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Speaker 1: Previously on Winnian House.

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Speaker 2: For far too long, our criminal justice system has failed

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Speaker 2: our most vulnerable community members. It has disproportionately targeted Black,

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Speaker 2: Indigenous and LATINX communities, trapping them in a vicious cycle

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Speaker 2: of poverty, trauma, and incarceration. Seventy four percent of those

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Speaker 2: arrested in Los Angeles County are Black.

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Speaker 3: And Latin X. Our jails are.

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Speaker 2: Overflown with individuals who are sick, who are poor, and

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Speaker 2: who are experiencing homelessness and struggling with mental health and

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Speaker 2: steps since use disorders. This is not justice, This is

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Speaker 2: a systemic failure.

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Speaker 1: South Central's Brightest East LA Committee Compton's Cavalry wants health

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Speaker 1: workers the heartbeats of the city because we are who

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Speaker 1: we say we are, and we are all that we

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Speaker 1: were ever meant to be. And there's nothing that they

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Speaker 1: could ever say, nothing.

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Speaker 3: That they could ever do to stop us.

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Speaker 1: Because when we start Welcome back to he In House.

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Speaker 1: I'm your host, Theo Henderson. This week I stepped into

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Speaker 1: the field in a totally different direction, though the topic

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Speaker 1: is houselessness. I was invited to observe a form of

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Speaker 1: artistic expression on houselessness by Amanda Nicholson, one of the

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Speaker 1: artists and residents at Painted Brain in LA. The exhibit

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Speaker 1: was called in Fits You, and Amanda's pieces show various

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Speaker 1: fats as the houselessness. We will be taking you there,

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Speaker 1: but first on House News. This week's on House News,

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Speaker 1: it's taking place in Muggie, Washington, d C. In case

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Speaker 1: you missed it, we are experiencing heat waves around the country.

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Speaker 1: Our unhoused community needs cold water ice packs to avoid

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Speaker 1: heat related illnesses. With this in mind, I have been

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Speaker 1: asking officials the location of the cooling stations. Weeian House

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Speaker 1: conducted a survey to find out on Twitter on July ninth,

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Speaker 1: twenty twenty four, I asked, does Mayor Muriel Bowser care

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Speaker 1: if the unhoused community dying in this heat wave? Ninety

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Speaker 1: two percent said no, the mayor does not care. An

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Speaker 1: eight percent said yes. This prompted Mayor Bowser's staff one

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Speaker 1: day later to respond. They stated they have an interactive

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Speaker 1: map and information to free accessible transportation to a cooling station.

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Speaker 1: The shelter has an emergency number which is two O

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Speaker 1: two three nine nine seven zero ninety three or call

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Speaker 1: three one one DC Gov. I did an informal outreach

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Speaker 1: on the story, and only one unhoused person out of

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Speaker 1: the people that I talked to knew that they had

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Speaker 1: a cooling station. Any of the unhoused community are not

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Speaker 1: plugged into an interactive map or have a phone or

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Speaker 1: it being charged. Los Angeles seemed to be chumping at

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Speaker 1: the bit and the light of the Supreme Court decision

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Speaker 1: on Grant's past ruling. The setting is in Little Tokyo.

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Speaker 1: On Monday, July seven, twenty twenty four, the Los Angeles

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Speaker 1: Police Department zeroed in on the unhoused community during a

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Speaker 1: heat wave, weaponizing the American Disability Act against the unhoused

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Speaker 1: community its nasty work to force evictions from the area.

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Speaker 1: When forty one eighteen was in effect, the city was

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Speaker 1: limited in how the city removed the unhoused community. With

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Speaker 1: the Grand Pass ruling, officials don't have to offer services

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Speaker 1: or shelter to remove the unhoused. In other parts of

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Speaker 1: the country, we land in Clackamas County, where commissioners proposed

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Speaker 1: a new coal to target unhouse RV and campers. These

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Speaker 1: vehicles are being called Nusance RV and campers under the

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Speaker 1: proposed code changes. If an RV or camper is being

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Speaker 1: lived in. It impacts health and safety, and the people

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Speaker 1: have refused to leave despite prior notice or outreach efforts.

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Speaker 1: The Sheriff's office could get a warrant and use reasonable

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Speaker 1: force if necessary to remember whoever lives there and have

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Speaker 1: their vehicles told. In San Francisco, Mayor London Breed has

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Speaker 1: vowed more encamp misweeps against the unhoused community in light

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Speaker 1: of the Supreme Court decision on Grant's past ruling. Reed

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Speaker 1: and Nimbi's have been opposed to Martin Versus Boys's decision

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Speaker 1: on treating the unhoused community with empathy. They were part

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Speaker 1: of the cabal to sue against Martin Versus Boys. Finally,

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Speaker 1: in Massachusetts, unhoused families are barred from sleeping overnight in

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Speaker 1: the Logan Airport. Emergency Director Scott Wright dated, families are

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Speaker 1: arriving in Massachusetts must look elsewhere in the airport or

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Speaker 1: emergency shelters which are at capacity. Governor Mara Healey announced

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Speaker 1: new show to capacity for one hundred and forty unhoused

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Speaker 1: families and phasing out the airport is in the best

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Speaker 1: interests for the customers and families.

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Speaker 3: This is n houseless.

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Speaker 1: We'll be right back with Artists in Residence Amanda Nicholson.

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Speaker 1: Welcome back to Weedian House. I'm THEO Henderson. We take

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Speaker 1: you now to Painting Brain, where I spoke with Los

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Speaker 1: Angeles based artists and residence Amanda Nicholson. I was thrilled

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Speaker 1: to speak with her about her work, her processes, and

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Speaker 1: how the final product illustrated different aspects of being unhoused.

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Speaker 1: Like we always say on the show, are not a monolith,

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Speaker 1: and Amanda's work demonstrates that beautifully. Here's the first part

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Speaker 1: of our conversation.

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Speaker 4: All right, So there were six artists in total that

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Speaker 4: were part of this residency. Creatives in Residence are exhibits

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Speaker 4: called in c TU. The text on the floor and

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Speaker 4: along the walls is by Tyler Bradley. She's a spoken

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Speaker 4: word artist and a mixed media artist, and she has

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Speaker 4: another mixed media piece a little later on and in

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Speaker 4: the exhibit that we'll check out. Moving on, we have

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Speaker 4: two large prints by Tam tanganin close Friends, super helpful

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Speaker 4: to me throughout this process, and she has some mixed

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Speaker 4: media prints as well as a poetry book.

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Speaker 3: Please feel free to flip through and check it out.

