interview, Mark shares comments from recent episodes, a personal update, and a word from this episode's sponsor. Learn more about this self-publishing/WIDE-publishing focused cruise. In the interview Mark and Lloyd talk about: Meeting Robert J. Sawyer when they both attended Ryerson University in Toronto Lloyd's first and only published science fiction story (which Rob was responsible for) Getting involved in science fiction fanzines Forty years of experience being engaged with fanzines from Canada, the United States and all over the world The definition of what a fanzine is How the common community ends up talking about almost anything else once they've established their commonalities in related to things they are fans of How the production of fanzines have changed over the years, from mimeographs, to photocopies, to digital Starting off his experience in engaging with fanzines by writing a letter of comment The letter column being the heart of a fanzine Social media having replaced the fanzine in a lot of ways, but how that has reduced the more nuanced, well-thought out responses and behavior The "reaction" of social media verses the "responses" in fanzines An example of a recent fanzine that Lloyd recently received The first issue of Amazing Stories coming out in 1927 A fan, Steve Davidson, who, about 2008, wondered what happened to the copyright on the name Amazing Stories, found it was available and secured them How Spielberg needing to purchase the rights to the name for a TV show helped pay for the production of the first few issues of the new version of the magazine How Lloyd got involved with Amazing Stories in 2018 and then became the editor in chief of the magazine The magazine being (at the time) an online magazine, with no current print issues available The Patreon and merchandise that's available to help support the magazine's operation Running two Kickstarters - one of which funded, and the other, which didn't fund And more...   After the interview Mark reflects on the value of getting involved with such a prestigious magazine brand as Amazing Stories, as well as the strong sense of connection and engagement with readers that can happen within the fanzine community.   Links of Interest: Amazing Stories Website Store (Includes Amazing Selects imprint of books) Submissions efanzines.com EP 366 - Bolts of Fiction EP 365 - An Interview That's A Hug With Gail Carriger DropCap Marketplace  Use coupon STARK20 to get 20% off Cruising Writers Buy Mark a Coffee Patreon for Stark Reflections How to Access Patreon RSS Feeds An Author's Guide to Working With Bookstores and Libraries The Relaxed Author Buy eBook Direct Buy Audiobook Direct Publishing Pitfalls for Authors An Author's Guide to Working with Libraries & Bookstores Wide for the Win Mark's Canadian Werewolf Books This Time Around (Short Story) A Canadian Werewolf in New York Stowe Away (Novella) Fear and Longing in Los Angeles Fright Nights, Big City Lover's Moon Hex and the City Only Monsters in the Building The Canadian Mounted: A Trivia Guide to Planes, Trains and Automobiles Yippee Ki-Yay Motherf*cker: A Trivia Guide to Die Hard   Lloyd Penney is a Canadian science fiction writer, science fiction convention organizer and a dedicated fan who took his long time science fiction interest and turned it into a career recently - as the editor-in-chief of Amazing Stories one of science fictions longest running magazines. He had previously written extensively for science fiction fanzines.   The introductory, end, and bumper music for this podcast (“Laser Groove”) was composed and produced by Kevin MacLeod of www.incompetech.com and is Licensed under Creative Commons: By Attribution 3.0

