Speaker 1: I often tell the story about how I remember this
Speaker 1: maybe perverse attraction. I add, while we were you know,
Speaker 1: eight kids in the station wagon driving on the New
Speaker 1: Jersey Turnpike looking at the refineries, and I loved it.
Speaker 1: I loved them. I just was fascinated by that landscape.
Speaker 1: You know. I went to undergrad in Pittsburgh, which I
Speaker 1: love that city, love it. And it actually used to
Speaker 1: still smell of the steel mills. I'd come down and
Speaker 1: you know, out of my apartment and go, who, okay,
Speaker 1: I'm in Pittsburgh. That was Julie Bergman talking about the
Speaker 1: sites and even smells that had inspired her work. Bergman
Speaker 1: is a landscape architect, and clearly not your typical one.
Speaker 1: She's famous for taking old and industrial sites, toxic waste
Speaker 1: dumps and abandoned coal mines and transforming them into corporate headquarters,
Speaker 1: community art centers, and commercial spaces. I'm aland Ververe and
Speaker 1: this is senecas on women to hear. We are bringing
Speaker 1: you one hundred of the world's most inspiring and history
Speaker 1: making women you need to hear. If you visit a
Speaker 1: site that's been designed by Julie Barkman, you might see
Speaker 1: lots of trees and beautiful gardens, as well as old bricks,
Speaker 1: parts of defunct buildings, and rusty railroad tracks. Barkman believes
Speaker 1: in preserving the history of a place, using it in
Speaker 1: her design, and when possible, doing it with a touch
Speaker 1: of humor. Her company, for instance, is called d I
Speaker 1: RT Dirt, which stands for dump it right there. For
Speaker 1: her innovative work, Julie was recently named the first recipient
Speaker 1: of the prestigious Oberlander Prize, created to bring greater recognition
Speaker 1: to landscape architecture. Listen and learn why Julie Bergman is
Speaker 1: one of Seneca's on Women to Hear. I'm speaking today
Speaker 1: with Julie Bergman, who is one of the top landscape
Speaker 1: architects whose work truly makes a difference. Julie, welcome, Thank you.
Speaker 1: You've been called the Toxic Avenger, the Queen of slag.
Speaker 1: What do these names mean and what do they say
Speaker 1: about you and your work? Well, it's funny, I mean,
Speaker 1: I I take it as people liking superhero heroes, um,
Speaker 1: you know, so in this case, I think the writers
Speaker 1: you know, you know, used a pretty sexy name, you
Speaker 1: know to draw attention to my efforts, um you know,
Speaker 1: to address toxicity, UM and degradation. Sometimes this don't have
Speaker 1: to be you know, super bad. UM. I've dealt with
Speaker 1: kind of every level of degradation. UM. But I think
Speaker 1: that the I have to say sometimes you know, when
Speaker 1: the press would kind of tag me or label me,
Speaker 1: I would be resistant, But in this case, you know
Speaker 1: what the heck, I'll strap on a cape or a
Speaker 1: crown um. Fine. Uh. And but mostly it's it's important
Speaker 1: since you know, the attention to in post industrial sites
Speaker 1: was really not very robust UM. So I was happy
Speaker 1: for UM maybe those names being a way in for
Speaker 1: folks to be curious, you know about the work. I
Speaker 1: think that's really important. If it cause attention to the
Speaker 1: kind of important work you're doing, it's a great process. Yeah.
Speaker 1: So you do read claim UM toxic waste sites, heavily
Speaker 1: polluted areas, old industrial sites and you turn them into
Speaker 1: usable spaces for the community. Tell us about that? What
Speaker 1: are you trying to achieve? Well, you know, I want
Speaker 1: to make one point here UM about uh, the reuse
Speaker 1: of these industrial sites. And to say that UM, in
Speaker 1: the three decades that I've been working on them, early
Speaker 1: on the environmental engineers well into this date also were
Speaker 1: the primary actors, you know, and so called what they
Speaker 1: would call it cleaning up I'm doing little quote air
Speaker 1: quotes there polluted sites, and I just had to intervene.