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Speaker 3: They're broken piece and discarded scrap interesting.

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Speaker 4: Yeah, and you'll see out of play between the different pieces.

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Speaker 4: So like broken pieces also end up showing up in

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Speaker 4: some of my works as well, so you'll see that

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Speaker 4: continuity with a couple of things throughout the space. By yes,

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Speaker 4: TAM's zine is on sale for ten bucks.

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Speaker 3: Okay, a little drop there and you're moving on. This

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Speaker 3: is my first piece.

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Speaker 4: It's called the Hardest Part and it's a use of

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Speaker 4: physical materials to represent the hardships and difficulties of housing insecurity.

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Speaker 4: It's a collaborative piece, so it includes myself as well

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Speaker 4: as you THEO you made it to the piece, harm

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Speaker 4: reduction advocate Max Flower, holistic health coach Yula Sledge, and

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Speaker 4: actually Tam, so there's a contribution from Tam in this

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Speaker 4: piece as well. There's eight materials in total, includes concrete, nails,

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Speaker 4: broken glass legos to represent a tableau of a sweep

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Speaker 4: encampment sweep, a narcan box surrounded with flowers, a pothos plant,

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Speaker 4: and a heart in a spam can some yeah, yeah,

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Speaker 4: and then some rubber duckies and so we can kind

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Speaker 4: of go through real quick. So for concrete, it really

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Speaker 4: is just about representing both the physical situation of being

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Speaker 4: on the street, of sitting on the sidewalk contemplating your life,

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Speaker 4: not understanding.

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Speaker 3: Exactly, and also anywhere you sit.

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Speaker 4: Even if we think about physical concrete seating in spaces,

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Speaker 4: you're shoot away from those places. You can't sit, you

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Speaker 4: can't lay, And so it was important for me to

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Speaker 4: grab concrete for this. I actually got it off of

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Speaker 4: a side of a building that has since been demolished

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Speaker 4: in just the four months that I was in residency

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Speaker 4: in the South LA near my house. Then we have nails,

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Speaker 4: and nails serve two purposes and the exhibit they're kind

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Speaker 4: of anchor pointing straight up, and that is to the

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Speaker 4: nails represent you know, kind of what holds benches together,

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Speaker 4: but it also represents anti home as architecture, which again yeah,

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Speaker 4: which again prevents Burthol from being able to rest. This

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Speaker 4: is all on the first layer of this piece, which

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Speaker 4: has three shelves. The third piece is third contribution is

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Speaker 4: broken glass.

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Speaker 3: Or shattered glass that I actually found.

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Speaker 4: There's a lot of found materials throughout all of the work,

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Speaker 4: and I happen to find in the area some broken

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Speaker 4: like shelves in a refrigerator on the street, and so

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Speaker 4: I was like, yes, exactly what I needed and scooped

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Speaker 4: it up into a bag and it just it represents

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Speaker 4: broken dreams, the fragility of life. Even kind of we

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Speaker 4: think about touching glass, it's this, you know, something sharp,

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Speaker 4: you know it's hazardous, it's going to make you eat,

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Speaker 4: and that homelessness is really like bleeding you dry every

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Speaker 4: day that you're going through it.

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Speaker 1: Thousand men, a thousand cuts, they pinpricks exact.

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Speaker 4: On the second shelf, we have a tableau of a

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Speaker 4: sweep with legos.

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Speaker 3: So there's some found legos.

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Speaker 4: I found them right outside the center, run over in

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Speaker 4: traffic and again was like that's it and grabbed them up.

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Speaker 3: And at first it was just going to represent foundation, but.

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Speaker 4: You'll see in another piece within the exhibit I used

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Speaker 4: legos again. So as I was kind of assembling that piece,

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Speaker 4: I was like, I have a sanitation looking kind of worker,

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Speaker 4: and I have a broom. It would be foolish to

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Speaker 4: not create this representation of a sweep using legos and

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Speaker 4: really the intention behind it. As well as miniatures like

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Speaker 4: miniature possessions, books, baskets, cups, pans, cereal kind of food,

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Speaker 4: all kind of being swept aside and treated like trash,

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Speaker 4: and that's to represent that so many people are treated

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Speaker 4: like trash, literally discarded, their possessions, discarded because they have

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Speaker 4: a physical or mental disability, and that being swept away

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Speaker 4: is something that is very painful and traumatic, not just

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Speaker 4: for the people experiencing it, but anybody who's a witness

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Speaker 4: to it, And six homeless people die a day here

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Speaker 4: in La County, and it was really important that I

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Speaker 4: was able to point that out in this piece. After that,

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Speaker 4: we have a box of Narcan, which is a collaboration

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Speaker 4: with harm reduction advocate Max Flower, and it's surrounded by flowers.

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Speaker 4: At the opening they were fresh, but now we found

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Speaker 4: some beautiful artificial who longs to take its place. And

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Speaker 4: it really speaks to the fact that when you're in

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Speaker 4: a society, you're being dehumanized. You're trying to figure out

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Speaker 4: how to manage you're dealing with emotional and physical pain.

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Speaker 4: You need some sort of care, right, you need medical care. Unfortunately,

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Speaker 4: when you're on housed, especially if you get swept and

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Speaker 4: you lose your insurance, your idea, it's very difficult to

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Speaker 4: access health care.

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Speaker 3: And so that's where.

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Speaker 4: Street medicine comes into play, and folks have to do

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Speaker 4: what they have to do to survive. It's not about

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Speaker 4: demonizing or kind of creating a hierarchy for substances, but

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Speaker 4: being honest about what conditions caused people to use substances

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Speaker 4: in the first place. And then on the third shelf,

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Speaker 4: we have a plant, which this is a collaborative piece

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Speaker 4: as well, or collaborative contribution from Tam tangan In, and

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Speaker 4: the plant really represents the sense of home. And Tam

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Speaker 4: remembers a time in her own life where she had

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Speaker 4: a house full of plants, and then she also went

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Speaker 4: through housing and security and became unhoused. And so when

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Speaker 4: she got a new pothos in her new space, she

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Speaker 4: called it Traveler and she ended up including an excerpt

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Speaker 4: from her poem in her book or in her zine Longing.

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Speaker 4: And then this is from longing for home. Home is

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Speaker 4: the feeling of freedom to be comfortable in a space,

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Speaker 4: whether it be a city or a room, that moment

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Speaker 4: when you relax into it, that is when you are

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Speaker 4: finally free. Yeah. Yes, it was really important for me

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Speaker 4: to once I knew that Tam had this kind of

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Speaker 4: poem going into the z and I was like, that

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Speaker 4: really speaks to what I'm doing.