Linda Troeller joins me to talk about her book, SEX. DEATH. TRANSCENDENCE., published by TBW. Linda has a storied life in photography from her early self-portraiture, to her book, The Erotic Lives of Women, and now to Sex. Death. Transcendence., Linda has been exploring the female gaze since the early 1970's. We talk about her ideas on self-portraiture, healing waters, and her amazing time at the Chelsea Hotel, all of which have led to their own publications. https://sites.google.com/view/lindatroeller/sex-death-transcendence?authuser=0 https://tbwbooks.com/collections/single-titles/products/sex-death-transcendence This podcast is sponsored by the Charcoal Book Club Begin Building your dream photobook library today at https://charcoalbookclub.com Linda Troeller's art projects focus on self-portraits, women's and social issues. She made the Chelsea Hotel her base for 20 years, curating an exhibition for the 125thAnniversary, “Chelsea Hotel Through the Eyes of Photographers,” and publishing a monograph, “Chelsea Hotel Atmosphere – An Artist's Memoir,” 2007 and a new book, “Living in the Chelsea Hotel, Schiffer Publishing, 2015 that won the International Photo Award, 2016. She had a major exhibition at Leica Gallery, Los Angeles, Ilon Art Gallery, Harlem, 2018 and Laurence Miller Gallery, NYC and Museum of.Sex, NYC. Aperture published her Pictures of the Year award winning images in “Healing Waters,” exhibited at their Burden Gallery, NYC and powerhouse Books published her next book, ‘Spa Journeys,” 2004. Her book, “Erotic Lives of Women,” Scalo, Zurich, 1998 was reviewed as one of the “most gutsy and imaginative books of the decade,” NYTimes. The exhibition opened at Fotohof Gallery, Salzburg traveling to Berlin and Weimar, Germany. Her second book on women, Orgasm, Daylight, 2014 was introduced at the Filter Photography Festival and is in major libraries from Kinsey to Harvard to National Museum of Women in the Arts.' She received a New Jersey Arts Grant and the Woman of Achievement Award from Douglass College, in 1991 for her TB-AIDS DIARY, a series of photo-collages in Color Polaroid that helped prevent discriminative stamping of HIV in passports. It was exhibited at Fotofest, Houston and over fifty galleries and covered in the Asbury Park Press and Trenton Times to European Photography Magazine. The set of 19 prints was recently acquired by the Norton Museum of Art permanent collection, West Palm Beach, Florida. She photographed three Fashion Catalogues for the Apolda Museum, Germany and exhibited “Apolda Fashion, 2005” at Centro Colombo Gallery, Medellin in 2006. She returned to Colombia to teach self-portraiture to women in poverty in 2010 for the University of Antioquia. She has an ongoing series of self-portraits, “Self-Reflection.” She has lectured at School of Visual Arts, NYU, Parsons, Yale, Salzburg Summer Art Academy, New Orleans Photo Alliance, Ryerson University, Toronto and was a professor of photography at Stockton College of New Jersey, Indiana University, and Bournemouth College, England. She has a MFA, School of Art, and MS, Newhouse School, Syracuse University and BS from Reed School of Journalism, West Virginia University. She was an assistant at the 1974 Ansel Adams Workshops for Ralph Gibson and in 1987 for Annie Leibovitz and David Hockney. Her photographs are in corporate and private collections such as the Museum of Fine Arts, Houston, American Express, Johnson & Johnson, Library of Congress and is in archives such as Special Collections Bird Library, Syracuse University. She graduated from Toms River High School which named her to their Hall of Fame, and resides in New York City and New Jersey.  Support Real Photo Show with Michael Chovan-Dalton by contributing to their tip jar: https://tips.pinecast.com/jar/real-photo-show

Craig and Adam X., Founder and Creative Director at Adam X Atelier, discuss the foundation and philosophy behind his designs, highlighting his multicultural background and his passion for art and fashion. Adam's journey began with foundational courses at George Brown College and styling at Ryerson University, leading him to discover the communicative power of fashion. Adam discusses his approach to designing garments that enhance the wearer's beauty through meticulous draping, tailoring, and attention to detail, using various materials and inspirations ranging from movies to nature. Adam discussed his creative process, from the emotional drive behind his collections to the meticulous steps of bringing a concept to life. He recounts a personal story that inspired the “Some Beings” collection, demonstrating how emotional narratives and experiences shape his work. The discussion transitions into Adam's focus on womenswear, his experiences with retail and direct-to-consumer engagement, and the expansion of his brand into U.S. markets. Adam highlights the importance of reaching customers across all platforms and the ongoing effort to introduce ready-to-wear collections. The interview concludes with reflections on the challenges and opportunities within the Canadian fashion industry, the importance of collaboration among designers, boutiques, and other industry participants, and advice for emerging designers. Adam emphasizes the transformative power of fashion, its ability to communicate, and the need for a supportive community and infrastructure to nurture Canadian talent. Interviewed this episode:Adam X., Creative Director at Adam X AtelierAdam X Atelier This podcast is the audio version of the The Interview Series video podcasts by Retail Insider Canada are available through our Retail Insider YouTube Channel where you can subscribe and be notified when new video episodes are available. Subscribe, Rate, and Review our Retail Insider Podcast! Follow Craig:LinkedIn: www.linkedin.com/in/CraigPattersonTorontoInstagram: @craig_patterson_torontoTwitter: @RI_EIC Follow Retail Insider:LinkedIn: www.linkedin.com/company/Retail-InsiderFacebook: https://www.facebook.com/RetailInsider/Twitter: @RetailInsider_Instagram: @Retail_Insider_Canada Share your thoughts!Drop us a line at Craig@Retail-Insider.com. You can also rate us in Apple Podcasts or recommend us in Overcast to help more people discover the show!Background Music Credit: Hard Boiled Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/