Speaker 1: I would actually sometimes be very angry at their approaches,
Speaker 1: which were mostly quick fixes, you know, they you know,
Speaker 1: hoggin hall is the you know what they call it,
Speaker 1: which means they just excavate all the polluted soils and
Speaker 1: haul them away to you know somebody who has to
Speaker 1: deal with it, um, somebody else's backyard. UM and cap
Speaker 1: and cover you know, which is importing, right, A bunch
Speaker 1: of soil from Kudos wear over UM, all of the contaminants.
Speaker 1: And I just felt like, wait a second, you know,
Speaker 1: you're erasing some really important layers you know, of UM,
Speaker 1: of history. You know, there's a lot of sweat from
Speaker 1: labor in that soil. UM. And I just wanted to um,
Speaker 1: make friends with the environmental engineers and say, let's have
Speaker 1: another set of criteria for the decision making here, UM right,
Speaker 1: and UH, mostly with the with the aim that those
Speaker 1: sites were still connected to the community, right, because it's
Speaker 1: all it's a their memory is embedded, you know, UM
Speaker 1: in these sites. So I always felt like it was.
Speaker 1: I used to say when I wrote really Mad that
Speaker 1: it was a form of robbery um that was being done.
Speaker 1: So I knew we could do uh a lot better.
Speaker 1: And you actually take these toxic waste sites and do
Speaker 1: it in a way that you just described and transform
Speaker 1: it for the community. Yeah, yes, it's you know, there's
Speaker 1: also you know what I kind of battled was that, um,
Speaker 1: the community also would have this kind of perception of
Speaker 1: the sites they were one big toxic blob. And when
Speaker 1: you do your homework and really look at you know,
Speaker 1: the flows, the you know, the materials, the byproduct, they
Speaker 1: aren't one big toxic blob. And um, I found it
Speaker 1: became super interesting too to think about what I would
Speaker 1: call curating the site. You know, like what's hot is hot,
Speaker 1: and that needs to be you know, definitely dealt in
Speaker 1: some ways. But there are places that are not hot,
Speaker 1: meaning you know, toxic, and could aren't those away for
Speaker 1: the community to get past the chain link fence, you know,
Speaker 1: and say this, this still belongs to us. It's being
Speaker 1: treated in a good way over there where it's hot,
Speaker 1: but we have a way in we can still be invested.
Speaker 1: And do you consult with the community before you begin
Speaker 1: projects like this. Oh boy, yes, well, because I mean
Speaker 1: their stories, their stories create the baseline. When I would
Speaker 1: do diagrams with my students, one would be about the
Speaker 1: industrial flows, right, but the other diagram was constructing the
Speaker 1: narrative of the social and cultural value of the project.
Speaker 1: So there were two things with the communities. One was
Speaker 1: too actually educate them about what the level of toxicity
Speaker 1: is and to just be very honest with them. That
Speaker 1: was kind of radical, to like the e p A,
Speaker 1: you know, to be like, you know, I was like,
Speaker 1: no wool over their eyes. They're smart, you know. Um. So,
Speaker 1: so one was to kind of really be real about
Speaker 1: the condition of the site. The second was, you know,
Speaker 1: again their their stories, because those those stories of how
Speaker 1: they would relate about what the site had meant to them, right,
Speaker 1: I mean it was their livelihood. I mean, the workers
Speaker 1: housing was right there, and suddenly the site chain link
Speaker 1: fence goes up and suddenly the site is an orphan.
Speaker 1: So I I would work with the community to you know,
Speaker 1: tease out how it is that they might restore their
Speaker 1: relationship with the site again. And are they skeptical about
Speaker 1: the possibility of transformation, if you will, of the site
Speaker 1: oh yeah, oh boy. Yeah, And that's what's so important
Speaker 1: about UM. You know, the technical part of it, you know,
Speaker 1: to UM have them and this time, you know, this
Speaker 1: time with the E p A and with you know,
Speaker 1: local UM like departments of environmental quality and the environmental
Speaker 1: engineers to be very clear about like I said, that
Speaker 1: condition of the site, you know, and how it is
Speaker 1: that they could enter into it. But it it took
Speaker 1: that was hard work. Well, you design studio, as they understand,
Speaker 1: is called d I R T. And as best as
Speaker 1: I know, that spells dirt. Why did you choose that name?