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Speaker 3: I need you to collabor with me on this.

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Speaker 4: The next one we have is you THEO and you're

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Speaker 4: and it's a it's you know, for the space that's provided.

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Speaker 4: I've used a pile of socks, but it represents laundry.

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Speaker 4: And this is to quote you. I'm disabled and was stabbed.

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Speaker 4: Everything you do requires stomach muscles. Also, Los Angeles has hills.

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Speaker 4: Try doing laundry under those conditions. And what really excited

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Speaker 4: me about this particular contribution is in a piece called

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Speaker 4: the Hardest Part the Softest Thing. It sucks, you know

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Speaker 4: what I mean, Something so simple that easily taken for

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Speaker 4: granted becomes such a hard ship.

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Speaker 3: Yeah.

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Speaker 1: Absolutely.

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Speaker 4: And then the final contribution is from my mom, who's

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Speaker 4: a holistic health car and she she spoke to the

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Speaker 4: rubber duckies and what it says, this is a quote

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Speaker 4: from her. Basic amenities are not a luxury, a place

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Speaker 4: to bathe do laundry, a mailbox and storage for one's property.

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Speaker 4: It goes without saying, safe housing and food, a hot

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Speaker 4: bath where you can feel the water rising.

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Speaker 3: Up around your shoulders.

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Speaker 4: And so we've got two rubber duckies here to kind

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Speaker 4: of represent that luxury of hygiene, particularly in a bath

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Speaker 4: that really isn't a luxury.

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Speaker 3: People took baths long before they took showers. In fact,

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Speaker 3: all it bore.

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Speaker 1: So I want to take a quick moment to talk

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Speaker 1: about you are the activist of artists and residents.

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Speaker 3: Tell us a little bit about that. What was that

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Speaker 3: like and how did you get to be the artistan.

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Speaker 4: With just took a chance on applying because I saw

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Speaker 4: it in an Instagram ad and it it ended up

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Speaker 4: really working out in my favor. And it's exciting to

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Speaker 4: use my experience and what I've learned in my not

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Speaker 4: just my own lived experience, but in working mutual aid

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Speaker 4: with other people. Really the impact of homelessness in a

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Speaker 4: way that is not have happening in conversations. We're not

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Speaker 4: talking about impact through the lens of humanity, and that's

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Speaker 4: that really eats at me. So it was really cool

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Speaker 4: to have this opportunity to make some pieces, pull materials together,

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Speaker 4: be in spaces and be inspired by others. And there's

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Speaker 4: so many great artists in the residency, so that's why

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Speaker 4: I'm happy to talk about all their works too, because

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Speaker 4: we really contributed to each other's like inspiration and growth

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Speaker 4: through this.

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Speaker 3: So can you tell us a little bit about Painted Brain. Yeah.

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Speaker 4: So Painted Brain is a community center in mid c

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Speaker 4: although they may be moving kind of soon, and they

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Speaker 4: offer just open studio space to the community three days a.

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Speaker 3: Week so that they can make art.

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Speaker 4: There's workshops happening every day, but you're not required to participate,

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Speaker 4: and they offer residencies to kind of expand on having

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Speaker 4: an impact in the arts community.

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Speaker 1: Wow, that's impressive. How long is the activist artists and residence?

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Speaker 4: So the residency was about four months in total, and

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Speaker 4: it finished on May third, that's when we had our

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Speaker 4: opening and we'll be wrapping up next week. So our

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Speaker 4: exhibition will be or is open currently and has been

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Speaker 4: will be open in total about a month.

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Speaker 1: Because of this is so impactful and it shouldn't die all.

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Speaker 1: Would you create a moving kind of artists kind of thing,

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Speaker 1: more kind of mobile kind of.

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Speaker 3: Thing, particularly for this piece. The hardest part.

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Speaker 4: What I envisioned for it in the beginning was a

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Speaker 4: public art installation. And I'm very inspired by Alison Tsar

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Speaker 4: because she's done public art both in New York or

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Speaker 4: I'm from and here in LA and I've really seen

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Speaker 4: the impact of her public art, particularly in black and

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Speaker 4: brown neighborhoods. And I really want to in the end

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Speaker 4: see the hardest part on the street. No one has

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Speaker 4: to have a special invitation. Doesn't matter what time of

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Speaker 4: day it is. You can be reminded of the hardships

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Speaker 4: of homelessness, not in a kind of easy to cast

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Speaker 4: a sideway when we're witnessing actual human beings, but in

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Speaker 4: a way that makes you ponder the comforts or lack

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Speaker 4: of comfort in your own life. Oh well said, we

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Speaker 4: can kind of move into the next space.

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Speaker 3: And then peace. Okay, okay, let's see real quick before

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Speaker 3: we leave this room.

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Speaker 4: I just want to highlight that we have eleven paintings

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Speaker 4: on the wall, and thereby tr Son and they are

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Speaker 4: a rapper as well and a musician, and they created

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Speaker 4: at the opening this wearable machine in addition to these

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Speaker 4: beautiful paintings, and I want to draw attention to the

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Speaker 4: mushrooms in one of the pieces. And I remember from

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Speaker 4: TR's beautiful performance at the opening that each piece represents

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Speaker 4: a different light in the light spectrum, so you know, gamma,

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Speaker 4: UV X ray and things like that.

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Speaker 3: Impressive. All right, we can leave the way. Yes, he's

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Speaker 3: in the third room, and we'll actually go this way

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Speaker 3: around the space and then we'll come back to this sign.

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Speaker 5: Okay.

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Speaker 4: So first we have three paintings and a triptych and

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Speaker 4: that's by tays Net and Teya is an environmental focused artist.

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Speaker 4: It was very important for her to reflect the impact

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Speaker 4: of microplastics or connection to the earth in her pieces.

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Speaker 4: She has another piece that we'll reference and we'll check

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Speaker 4: out just a little bit later. And so each piece

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Speaker 4: has beautiful paintings as well as poetry, and it's speaking

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Speaker 4: about everything from toxic rain, to microplastics to the connection

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Speaker 4: with the earth. So it really is eye opening when

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Speaker 4: you step into the room. One is red, one is blue,

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Speaker 4: and then one is green, and they're each kind of showing.

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Speaker 3: Their own little vignette or concept.

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Speaker 4: So after that we have this is Tonka Land by

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Speaker 4: Ezekiel Goodwin. And of all the artists, Ezekiel set forth

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Speaker 4: this intention to really represent each person in the residency

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Speaker 4: because he had the opportunity to meet everyone in both

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Speaker 4: quick cohorts, so he really wanted to reflect that in

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Speaker 4: his piece.