Linda Troeller's art projects focus on self-portraits, women's and social issues. For 20 year she lived in the legendary Chelsea Hotel in New York City, curating an exhibition for the 125th Anniversary, “Chelsea Hotel Through the Eyes of Photographers”, and publishing a monograph of her own entitled Living in the Chelsea Hotel.Other publications include Healing Waters, The Erotic Lives of Women and her newest book of self-portraits taken over almost fifty years, Sex, Death, Transcendence, published earlier this year (2024) by TBW books. Linda was also the subject of a 2023 feature-length documentary film, also entitled Healing Waters, directed by Derek Johnson and Ali Scattergood.She has lectured at the School of Visual Arts, NYU, Parsons, Yale, Salzburg Summer Art Academy, New Orleans Photo Alliance, and Ryerson University, Toronto and was a professor of photography at Stockton College of New Jersey, Indiana University, and Bournemouth College, England. She has a MFA, School of Art, and MS, Newhouse School, Syracuse University and BS from Reed School of Journalism, West Virginia University.Linda lives in New York City and New Jersey.     In episode 227, Linda discusses, among other things:Modelling on an Ansel Adams book making workshopThe experience of being nude in front of strangersThe spirit of the 60s in the 70s + women's libHealing watersSocieties expectations of women and ageingHer book, The Erotic Lives of WomenLiving in the Chelsea Hotel for 20 yearsHow Alexander MacQueen influenced her visual paletteHow she has earned a living over the yearsHer TB/Aids project Referenced:Lucien ClergueEikoh HosoeGeorge TiceJudy DaterImogen CunninghamJack WelpottRobert HeineckenLee FriedlanderMelissa Shook Website | Instagram“You have to do some work to build up your self confidence, to be your most youness. ‘You'. Youness, herness, hisness, theirness, whatever it is that you wanna to be your most of you can make some strides by looking at yourself and understanding yourself. And if you want to do some more in your presentation you can. And you should.” Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.