Speaker 1: I well, I have I have a thing about four
Speaker 1: letter words, unfortunately, uh and acronyms. I love puns, you know,
Speaker 1: and I don't know. I also didn't want to name
Speaker 1: the firm after myself like a lot are because the
Speaker 1: work is bigger than me, you know. And uh, for
Speaker 1: whatever reason, dirt came to mind, UM because I like
Speaker 1: dirt and uh yeah so it so it's carried me
Speaker 1: through UM and it's people remember that. I like that.
Speaker 1: They remember. I mean, I don't want to name drop here,
Speaker 1: but I will say that I worked on a project
Speaker 1: with Brad Pitt and he like when he first met
Speaker 1: he came up to me, he goes, I love dirt, Like, okay,
Speaker 1: you're gonna get it. If the firm, if the firm
Speaker 1: was named after me, I don't know if you would
Speaker 1: say I love Julie, you know. So anyway, Well, it's
Speaker 1: certainly evocative, it's fun. Well, what's what's already clear in
Speaker 1: this conversation, as you have a marvelous sense of humor
Speaker 1: and you're fresh thinking goes into these projects, you're actually
Speaker 1: have used industrial waste as part of your designs. Can
Speaker 1: you tell us a little bit about that and how
Speaker 1: that works. Yeah, First of all, I have to say
Speaker 1: I think the humor has been very helpful in dealing
Speaker 1: with such serious stuff. I mean I I was careful
Speaker 1: with it not to kind of diminish the severity of things. UM.
Speaker 1: But the other thing was, you know, the other thing
Speaker 1: you know that humor does is it um It lets
Speaker 1: you just kind of enter into um, you know, conversations
Speaker 1: with people, and yeah, it's just work that way. And
Speaker 1: about the kind of reuse, well, I feel like, right
Speaker 1: that waste, when you look at it in a certain way,
Speaker 1: you know, is full of the memory of the place. UM.
Speaker 1: And you know, if we're all swept, you know, like
Speaker 1: the old hog and Hall swept away. I've always worried
Speaker 1: about erasure. But what I like to do, you know,
Speaker 1: and I'm thinking about my project, you know at Urban Outfitters,
Speaker 1: the Billy Navy Yard and one in Dallas where I
Speaker 1: experimented with you know, what became known as Barney Rubble.
Speaker 1: Was to look at the idea of transforming that material
Speaker 1: in such a way that you could read both the
Speaker 1: history of it but also kind of the future of it.
Speaker 1: I mean, the folks at Urban you know, I've got
Speaker 1: I got some of my most cherished compliments from them,
Speaker 1: one being that there was evidence that maybe what I
Speaker 1: was trying to do work. He just said, I feel
Speaker 1: like this site has always been here, this landscape has
Speaker 1: always been here, but there's something that points to the
Speaker 1: future that I'm part of. Oh wow, I was like, bang, Yeah,
Speaker 1: you did exactly what you wanted to do. Yeah. So
Speaker 1: you're the first ever recipient of a new prize, the
Speaker 1: Cornelia han Oberlander International Landscape Architecture Prize. It's a mouthful,
Speaker 1: but it's a very very prestigious prize. Yeah, what did
Speaker 1: getting that prize mean to you? Well? I was pretty
Speaker 1: blown away what it meant to me. I mean, I
Speaker 1: feel like and I said this to the chair of
Speaker 1: the committee when she called, I just said, I am
Speaker 1: so glad that the work is being recognized and the
Speaker 1: way of working is recognized, UM, because I've I mean,
Speaker 1: you know, I always called you know, Dirt Studio like
Speaker 1: a nonprofit, just as a joke, but it was truly
Speaker 1: not profit um, you know, because I was so invested
Speaker 1: in it being a critical design practice versus a commercial
Speaker 1: one where it really had a mission. So I think
Speaker 1: from what I am getting reactions to is that the gratitude,
Speaker 1: thankfulness from my being um, I guess a pioneer um.