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Speaker 3: And so we have this beautiful mural of a woman.

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Speaker 4: She has indigenous directions like in coloring as her jewelry,

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Speaker 4: and she's holding a book.

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Speaker 3: And her shirt is blue.

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Speaker 4: She's got this beautiful kind of like orange and shades

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Speaker 4: of orange kind of sunset or moon behind her, expends

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Speaker 4: on what you kind of receive it as as well

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Speaker 4: as these beautiful white flowers around her.

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Speaker 3: And she's holding a book.

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Speaker 4: And the book that she's holding in the metaphorical represents Tyler,

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Speaker 4: who we spoke about earlier, and also represents this woman

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Speaker 4: or this image, this person learning about Tonga Land, learning

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Speaker 4: about her own indigenous connection to the land and her people.

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Speaker 4: And so her hands are actually cosmic, which Ezekiel had

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Speaker 4: shared with some folks, was partially inspired by me and

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Speaker 4: was really spoke to this idea of getting in alignment

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Speaker 4: with the universe, having a spiritual connection, and spirituality will

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Speaker 4: actually show up more in this room as we move

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Speaker 4: through the space. And then she also has this kind

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Speaker 4: of like cosmic starry imagery also coming from her scout

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Speaker 4: to represent the consciousness really integrating into her own line. Yeah,

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Speaker 4: as she's reading, and so around the mural it has

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Speaker 4: a shelf with some books that say this is Tonga Land.

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Speaker 4: I can actually tell you what the four books are.

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Speaker 4: The first book is The Serpent and the Rainbow by

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Speaker 4: Wade Davis.

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Speaker 3: The second is nineteen eighty.

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Speaker 5: Four by George Orwell, which work on a living in

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Speaker 5: the third is The Drawing of the Three by Stephen King,

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Speaker 5: and the fourth is The Wretched of the Earth by

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Speaker 5: France Fannin, which is actually on my reading list.

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Speaker 3: For the year.

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Speaker 4: And then it also has plants around it. At the opening,

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Speaker 4: Ezekiel had indigenous followers as well as seeds of indigenous

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Speaker 4: plants for folks to take home.

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Speaker 3: So I actually have some of Ezekiel's peace at my house.

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Speaker 4: And there's also a mushroom, which I pointed that out

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Speaker 4: in TR's piece, and you'll continue to what we talk

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Speaker 4: about mushrooms more so, moving on to this wall, the

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Speaker 4: last piece. This is also by Teya who did the triptych,

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Speaker 4: and this is actually a mysolium network and it represents

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Speaker 4: the mushroom network underground and the root system of trees and

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Speaker 4: how that's actually how trees are able to communicate. And

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Speaker 4: this was an interactive piece where you could actually attach

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Speaker 4: your own kind of message and share what grounds you,

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Speaker 4: what person places her thing grounds you or makes you

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Speaker 4: feel love. It's like a black or darker background with

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Speaker 4: beautiful light gray my ciliums, wiggles and squiggles and dots

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Speaker 4: all throughout.

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Speaker 1: When we come back, Amanda and I continue this discussion.

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Speaker 1: Welcome back to Weedian House where I'm in the field

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Speaker 1: at Painted Brain in LA. Thank you for continuing our

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Speaker 1: artistic exploration and the mind of artists and residence Amanda Nicholson.

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Speaker 1: Here's the rest of our talk as she guided me

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Speaker 1: through the exhibit and her work.

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Speaker 4: All right, we're going to get into one of my pieces.

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Speaker 4: This is called Rules of Policies and Procedures, and.

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Speaker 3: This is printed on metal.

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Speaker 4: I had the opportunity to make this medal, so I'm

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Speaker 4: very excited and I'm happy to read it to y'all.

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Speaker 4: So the first says mission and in quotes Policies and Procedures. One,

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Speaker 4: we are saving you from the outside world. You're welcome. Two,

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Speaker 4: we profit from your crisis. Please remain in crisis.

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Speaker 3: Three.

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Speaker 4: Good people don't go to poverty prison. You must be

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Speaker 4: lazy or use drugs. Four people who use drugs deserve

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Speaker 4: the absolute worst.

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Speaker 3: And we are proud to give it to them.

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Speaker 4: Five Celebrities donate to the nonprofit Industrial Complex and for

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Speaker 4: Caring about you bums.

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Speaker 3: They deserve lower taxes. Six.

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Speaker 4: If a security guard is harassing you, find a new

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Speaker 4: place to live. That's how you solve that.

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Speaker 3: Number.

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Speaker 4: Seven temporary overnight rain shelter schedule. Sign up four pm, confirm,

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Speaker 4: check in, seven pm, curfew, nine pm, exit four am

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Speaker 4: back into the rain.

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Speaker 3: You are escaping.

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Speaker 4: And that is a reference to the policy at Father

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Speaker 4: Joe's in San Diego, where they really do put people

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Speaker 4: back out in the rate do ith, Yeah, Father Joes

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Speaker 4: put me through the ringer. Eight we have no services

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Speaker 4: for people with disabilities. Our security costs are too high.

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Speaker 4: Nine we have no hot water or toilet paper. Our

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Speaker 4: security costs are too high. Ten we seek to break

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Speaker 4: your spirit so that you may be mentally trapped here, period, forever.

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Speaker 3: Period. That's the first sign.

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Speaker 4: The second reads grand in quotes hotel rules number one.

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Speaker 4: Please remove your humanity and place it in the bin

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Speaker 4: to the left. You no longer need it here. Two

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Speaker 4: are the part You are a participant of a program

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Speaker 4: in italics. Therefore, you are our property. We will throw

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Speaker 4: you out and away as we see fit, often in

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Speaker 4: violation of the United Nations Human Right to adequate housing

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Speaker 4: and the guidelines for the implementation of the right to

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Speaker 4: adequate housing. Three you will eat, sleep, and wake as

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Speaker 4: we see fit. Failure to follow check ins and curfews

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Speaker 4: will lead to in parentheses, homelessness.

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Speaker 3: Four.

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Speaker 4: We will check you and check on you as we

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Speaker 4: see fit. You left your privacy and dignity in the

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Speaker 4: bin at the door. Failure to allow us to violate

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Speaker 4: you will lead to in parentheses homelessness.

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Speaker 3: Five.

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Speaker 4: We wipe our asses with your grievances. No one cares

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Speaker 4: about the bad things that happen to you. Feel free

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Speaker 4: to keep filing them. Six you will have a false

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Speaker 4: due process. If we kick you out, you can appeal,

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Speaker 4: but exits from the program will go through bureaucracy to

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Speaker 4: be overturned. Seven we will purposely mistreat you. You know

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Speaker 4: you were a bum with no life, bleeding the system

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Speaker 4: dry because you're too lazy to work when you arrived.