Last June, I got to watch Maie Pauts receive the Rosalie Tromblay Trailblazer Award. There was a 10 minute video summary of her career along with the tributes and highlights. This is a longer version of that.In this episode, you'll hear how Maie got her start in radio at the campus station at Ryerson University in Toronto. She originally wanted to work in TV production but fell in love with radio after joining the campus station. She hosted a funk/R&B show at the campus station before getting her first radio job at an AM station in Brampton. She later joined the legendary CFNY station in Toronto where she worked from 1986-2001. In the 90s, CFNY went through an ownership change and started playing more commercial hits, which upset some core listeners. But it also led to increased ratings. After leaving CFNY, Maie did a short stint in talk radio before joining CHUM FM's in 2002. She later moved to Boom 97.3 in 2010, playing hits from the 70s, 80s and 90s.What's the key to Boom's success? Talking about current events while playing older music. This allows the brand and personalities to connect with listeners of all ages.Finally, Maie received the Rosalie Trombley Trailblazer Award from Radio Trailblazers Canada for her contributions to radio over a 40+ year career. If you would like to nominate someone for that award this year, please nominate them now.Thanks to the our supporters!Nlogic - TV & Radio Audience Data SolutionsMary Anne Ivison at Ivison Voice. - Make her the female voice of your radio station.Matt Fogarty Voiceovers - It's great to have Matt back for 2024 supporting our show. Make him the imaging voice for your radio station by contacting him through his website.Megatrax - Licensed Music for your radio station or podcast production company.Things to know! Please Take the 4 question survey here.Also we added the Sound Off Podcast to the The Open Podcast Prefix Project (OP3) A free and open-source podcast prefix analytics service committed to open data and listener privacy. You can be a nosey parker by checking out our downloads here.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Edward Burtynsky is regarded as one of the world's most accomplished contemporary photographers. His remarkable photographic depictions of global industrial landscapes represent over 40 years of his dedication to bearing witness to the impact of human industry on the planet. Edward's photographs are included in the collections of over 80 major museums around the world, including the National Gallery of Canada in Ottawa; the Museum of Modern Art, the Metropolitan Museum of Art, and the Guggenheim Museum in New York; the Reina Sofia Museum in Madrid; the Tate Modern in London, and the Los Angeles County Museum of Art in California.Edward was born in 1955 of Ukrainian heritage in St. Catharines, Ontario. He received his BAA in Photography/Media Studies from Toronto Metropolitan University (formerly Ryerson University) in 1982, and has since received both an Alumni Achievement Award (2004) and an Honorary Doctorate (2007) from his alma mater. He is still actively involved in the university community, and sits on the board of directors for The Image Centre (formerly Ryerson Image Centre).In 1985, Edward founded Toronto Image Works, a darkroom rental facility, custom photo laboratory, digital imaging, and new media computer-training centre catering to all levels of Toronto's art community.Early exposure to the General Motors plant and watching ships go by in the Welland Canal in Edward's hometown helped capture his imagination for the scale of human creation, and to formulate the development of his photographic work. His imagery explores the collective impact we as a species are having on the surface of the planet — an inspection of the human systems we've imposed onto natural landscapes.Exhibitions include: Anthropocene (2018) at the Art Gallery of Ontario and National Gallery of Canada (international touring exhibition); Water (2013) at the New Orleans Museum of Art and Contemporary Art Center in Louisiana (international touring exhibition); Oil (2009) at the Corcoran Gallery of Art in Washington D.C. (five-year international touring show), China (toured internationally from 2005 - 2008); Manufactured Landscapes at the National Gallery of Canada (toured from 2003 - 2005); and Breaking Ground produced by the Canadian Museum of Contemporary Photography (toured from 1988 - 1992). Edward's visually compelling works are currently being exhibited in solo and group exhibitions around the globe, including at London's Saatchi Gallery where his largest solo exhibition to-date, entitled Extraction/Abstraction, is currently on show until 6th May 2024.Edward's distinctions include the inaugural TED Prize (which he shared with Bono and Robert Fischell), the title of Officer of the Order of Canada, and the International Center of Photography's Infinity Award for Art. In 2018 Edward was named Photo London's Master of Photography and the Mosaic Institute's Peace Patron. In 2019 he was the recipient of the Arts & Letters Award at the Canadian Association of New York's annual Maple Leaf Ball and the 2019 Lucie Award for Achievement in Documentary Photography. In 2020 he was awarded a Royal Photographic Society Honorary Fellowship and in 2022 was honoured with the Outstanding Contribution to Photography Award by the World Photography Organization. Most recently he was inducted into the International Photography Hall of Fame and was named the 2022 recipient for the annual Pollution Probe Award. Edward currently holds eight honorary doctorate degrees and is represented by numerous international galleries all over the world. In episode 224, Edward discusses, among other things:His transition from film to digitalStaying positive by ‘moving through grief to land on meaning'Making compelling images and how scale creates ambiguityDefining the over-riding theme of his work early onThe environmental impact of farmingWhether he planned his careerWhy he started a lab to finance his photographyAnd how being an entrepreneur feeds into his work as an artistVertical IntegrationExamples of challenging situations he has facedThe necessity for his work to be commoditisedHis relative hope and optimism for the future through positive technologyThe importance of having a hopeful component to the workHow he offsets his own carbon footprint Referenced:Joel SternfeldEliiot PorterStephen ShoreJennifer BaichwalNicholas de Pencier Website | Instagram“The evocation of the sense of wonder and the sense of the surreal, or the improbable, or ‘what am I looking at?', to me is interesting in a time where images are so consumed; that these are not for quick consumption they're for… slow. And I think that when things reveal themselves slowly and in a more challenging way, they become more interesting as objects to leave in the world. That they don't just reveal themselves immediately, you can't just get it in one quick glance and you're done, no, these things ask you to look at them and spend time with them. And I discover things in them sometimes that I never saw before. They're loaded with information.” Become a full tier 1 member here to access exclusive additional subscriber-only content and the full archive of previous episodes for £5 per month.For the tier 2 archive-only membership, to access the full library of past episodes for £3 per month, go here.

Across social media and TV advertisements, drugs like Ozempic and Wegovy have risen in recent years and are quickly associated with weight loss and celebrity lifestyles. Yet semaglutide drugs (which includes Ozempic and Wegovy) are intended originally as a drug for use by adults with type 2 diabetes, to manage blood sugar levels along with diet and exercise. With the shifts towards weight loss, Ozempic has become a powerful representation of our relationships with food, and the stories of how its used and experienced by type 2 diabetics are not always at the forefront. My guest today, Emily Wright, is here to share her personal experiences with Ozempic and the challenges she faced with severe complications from it, including gastroparesis. Emily Wright is a powerful educator, advocate, and public speaker. She is a member of two speaker's bureaus and a regular guest lecturer at University of Toronto, Ryerson University, George Brown College, and elementary and secondary schools across the GTA. With a special ability to speak to people of all age levels, Emily uses her personal voice and story to confront stigma and create awareness across a spectrum of important social issues, including mental health and addition, homelessness, and bullying. Emily Wright has a Master's degree in Teaching from the Ontario Institute of Studies in Education. She currently works as a curriculum consultant, speaker, and teacher for a Toronto, Ontario School Board. Emily today uses her personal story to speak to the nuances of using Ozempic, managing type 2 diabetes, and how relationships with food and body can be profoundly impacted by Ozempic. Learn More About Emily: Website: https://emilywright.ca/ Toronto Life Story: https://torontolife.com/city/gone-girl-emily-wright/