Speaker 1: And and actually that is why um it's named you
Speaker 1: know after Cornelia who was just wow, a powerhouse UM.
Speaker 1: And so yeah, I think that's it. I'm just appreciate
Speaker 1: the attention to the work and the attention to way
Speaker 1: of working well. And it's clearly wonderful recognition of what
Speaker 1: you've done and what you're trying to do and why
Speaker 1: it's so important to our communities. Senecas one hundred Women
Speaker 1: to Hear will be back after this short break. M
Speaker 1: Let's talk a little bit about how hard this is well,
Speaker 1: what was the most challenging site you've worked on? I
Speaker 1: guess I'm curious. Are there sites that are just too
Speaker 1: polluted or ugly to be reclaimed? I mean, do you
Speaker 1: just not are you not able to do certain things? Yeah? Well,
Speaker 1: first of all, I have to say, I never consider
Speaker 1: a landscape ugly. Uh. And I mean if you mean
Speaker 1: ugly in terms of it's you know, if of it's unrehabitable. Okay,
Speaker 1: well certainly. I you know, I worked with the e
Speaker 1: p A on on super fun sites, and as you know,
Speaker 1: those are the biggest and baddest the ones, especially on
Speaker 1: the National Priority List, I mean bad and um oh gosh,
Speaker 1: I mean I I have to say, I um, I
Speaker 1: worked with on these sites for a while, and then
Speaker 1: after a while I just had too many bruises from
Speaker 1: banging my head. You know, the laws, the legislation, you know,
Speaker 1: all of those constraints, constraints just we're so difficult. So,
Speaker 1: you know, I mean, and I could actually say that
Speaker 1: those those constraints, you know, of that of that incredible
Speaker 1: process that you have to go through legally is one
Speaker 1: thing that makes it impossible. And the other thing is
Speaker 1: the you know how incredibly difficult. The toxicity is, but
Speaker 1: I have to say I do think that there could
Speaker 1: be a larger repertoire of ways of approaching those sites.
Speaker 1: I was trying to kind of suggest those to the
Speaker 1: e p A and like some owners of this property,
Speaker 1: um and you know, so my you know, suggestions of
Speaker 1: like well, why don't we leave this whole entire area alone,
Speaker 1: make sure it's not leaching off to the side. But
Speaker 1: in fact, microorganisms, you know, actually take care of the toxicity,
Speaker 1: but they take a long time. That is the thing
Speaker 1: that really gets me is time and everyone's impatience. Yeah,
Speaker 1: and probably the skepticism is still there, is this ever
Speaker 1: going to get finished? And are they really going to
Speaker 1: do what they said they're going to do? Sure? Absolutely?
Speaker 1: And then what's it like when the community gets to
Speaker 1: see this extraordinary change? Oh man, I mean, you know,
Speaker 1: similar to what I was like saying earlier. You just
Speaker 1: watch them, you know, give it a big hug again,
Speaker 1: you know. I mean when I worked on the it's
Speaker 1: the Vittondale project, old coal mine in southwestern Pennsylvania, and
Speaker 1: you know, all the generations right of the workers were
Speaker 1: living right there, you know, So when it became the
Speaker 1: park um with this passive treatment system incorporated within it.
Speaker 1: There are stories of grandfathers just talking about working on
Speaker 1: that site because they were taking a walk and they
Speaker 1: were seeing they were seeing both the legacy of pollution,
Speaker 1: but they were seeing the future of regeneration and that
Speaker 1: they that they are part of that. It's a beautiful thought.
Speaker 1: It really is. Gives you goose bumps, Yeah, it does.