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Speaker 3: Eight. People like you need people like us. Nine.

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Speaker 4: Staff may very well be living in the next program,

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Speaker 4: but here they are your overseer.

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Speaker 3: And ten.

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Speaker 4: Smoke in the areas with the no smoking signs doesn't

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Speaker 4: make sense. Cognitive dissonance is your life. Your life doesn't

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Speaker 4: make sense. And for this piece, I really wanted to

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Speaker 4: use a lot of overt sarcasm, but also a lived experience,

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Speaker 4: not just for myself but for other people of what

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Speaker 4: they've been exposed to, whether they've dealt with congregate shelters,

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Speaker 4: bridge homes, interim housing programs, savior kind of complex programs,

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Speaker 4: recovery programs. No matter what the options are when it

440
00:26:30,600 --> 00:26:34,960
Speaker 4: comes to housing, you are almost always guaranteed that you

441
00:26:35,040 --> 00:26:37,760
Speaker 4: will be limited in your ability.

442
00:26:37,280 --> 00:26:39,800
Speaker 3: To live as a free adult.

443
00:26:40,640 --> 00:26:42,840
Speaker 4: And we'll see that show up again in another piece

444
00:26:42,880 --> 00:26:47,280
Speaker 4: in a little bit after that. We have when life

445
00:26:47,320 --> 00:26:50,560
Speaker 4: gives you lemons. This is an installation piece, So it's

446
00:26:50,600 --> 00:26:56,120
Speaker 4: a shopping cart, and that shopping cart includes vividly first

447
00:26:56,119 --> 00:26:59,440
Speaker 4: see a lot of lemons in different bags, but when

448
00:26:59,440 --> 00:27:01,520
Speaker 4: you start to look more closely at the piece, you

449
00:27:01,680 --> 00:27:04,440
Speaker 4: realize that there's also other things.

450
00:27:04,240 --> 00:27:05,040
Speaker 3: Kind of going on.

451
00:27:06,240 --> 00:27:10,200
Speaker 4: So, yeah, there's two suitcases. There's a suitcase, a luggage,

452
00:27:10,200 --> 00:27:13,320
Speaker 4: a book bag, and a purse. And in addition to

453
00:27:13,440 --> 00:27:16,600
Speaker 4: lemons being inside of them, there's a three day notice

454
00:27:16,600 --> 00:27:22,280
Speaker 4: to pay rent or move out. The plaintiff is landhorders

455
00:27:22,359 --> 00:27:26,119
Speaker 4: are us, and the defendants are the disabled, the poor,

456
00:27:26,240 --> 00:27:30,080
Speaker 4: and the underpaid. And so you see that eviction notice

457
00:27:30,080 --> 00:27:33,520
Speaker 4: sticking out, but you also see sprinkles of humanity. And

458
00:27:33,560 --> 00:27:35,840
Speaker 4: it was really important for me in this piece to

459
00:27:36,000 --> 00:27:39,040
Speaker 4: show that, you know, it's easy to see someone pushing

460
00:27:39,040 --> 00:27:41,680
Speaker 4: a shopping cart and write off what may be inside,

461
00:27:41,760 --> 00:27:43,360
Speaker 4: or see someone on the sidewalk, and.

462
00:27:43,359 --> 00:27:46,639
Speaker 3: This is your Yes, this is also me. This is

463
00:27:46,680 --> 00:27:47,040
Speaker 3: also me.

464
00:27:50,160 --> 00:27:53,960
Speaker 4: And so inside of the suitcases you see kind of

465
00:27:54,040 --> 00:27:57,640
Speaker 4: socks coming out, but inside of the shopping cart overall

466
00:27:57,720 --> 00:27:59,640
Speaker 4: you see like a rose, a.

467
00:27:59,680 --> 00:28:03,160
Speaker 3: Rain poncho, a razor, some toothpasted.

468
00:28:04,280 --> 00:28:06,439
Speaker 4: And some body wash kind of sticking out of different

469
00:28:06,480 --> 00:28:09,520
Speaker 4: pieces of the one of the suitcases in the book

470
00:28:09,560 --> 00:28:12,920
Speaker 4: bag where the purse is kind of nestled inside of

471
00:28:13,240 --> 00:28:16,320
Speaker 4: and we can get closer a bit, I can see

472
00:28:16,320 --> 00:28:19,000
Speaker 4: what's on the other side. It's important for me to

473
00:28:19,040 --> 00:28:23,280
Speaker 4: have personal materials like a toothbrush, a headband. Even there's

474
00:28:23,040 --> 00:28:27,359
Speaker 4: an old shoe, a shoe from my cut off the

475
00:28:27,400 --> 00:28:31,040
Speaker 4: list collection and attached to the bottom of the shoe,

476
00:28:31,080 --> 00:28:33,159
Speaker 4: it has a quote from C. S. Lewis that says,

477
00:28:33,440 --> 00:28:36,080
Speaker 4: you can't go back and change the beginning, but you

478
00:28:36,119 --> 00:28:37,440
Speaker 4: can start where you are.

479
00:28:37,400 --> 00:28:38,400
Speaker 3: And change the end.

480
00:28:39,200 --> 00:28:41,920
Speaker 4: On one of the suitcases, it says inside all of

481
00:28:42,000 --> 00:28:45,360
Speaker 4: us is a wild thing. Inside the other side of

482
00:28:45,360 --> 00:28:48,000
Speaker 4: the book bag it says, some days you have to

483
00:28:48,040 --> 00:28:51,080
Speaker 4: create your own sunshine. And on the other side of

484
00:28:51,080 --> 00:28:54,440
Speaker 4: the book bag is a sticker which has like a

485
00:28:54,680 --> 00:29:02,000
Speaker 4: graphic novel style woman crying as well as a cannabis nugget.

486
00:29:02,560 --> 00:29:05,040
Speaker 3: And it says, hello, hot box, I need the dank.

487
00:29:05,440 --> 00:29:08,800
Speaker 4: We also have a living spider who has been a

488
00:29:08,800 --> 00:29:11,120
Speaker 4: part of this piece since the beginning, which was not planned,

489
00:29:11,200 --> 00:29:13,560
Speaker 4: but it has tons of cobwebs and spider webs all

490
00:29:13,560 --> 00:29:15,880
Speaker 4: over it, so it gives it a kind of old

491
00:29:16,240 --> 00:29:19,080
Speaker 4: thing gone through the ringer kind of feel. It also

492
00:29:19,200 --> 00:29:22,000
Speaker 4: has a torn up blanket which was a many pieces.