In this episode of our podcast, we delve into the world of relationships, nervous system dynamics, and the impact of societal structures with the insightful Melissa Petlichkov. Melissa, a registered social worker and practicing psychotherapist, brings her extensive knowledge and compassionate approach to our discussion, offering a unique perspective on how we form and maintain relationships. Key Points Discussed: Understanding Polyvagal Theory: Melissa breaks down the complex concepts of Polyvagal Theory, explaining how our nervous system plays a crucial role in how we connect with others and perceive safety in our relationships. Impact of Patriarchy on Relationship Choices: We explore the profound effects of patriarchal influences on women's ability to choose partners. Melissa provides an in-depth analysis of how societal norms and expectations can skew our natural mate selection processes. Recognizing Nervous System Responses in Mate Selection: Learn how to identify the subtle cues our bodies give us during the process of choosing a partner. Melissa shares her insights on how being in tune with our nervous system can lead to healthier, more fulfilling relationships. Empowerment Through Self-Witnessing: Melissa emphasizes the importance of self-witnessing and capacity building from the inside out. She discusses how this approach can empower individuals in their journey towards self-discovery and better relationship choices. Collaborative Therapeutic Process: Discover Melissa's collaborative approach in therapy, which focuses on unlocking each individual's potential and guiding them through their unique healing path. Melissa's Background: With a Bachelor's degree in Social Work from Ryerson University and a Master's of Counselling Psychology from Yorkville University, Melissa's approach is grounded in academic knowledge and enriched by her empathetic and compassionate understanding of the human experience. Connect with Melissa: For those interested in exploring these topics further or seeking guidance, you can connect with Melissa through her website https://soulwarriors.ca/ Closing Thoughts: This episode is a must-listen for anyone looking to deepen their understanding of how our internal processes influence our relationships and how we can navigate these complexities for more meaningful connections. Join us as we uncover the secrets to healthier relationships through the lens of Polyvagal Theory and beyond. Remember to subscribe to our podcast for more insightful discussions and expert opinions on a variety of compelling topics.

Ashley Barron ACS is an international, award-winning Director of Photography with a string of credits across commercials, music videos, short films, TV and feature films. She is known for her work on Starz/Lionsgate's production Dangerous Liaisons, as well as the Australian Academy Award-winning series The Tailings, All Creatures Great & Small S2 for Channel 5 and PBS, and ITV's The Tower S2. Born in Moscow in 1987 to her Russian mother Olga and Armenian father Sergey, Ashley draws on her international heritage, education and training, which gives her a unique perspective and approach to her art. At the age of seven, her family moved from Moscow to Limerick, Ireland where she adapted from Russian to English as she blended into Irish life with her older brother Nick. As a teenager, she and her mother moved to Perth, Western Australia after her parents separated and Ashley had to once again adjust to a new culture while deciding on her career path. She attended Curtin University in Perth where she gained her BA in Film & TV. From there her mother encouraged her to spend an Exchange Semester at the Ryerson University in Toronto, and then Hollywood where she earned her MFA in Cinematography at the American Film Institute Conservatory (AFI). In 2018, Ashley became one of 15 women to receive Accreditation from the Australian Cinematographer's Society. Her work has earned a number of awards, including a coveted Gold Award from the Australian Cinematographer's Society (ACS), an AACTA Award (Aussie Oscar), a Nomination at the prestigious Camerimage Cinematography Film Festival, an invitation for membership of the Illuminatrix Collective, and one of the earliest memberships of the International Collective of Female Cinematographers (ICFC). Ashley's website: https://www.ashley-barron.com/ Ashley's IMDB: https://www.imdb.com/name/nm2551925/?ref_=nmbio_ov Instagram: @ashleybarrondop Some women whose work Ashley admires:Ari Wegner ACS Aga Szeliga ACO (Operator + founder of Women Behind the Camera)Catherine Goldschmidt BSC (+ Ness Whyte) (founders of Illuminatrix DOPs)Erika Addis (President of the ACS) Kim Snyder (President of Panavision)Ashley's Playlist: Foo Fighters "Everlong" The Pixies "Where is my Mind" Where is My Mind rendition Mumford & Sons "Hopeless Wanderer" Trent Reznor from The Social Network Smashing Pumpkins "Zero" Thomas Newman American Beauty Bicep "Atlas" Bicep "Cazenove" Nirvana "Aneurysm" Red Hot Chili Peppers "Dani California" The Dead Weather "Treat Me Like Your Mother" The White Stripes "Seven Nation Army" Foo Fighters "The Pretender" Nirvana "Heart Shaped Box" Mumford & Sons "Where Are You Now" Mumford & Sons "Hot Gates" Trent Reznor "In Motion" Of Monsters & Men "Dirty Paws" Requiem for a Dream Heroes by Bowie Where Is My Mind Everlong I'm a Nu-Metal & Techno kid, otherwise I'm a big System of a Down, Manson, Slipknot, Korn, Mudvayne, Pendulum, Shapeshifter fan. Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramEmail: hollowellstudios@gmail.comThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4769409/advertisement