493
00:29:22,360 --> 00:29:26,320
Speaker 4: Many parts of this piece were contributions from Tam, and

494
00:29:26,400 --> 00:29:29,840
Speaker 4: Tam was really helpful to me in this And also ironically,

495
00:29:29,880 --> 00:29:32,040
Speaker 4: this is a real shopping cart that an unhoused person

496
00:29:32,080 --> 00:29:34,240
Speaker 4: actually gave us. It was their shopping cart and we

497
00:29:34,240 --> 00:29:36,360
Speaker 4: asked them could we have it, and they said yes.

498
00:29:36,520 --> 00:29:41,000
Speaker 4: So it has an advertisement for a real estate company,

499
00:29:41,040 --> 00:29:44,640
Speaker 4: which was not planned but it was very serendipitous. And

500
00:29:44,680 --> 00:29:47,560
Speaker 4: then below the shopping cart on like the lower level

501
00:29:47,600 --> 00:29:51,160
Speaker 4: by the wheels, we have the representation of spilled lemonade

502
00:29:51,920 --> 00:29:54,760
Speaker 4: with a picture and some I used wax for this,

503
00:29:55,280 --> 00:29:57,240
Speaker 4: and in the beginning it could really smell it because

504
00:29:57,240 --> 00:30:00,920
Speaker 4: it's lemon grass wax, and it's kind of coming out

505
00:30:00,960 --> 00:30:04,360
Speaker 4: of the picture and tripping onto the wheel and forms

506
00:30:04,360 --> 00:30:06,640
Speaker 4: a puddle around the cart a little, some of the

507
00:30:06,640 --> 00:30:08,920
Speaker 4: wheels at the front of the cart. And at the

508
00:30:08,920 --> 00:30:11,480
Speaker 4: opening this piece also had live lemons, and then like

509
00:30:11,480 --> 00:30:13,840
Speaker 4: fresh limons, it was bright and beautiful smelling.

510
00:30:15,160 --> 00:30:17,920
Speaker 3: This piece is called Consumed by Tyler.

511
00:30:19,200 --> 00:30:23,480
Speaker 4: And this is like a collage with lots of text

512
00:30:23,560 --> 00:30:26,760
Speaker 4: on top, and then a poem within the text.

513
00:30:26,520 --> 00:30:28,440
Speaker 3: And I can't read it all.

514
00:30:28,520 --> 00:30:32,280
Speaker 4: But I can't read the poem, which says, how much

515
00:30:32,360 --> 00:30:35,240
Speaker 4: white do I need to wash out of my system

516
00:30:35,400 --> 00:30:39,440
Speaker 4: in order to love myself? How many white proclamations do

517
00:30:39,520 --> 00:30:43,120
Speaker 4: I need to evaporate from my mind so I can

518
00:30:43,200 --> 00:30:46,920
Speaker 4: feel like I'm enough? Like white out, this white world

519
00:30:47,160 --> 00:30:51,280
Speaker 4: washes and wilts over my brown, black brilliance. Like white out,

520
00:30:51,400 --> 00:30:55,640
Speaker 4: this white world has bleached my radiance, every inch of

521
00:30:55,680 --> 00:30:59,200
Speaker 4: my hue like thick glue. It sits and sticks and

522
00:30:59,240 --> 00:31:03,360
Speaker 4: spits on my existence, my mind, my being. Like white out,

523
00:31:03,720 --> 00:31:08,040
Speaker 4: the white world exists on every desk, every store, every home,

524
00:31:08,160 --> 00:31:12,880
Speaker 4: every school, every book, everywhere. White is there, whether you

525
00:31:13,000 --> 00:31:15,960
Speaker 4: can see it, feel it, hear it, smell it. How

526
00:31:16,000 --> 00:31:19,200
Speaker 4: many times have I nursed the white wolf in order

527
00:31:19,280 --> 00:31:23,360
Speaker 4: to survive? How many tears have I concealed? Laughs, I've

528
00:31:23,360 --> 00:31:27,280
Speaker 4: faked words, I've ignored to fit a wasteland for anyone

529
00:31:27,320 --> 00:31:28,440
Speaker 4: who doesn't conform.

530
00:31:28,920 --> 00:31:32,240
Speaker 3: How do I wash white out in a white world?

531
00:31:32,400 --> 00:31:33,920
Speaker 3: How do I drown out.

532
00:31:33,760 --> 00:31:37,200
Speaker 4: The white noise, erase the white board? How do I

533
00:31:37,280 --> 00:31:40,040
Speaker 4: find myself in a world that wasn't made for me?

534
00:31:40,840 --> 00:31:44,120
Speaker 4: How do I keep myself from being consumed? How much

535
00:31:44,160 --> 00:31:47,480
Speaker 4: white have you consumed? And so just as some examples,

536
00:31:47,520 --> 00:31:51,120
Speaker 4: it says like white symphonies, white jazz, white Santa Claus,

537
00:31:51,520 --> 00:31:55,120
Speaker 4: white mother Earth, white neighborhood, white therapists, and has all

538
00:31:55,120 --> 00:32:00,400
Speaker 4: these kind of different spaces where white supremacy culture is alive,

539
00:32:00,440 --> 00:32:04,680
Speaker 4: and well, you know, and it really actually made me

540
00:32:04,720 --> 00:32:08,840
Speaker 4: excited that Tyler's piece was between the shopping cart and

541
00:32:08,880 --> 00:32:11,479
Speaker 4: what we're about to get into, which is called poverty prison.

542
00:32:12,160 --> 00:32:13,760
Speaker 3: And so this piece is.

543
00:32:13,800 --> 00:32:20,840
Speaker 4: A tableau set up with Legos miniature branded miniatures.

544
00:32:21,120 --> 00:32:27,800
Speaker 3: This is me branded miniatures, palm trees.

545
00:32:27,520 --> 00:32:30,959
Speaker 4: And there's like ultimately three scenes happening at once, so

546
00:32:32,240 --> 00:32:36,160
Speaker 4: kind of on the table outside of the poverty prison

547
00:32:36,240 --> 00:32:41,560
Speaker 4: physical space, we have some palm trees, and we have

548
00:32:41,680 --> 00:32:47,040
Speaker 4: food kind of scattered about, toys, we have books, we

549
00:32:47,160 --> 00:32:52,160
Speaker 4: have hot sauce, we have some we have some miniatures

550
00:32:52,160 --> 00:32:56,040
Speaker 4: that mostly representing police or like staffing of what would

551
00:32:56,040 --> 00:32:57,200
Speaker 4: be this poverty prison.

552
00:32:57,280 --> 00:32:57,840
Speaker 3: We have a.

553
00:32:59,720 --> 00:33:02,080
Speaker 4: Mine that looks like an artist that I decided to

554
00:33:02,120 --> 00:33:04,960
Speaker 4: be the starving artist of this exhibit. We also have

555
00:33:04,960 --> 00:33:07,720
Speaker 4: a shopping cart on its side, kind of playing back

556
00:33:07,720 --> 00:33:10,960
Speaker 4: into the previous piece. The shopping cart, as well as

557
00:33:11,000 --> 00:33:13,600
Speaker 4: more miniature food inside. And these are branded things like

558
00:33:13,960 --> 00:33:16,560
Speaker 4: Twinkies and Hormale, chili and Jello.

559
00:33:16,840 --> 00:33:19,760
Speaker 3: And it was intentional for me.

560
00:33:19,880 --> 00:33:23,840
Speaker 4: To actually put which as I found these materials, I

561
00:33:23,960 --> 00:33:28,680
Speaker 4: was graciously kind of lended them by a staff member here.

562
00:33:29,840 --> 00:33:33,240
Speaker 3: Some of them are very on purpose, like the dumb Dumbs.

563
00:33:33,280 --> 00:33:35,360
Speaker 4: I wanted that to be very close to folks, so

564
00:33:35,400 --> 00:33:37,200
Speaker 4: that's like one of the first things that they're seeing,

565
00:33:37,440 --> 00:33:42,720
Speaker 4: like the nut thins, Almond Breeze or Almond Joy, whatever

566
00:33:42,760 --> 00:33:46,320
Speaker 4: the name of the brand is. This piece is completely

567
00:33:46,400 --> 00:33:49,800
Speaker 4: filled with tons of little like things for folks to

568
00:33:49,880 --> 00:33:52,200
Speaker 4: find as they look about the piece, it's an I

569
00:33:52,440 --> 00:33:56,160
Speaker 4: spy and there's some doughnuts next to cops. And then

570
00:33:56,160 --> 00:33:58,520
Speaker 4: when you go kind of look more inside of the

571
00:33:58,560 --> 00:34:01,560
Speaker 4: hotel room. So I created this with a shoe box.

572
00:34:01,680 --> 00:34:06,280
Speaker 4: I was able to find some recycled carpeting, which I

573
00:34:06,400 --> 00:34:08,880
Speaker 4: further mild dude, and it looks terrible. We three D

574
00:34:08,960 --> 00:34:12,680
Speaker 4: printed some things like the bed, the chair, the desk,

575
00:34:13,200 --> 00:34:16,640
Speaker 4: the sink, and the toilet. The toilet like has wet

576
00:34:16,680 --> 00:34:19,200
Speaker 4: wipes on top of it, added some tiles to the

577
00:34:19,239 --> 00:34:22,239
Speaker 4: floor and in the poverty prison room. It was very

578
00:34:22,239 --> 00:34:25,560
Speaker 4: important for me that I really humanized the people in

579
00:34:25,600 --> 00:34:29,720
Speaker 4: the space. So it has some subway kind of soup

580
00:34:29,800 --> 00:34:32,960
Speaker 4: and a subway soda. It has markers and a book,

581
00:34:33,040 --> 00:34:37,000
Speaker 4: and it has a canvas and a brush and a

582
00:34:37,040 --> 00:34:39,200
Speaker 4: completed painting that looks quite beautiful.

583
00:34:39,200 --> 00:34:40,800
Speaker 3: It has a music record.

584
00:34:40,880 --> 00:34:45,160
Speaker 4: It has a San Judas Todeo candle which I actually

585
00:34:45,560 --> 00:34:50,840
Speaker 4: custom made myself. And it represents being in places for

586
00:34:50,920 --> 00:34:54,399
Speaker 4: example like Project Room Key which was operating in Los

587
00:34:54,440 --> 00:34:57,160
Speaker 4: Angeles during the pandemic, or inside Saye, for just any

588
00:34:57,239 --> 00:35:00,680
Speaker 4: sort of interim housing program where maybe you're not congregate

589
00:35:00,760 --> 00:35:03,920
Speaker 4: space but you are definitely very limited, which if I

590
00:35:03,960 --> 00:35:08,240
Speaker 4: hadn't mentioned, the artist in the piece is being physically

591
00:35:08,320 --> 00:35:11,960
Speaker 4: attacked and like hit by one of the police.

592
00:35:12,239 --> 00:35:14,439
Speaker 3: And then on the top level of.

593
00:35:14,160 --> 00:35:19,640
Speaker 4: The hotel is a completely different scene where I custom

594
00:35:19,680 --> 00:35:23,600
Speaker 4: made a rooftop and has a person, one person has security,

595
00:35:23,600 --> 00:35:27,160
Speaker 4: and one robot as security, and then it has six

596
00:35:28,120 --> 00:35:31,680
Speaker 4: kind of you could say, elites celebrating on top. And

597
00:35:31,719 --> 00:35:34,040
Speaker 4: so they've got a table of food, they've got their

598
00:35:34,040 --> 00:35:36,480
Speaker 4: own kind of palm trees, beautiful.

599
00:35:36,080 --> 00:35:37,920
Speaker 3: Roses around them.

600
00:35:38,520 --> 00:35:41,439
Speaker 4: And this is one of the parts I tell people

601
00:35:41,440 --> 00:35:43,800
Speaker 4: to have fun kind of looking for different little things

602
00:35:43,880 --> 00:35:47,000
Speaker 4: like the black man has white hands. The black man

603
00:35:47,080 --> 00:35:49,719
Speaker 4: and the women have no cups at this table, even

604
00:35:49,760 --> 00:35:52,400
Speaker 4: though all the white men have cups on the table

605
00:35:52,440 --> 00:35:55,840
Speaker 4: with the food is sushi and some fast food, but

606
00:35:55,920 --> 00:35:57,759
Speaker 4: also a tropical drink.

607
00:35:57,560 --> 00:36:00,960
Speaker 3: And some like dumplings, and and.