Ashley Barron ACS is an international, award-winning Director of Photography with a string of credits across commercials, music videos, short films, TV and feature films. She is known for her work on Starz/Lionsgate's production Dangerous Liaisons, as well as the Australian Academy Award-winning series The Tailings, All Creatures Great & Small S2 for Channel 5 and PBS, and ITV's The Tower S2. Born in Moscow in 1987 to her Russian mother Olga and Armenian father Sergey, Ashley draws on her international heritage, education and training, which gives her a unique perspective and approach to her art. At the age of seven, her family moved from Moscow to Limerick, Ireland where she adapted from Russian to English as she blended into Irish life with her older brother Nick. As a teenager, she and her mother moved to Perth, Western Australia after her parents separated and Ashley had to once again adjust to a new culture while deciding on her career path. She attended Curtin University in Perth where she gained her BA in Film & TV. From there her mother encouraged her to spend an Exchange Semester at the Ryerson University in Toronto, and then Hollywood where she earned her MFA in Cinematography at the American Film Institute Conservatory (AFI). In 2018, Ashley became one of 15 women to receive Accreditation from the Australian Cinematographer's Society. Her work has earned a number of awards, including a coveted Gold Award from the Australian Cinematographer's Society (ACS), an AACTA Award (Aussie Oscar), a Nomination at the prestigious Camerimage Cinematography Film Festival, an invitation for membership of the Illuminatrix Collective, and one of the earliest memberships of the International Collective of Female Cinematographers (ICFC). Ashley's website: https://www.ashley-barron.com/ Ashley's IMDB: https://www.imdb.com/name/nm2551925/?ref_=nmbio_ov Instagram: @ashleybarrondop Some women whose work Ashley admires: Ari Wegner ACS Aga Szeliga ACO (Operator + founder of Women Behind the Camera) Catherine Goldschmidt BSC (+ Ness Whyte) (founders of Illuminatrix DOPs) Erika Addis (President of the ACS) Kim Snyder (President of Panavision)Ashley's Playlist: Foo Fighters "Everlong" The Pixies "Where is my Mind" Where is My Mind rendition Mumford & Sons "Hopeless Wanderer" Trent Reznor from The Social Network Smashing Pumpkins "Zero" Thomas Newman American Beauty Bicep "Atlas" Bicep "Cazenove" Nirvana "Aneurysm" Red Hot Chili Peppers "Dani California" The Dead Weather "Treat Me Like Your Mother" The White Stripes "Seven Nation Army" Foo Fighters "The Pretender" Nirvana "Heart Shaped Box" Mumford & Sons "Where Are You Now" Mumford & Sons "Hot Gates" Trent Reznor "In Motion" Of Monsters & Men "Dirty Paws" Requiem for a Dream Heroes by Bowie Where Is My Mind Everlong I'm a Nu-Metal & Techno kid, otherwise I'm a big System of a Down, Manson, Slipknot, Korn, Mudvayne, Pendulum, Shapeshifter fan. Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramEmail: hollowellstudios@gmail.com

This week, Jann Arden and Buffy Sainte-Marie spend an hour talking about the music industry and songwriting, the complications of growing up without knowing where you come from, and the history of Indigenous peoples in Canada ahead of National Day for Truth and Reconciliation. Buffy mentions a variety of works and resources we wanted to share:Andrea Warner's Women in Music Andrés Reséndez - The Other SlaveryThe Uncovered Story of Indian Enslavement in America A Day to Listen in Partnership with the Gord Downie Chanie Wenjack Fund ReconciliACTION and the Gord Downie Chanei Wenjack Fund The TRC Calls to Action Caleb Ellison-Dysart - Just You and Me, Missed Out.Ulali - Mahk ChiPura Fe - Hiyo StirehAysanabee - WatinMimi O'Bonsawin - WillowPlex's album Who Am I to Judge, especially the song Suspect. Aqua Nibii Waawaaskone: Come On Home, Burry Me Deep. Background: (from Helen Yung) Amy Hull, one of the youth who participated with us in Buffy's Creative Native Project Initiative at X (formerly Ryerson) University during Covid, was recently involved in the curation and production of a community performance in Toronto's Summerworks Festival. One of the guest artists that Amy worked with was Aqua Nibii Waawaaskone.   You can find so much more about Buffy's music and work, including her recommended reads, on her WEBSITE.

Niki Davis, AKA Miss Bloom, is a sex educator, Speaker, Writer, and Coach. She works with people who have less-common desires. Her work has been featured in Cosmopolitan, Bumble, Mind Body Green, The Insider, and PornHub Sexual Wellness Center, and she has been seen and heard with Refinery29, Passion with Dr Laurie, and Intellectual Erection. Niki holds a Bachelor's Degree in Psychology from Ryerson University and an MA in Psychology from New York University. Hey everyone! Welcome to today's episode of the Wright Conversations Podcast! For today's episode, I'm joined by Miss Bloom to talk about what it means to have a fetish, the misconceptions around fetishes, and the fascinating neurological connection to fetishes. We also talk about how to find fetish communities, how to communicate with partners about fetishes, and when fetishes become “unhealthy.” Let's delve in!   In this Episode You'll Learn: [01:14] A bit about Miss Bloom. [02:53] Defining fetishes. [05:00] The need to have the fetish item around. [07:04] More common fetishes. [12:44] When fetishes are “unhealthy.” [15:44] How to figure out if you have a fetish. [19:02] Finding fetish communities. [21:53] The biggest misconceptions, [23:33] Communicating about fetishes to partners. [27:36] Niki's words of wisdom.   Quotes: “You have this critical time, and it's very normal to become hyper-aroused by something that you experience in that time.” [10:23] “No matter what you're turned on by, there is a community out there.” [20:41] “The act of getting it out there can be truly powerful.” [26:46] “Life is too short to keep something in if it can bring your joy.” [27:50]   Connect with Miss Bloom Website:            www.nikidavisf.com. Instagram:          @missbloomsexeducator. Twitter:              @nikidavisf. LinkedIn:            Niki Davis. Patreon:            @missbloomsexeducator..    Connect with Rachel Wright Website:            https://rachelwrightnyc.com Instagram:          @thewright_rachel Twitter:              @thewrightrachel   Resources FetLife.   Get a 1-day FREE Trial and 40% OFF A Yearly Subscription at Beducated! Use Promo Code: WRIGHTCONVERSATION.   Get 20% OFF Your First Order at The Honey Pot! Use Promo Code: Rachel20   WIN A FREE INTIMACY AFTER DARK DECK!   Get 30% OFF the NEW After Dark Deck! Use Promo Code: Rachel   Get your Zumio Discount!   Call to Action Please, if you love this episode, share it with your friends and others. To help this podcast grow, please leave a review, and don't forget to subscribe.

Welcome to Witness to Yesterday. This summer, we will be reissuing our top 10 episodes. We hope you enjoy revisiting these with us. The Witness to Yesterday team is working hard, and we're excited to bring you the next new season in September, 2023. Thank you for listening. Original Episode Description: Greg Marchildon talks with Greg Kealey (professor of history emeritus, University of New Brunswick) on the history of Canadian Spying (RCMP) before CSIS and his book Spying on Canadians: The Royal Canadian Mounted Police Security Service and the Origins of the Long Cold War (University of Toronto Press, 2017). This podcast was produced by Hugh Bakhurst and Pernia Jamshed in the Allan Slaight Radio Institute at Ryerson University. If you like our work, please consider supporting it: https://bit.ly/support_WTY. Your support contributes to the Champlain Society’s mission of opening new windows to directly explore and experience Canada’s past.

Welcome to Witness to Yesterday. This summer, we will be reissuing our top 10 episodes. We hope you enjoy revisiting these with us. The Witness to Yesterday team is working hard, and we're excited to bring you the next new season in September, 2023. Thank you for listening. Original Episode Description: Greg Marchildon talks with Dennis Mollinaro about his book An Exceptional Law: Section 98 and the Emergency State, 1919-1936 (University of Toronto Press, 2017). This podcast was produced by Sumeet Dhami and Pernia Jamshed in the Allan Slaight Radio Institute at Ryerson University. If you like our work, please consider supporting it: https://bit.ly/support_WTY. Your support contributes to the Champlain Society’s mission of opening new windows to directly explore and experience Canada’s past.