608
00:36:00,560 --> 00:36:04,320
Speaker 4: That's really juxtaposed against this more kind of quick fast food,

609
00:36:04,400 --> 00:36:07,600
Speaker 4: cheap food that's on the lower level and outside of

610
00:36:07,640 --> 00:36:10,600
Speaker 4: the poverty prison, so to speak. And they're on a

611
00:36:10,640 --> 00:36:14,120
Speaker 4: gold rooftop platform that I created with some rhinestones. It

612
00:36:14,160 --> 00:36:15,880
Speaker 4: was a lot of fun to put those rhinestones and

613
00:36:16,120 --> 00:36:19,640
Speaker 4: spell out the word rooftop. And the other thing I

614
00:36:19,680 --> 00:36:21,080
Speaker 4: want to point out to you is that it actually

615
00:36:21,120 --> 00:36:24,520
Speaker 4: includes a little me. And my partner went out of

616
00:36:24,560 --> 00:36:28,440
Speaker 4: their way to find a lego that actually represented me

617
00:36:28,480 --> 00:36:30,640
Speaker 4: as a black woman kind of witnessing all of this

618
00:36:30,880 --> 00:36:32,479
Speaker 4: and taking notes and.

619
00:36:32,400 --> 00:36:36,120
Speaker 3: Reporting on what's going on. And you have made it

620
00:36:36,160 --> 00:36:41,600
Speaker 3: to our final piece and it's also me and it's

621
00:36:41,600 --> 00:36:42,520
Speaker 3: called the Joy Alter.

622
00:36:42,800 --> 00:36:46,160
Speaker 4: It was very important to me to have the opportunity

623
00:36:46,280 --> 00:36:50,279
Speaker 4: to represent joy, happiness, and positivity in this piece as

624
00:36:50,280 --> 00:36:52,880
Speaker 4: well as like a spiritual aspect which is kind of

625
00:36:53,160 --> 00:36:57,160
Speaker 4: mentioned briefly in the Candle in the Poverty Prison. But

626
00:36:57,760 --> 00:37:00,720
Speaker 4: you know, even me personally, I was able to navigate

627
00:37:00,719 --> 00:37:03,560
Speaker 4: the things that I went through and recover and survive

628
00:37:04,239 --> 00:37:08,080
Speaker 4: because I never let go of my joy. I never

629
00:37:08,520 --> 00:37:11,719
Speaker 4: lost sight of the sacredness of joy. And so the

630
00:37:11,800 --> 00:37:15,080
Speaker 4: altar is, it's on a table. It has two milk crates,

631
00:37:15,080 --> 00:37:18,040
Speaker 4: which I chose as a platform to show you can

632
00:37:18,080 --> 00:37:20,680
Speaker 4: really make altar out of anything, can make a sacred

633
00:37:20,680 --> 00:37:24,040
Speaker 4: space out of anything. The white cloth on the altar

634
00:37:24,200 --> 00:37:27,360
Speaker 4: is actually a pillowcase, and then on top of the

635
00:37:27,400 --> 00:37:30,480
Speaker 4: altar it has a mushroom crystal kind of references to

636
00:37:30,520 --> 00:37:33,000
Speaker 4: other people's work, which was not at all intentional, but

637
00:37:33,440 --> 00:37:36,480
Speaker 4: really shows like the power of the work and how

638
00:37:36,560 --> 00:37:39,479
Speaker 4: much what we were all doing really spoke to each other.

639
00:37:40,320 --> 00:37:44,840
Speaker 4: So the altar has five affirmation cards. It also has

640
00:37:45,040 --> 00:37:48,200
Speaker 4: five coins. There's two that are green, two that's purple,

641
00:37:48,360 --> 00:37:52,960
Speaker 4: one that's gold. It has some crystals of various sizes.

642
00:37:53,120 --> 00:37:55,880
Speaker 4: It has some stickers that say things like dream big,

643
00:37:56,400 --> 00:37:59,280
Speaker 4: End the Stigma, which is a mental health reference sticker,

644
00:38:00,080 --> 00:38:04,760
Speaker 4: revolutionist trauma informed kind of representation of like a potion

645
00:38:05,160 --> 00:38:07,120
Speaker 4: or a queer kind of.

646
00:38:07,080 --> 00:38:08,879
Speaker 3: Concoction, as well.

647
00:38:08,560 --> 00:38:12,080
Speaker 4: As an apple, a large amethyst crystal, as well as

648
00:38:12,080 --> 00:38:16,080
Speaker 4: a keychain of free toa collo, some incense sticks which

649
00:38:16,120 --> 00:38:18,799
Speaker 4: there's more incense on the table that the platform is

650
00:38:18,800 --> 00:38:21,200
Speaker 4: built on, and there's also a white candle.

651
00:38:21,520 --> 00:38:24,560
Speaker 3: And it has flowers coming out at viewers.

652
00:38:24,200 --> 00:38:28,280
Speaker 4: When they're first approaching the piece that are purple, white, yellow,

653
00:38:28,360 --> 00:38:30,880
Speaker 4: and pink, and at the opening was fresh flowers. But

654
00:38:31,280 --> 00:38:34,480
Speaker 4: again I was able to work artificial flower magic, and

655
00:38:35,239 --> 00:38:39,640
Speaker 4: it really represents creating sacred space with anything and knowing

656
00:38:39,680 --> 00:38:43,600
Speaker 4: that just to quote one of these cards, your gifts matter,

657
00:38:43,760 --> 00:38:48,000
Speaker 4: your story matters, and your dreams matter. And that is

658
00:38:48,040 --> 00:38:50,120
Speaker 4: what I was able to really express with this word.

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Speaker 1: Thank you to Amanda Nicholson for inviting me to in

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00:38:59,040 --> 00:39:03,840
Speaker 1: situ and for so thoughtfully discussing her commitments to reflecting

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00:39:03,920 --> 00:39:07,719
Speaker 1: experiences of the in house in her work. You can

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Speaker 1: see more work from the Painted Brain on their instagram

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Speaker 1: at the Painted Brain. Please like and subscribe, and if

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Speaker 1: you would like to share your story on whedian House,

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00:39:18,200 --> 00:39:21,239
Speaker 1: please reach out to me at widinhal dot com or

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00:39:21,320 --> 00:39:25,400
Speaker 1: email me at whedianhousat gmail dot com. Thank you again

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00:39:25,480 --> 00:39:28,279
Speaker 1: for listening and may we again meet in the light

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Speaker 1: of understanding. Whedian House is a production of iHeartRadio. It

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Speaker 1: is written, posted, and created by me Theo Henderson, our

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00:39:40,920 --> 00:39:48,160
Speaker 1: producers Jbie Loftus, Kayley Fager, Katiefischal, and Lyra Smith. Our

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00:39:48,280 --> 00:39:51,560
Speaker 1: editor is Adam Wand and our local art is also

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Speaker 1: by Katiefischal. Thanks for listening, Yeah,