Join Rebecca as she and Keree Green talks about how to Break Free from a Narcissist? Keree Green The

SHOW NOTES What is the dent you wish to make in the world? I'm here to figuring out the next evolution of the world. I'm obsessed with finding the edges of my potential. I want to empower other people to do the same, to really feel like they're capable of more than they probable believe that they can. Episode Key Takeaway Listeners will better understand the art and science of happiness. They'll start to define or refine their own definitions of happiness (and success). They can start experiencing more happiness now, instead of waiting for ‘happily ever after'. Instead of feeling like a victim of circumstances and getting rocked off their centre when life is in chaos, they'll be more able to maintain a positive attitude and have the capacity to lead with clarity and be present with those who rely on them. About Kendra Reddy A certified executive and leadership coach (CPCC, PCC, CNTC), Kendra believes that leading with excellence begins with personal mastery, and she is passionate about working with high-performing leaders who want to realize their potential and experience a broader range of sustainable and measurable success. Outstanding leaders have abilities that go well beyond business acumen and operational knowledge; they also continuously examine their past and current impact while learning to develop and expand their leadership to include a broader and deeper range of styles, emotions, and expressions. Kendra is committed to helping people learn how to lead actively and authentically by understanding how to engage in more strategic, outcome-focused conversations, strengthen their creative responses to situations, and find the right balance between relationship and task orientation. Relying on neuroscience, positive psychology, somatics, nature, spirituality, and the multidisciplinary science of high performance, Kendra engages people in thought provoking conversations that empower and help them dramatically expand and improve their leadership capacity, clarity, and confidence so they are better equipped to manage competing priorities and discover new and more efficient ways of delivering results. She also works skillfully with live group dynamics, creating an environment for participants to take personal risks, push cultural boundaries, and build alignment in complex and changing environments. Since 2008, Kendra has successfully launched and grown her coaching company, Blueprint Strategies Inc., authored the Executive Career column for the Financial Post online, coached hundreds of executives, and led and supported the design and delivery of leadership development programs in many sectors, including Financial Services, Automotive, Retail, Healthcare, and Government. Prior to that, she spent 4 years at LHH Knightsbridge Human Capital Solutions and 2 years at one of Canada's most respected boutique executive recruiting firms. An active member of the International Coach Federation (ICF) and a Professional Certified Coach (PCC), Kendra holds her Certified Professional Co-Active Coach (CPCC) designation from The Co-Active Training Institute and is a graduate of their intensive 10-month Leadership Program. She is also a designated Certified Neuroscience Transformational Coach (CNTC), has earned certifications in Solutions- Focused Brief Coaching through the University of Toronto, Somatics and Embodied Transformation through The Strozzi Institute, and Social Psychology through Ryerson University. Kendra is also a certified Equine Assisted Leadership Coach and facilitator, and has studied Organizational Relationship Systems Coaching (ORSC). She is a student of Leela Gurukul, an immersive spiritual school for modern leaders. The Shareables Something you should read...

This week, Ayana is joined by filmmaker and author Dr. Brett Story. Together, they ponder justice, accountability, and interconnection in a complex and rapidly changing world. In this intellectual and timely conversation, Brett begins by unpacking how carceral logics and conceptions of the “criminal” work, mark and dictate the world spatially, while at the same time explaining the socially-constructed nature of crime. Brett's work examines the ways we individually and collectively metabolize our anxieties, and through this lens, she makes connections across the broad issues of our current reality from changing climates to criminal justice systems that were designed to enforce control rather than to produce true justice. At the center of the conversation is the question of interdependence– emphasizing the need for community and collective action in the face of neoliberal individualism. Mass-incarceration and climate change are not crises of the individual, but of our culture. The abolitionist imagination may be the key to a collective future– as Brett reminds listeners that our aspirations can be both practical and utiopan. Brett Story is an award-winning nonfiction filmmaker based in Toronto whose films have screened at festivals and theaters internationally. She is the director of the award winning feature documentaries The Hottest August (2019) and The Prison in Twelve Landscapes (2016), both of which were also broadcast on PBS's Independent Lens. Brett holds a Ph.D. in geography from the University of Toronto and is currently an assistant professor in the School of Image Arts at Ryerson University. She is the author of the book, Prison Land: Mapping Carceral Power across Neoliberal America. Brett was a 2016 Sundance Institute Art of Nonfiction Fellow and a 2018 Guggenheim Fellow in film and video. Music by Jahawi Bertolli, Jahnavi Veronica, and Leyla McCalla. Visit our website at forthewild.world for the full episode description, references, and action points.