Speaker 1: Let's go back to your childhood for a moment. What
Speaker 1: was your growing up like, did you think you'd ever
Speaker 1: become a landscape architect and what was that moment when
Speaker 1: you knew exactly what you wanted to do? M hmm. Well,
Speaker 1: I grew up in a very typical post war neighborhood
Speaker 1: outside New York City, and it was absolutely wonderful. And
Speaker 1: I often tell the story about how I remember this
Speaker 1: maybe perverse attraction I had while we were eight kids
Speaker 1: in the station wagon driving on the New York you know,
Speaker 1: the Jersey Turnpike, looking at the refineries, and I loved it.
Speaker 1: I loved them. I just was fascinated by that landscape.
Speaker 1: But you know, I think that just kind of like
Speaker 1: I absorbed that and then it really kind of wasn't
Speaker 1: present although you know, I went to undergrad um in Pittsburgh,
Speaker 1: which I love that city. UM love it and uh
Speaker 1: it actually used to still smell of the steel mills.
Speaker 1: I'd come down and you know, out of my apartment
Speaker 1: and go oho, okay, I'm in Pittsburgh and uh but
Speaker 1: it's a great transformative place. And when you think, okay,
Speaker 1: we're able to do the right but I have I
Speaker 1: do have to say. I always remember that I met
Speaker 1: the mayor, Tom Burpy, uh and I just was like
Speaker 1: we had a conversation about how we took away too
Speaker 1: much slag. You know, it was almost right, it was
Speaker 1: almost cleaned up a little too much. You know. It's
Speaker 1: like you know, so you know, you know, but but
Speaker 1: it was Uh. After after undergrad I art school. I
Speaker 1: always talked about how I was in my black hole
Speaker 1: period and uh, I just really didn't know what to
Speaker 1: do until I I suddenly somebody said landscape architecture. I said,
Speaker 1: what what is that? You know? And I found that
Speaker 1: it's the perfect combination of know of of art, of science,
Speaker 1: you know, of of being engaging the public, you know.
Speaker 1: So I just was like, boom, that's it. I'm there.
Speaker 1: I am wonderful so you're I think the first woman
Speaker 1: working in the contaminated United States. As we say, did
Speaker 1: you face any special challenges because you were a woman
Speaker 1: doing this? And why do you think it's important to
Speaker 1: have a woman's perspective in this field? Well? Yes, it
Speaker 1: was certainly, um, completely male dominated. Um. And you know,
Speaker 1: but I have brothers, so if that doesn't bother me,
Speaker 1: so um, you know, I mean I I sometimes don't
Speaker 1: make a big deal of it, um, so that it's
Speaker 1: kind of more comfortable. But you know, I it was
Speaker 1: the case that the engineers and folks were skeptical and
Speaker 1: when I just kind of in a way quietly. I
Speaker 1: don't do things quietly, but like just assertively, but just
Speaker 1: um respectfully. The important thing here was to show that
Speaker 1: you knew what they were dealing with. I mean, I
Speaker 1: dealt with the head of environmental operations at Ford and
Speaker 1: he basically said, you know, hey, I've got the e
Speaker 1: p A has a gun to my head, you know,
Speaker 1: and I just was like, yikes, you know. So that's
Speaker 1: where you know, I had to do my homework and
Speaker 1: understand the legislation. And then an environmental engineer was saying
Speaker 1: blah blah blah, blah and the coke works, and they
Speaker 1: I go, okay, coke works, and I would get this
Speaker 1: completely uncomprehensible flow diagram about making coke. But then I
Speaker 1: would spatialize it and they'd be like, oh okay. So
Speaker 1: there was I think in this case, and maybe you know,
Speaker 1: if a guy was doing what I was doing, it
Speaker 1: had to do the same thing. But I think there's
Speaker 1: there's that kind of other level of skepticism to move past.
Speaker 1: But I think there is might be a level of
Speaker 1: say the community seeing another person, in this case, a
Speaker 1: woman other than a bunch of white you know, environmental
Speaker 1: engineers speaking with them, you know. So I think it
Speaker 1: it for them, it you know, for the community and
Speaker 1: for you know, clients I worked for. I like to
Speaker 1: think that it broadened their perspectives um and that I've
Speaker 1: reached audiences in a certain way by being a woman. Well,
Speaker 1: and half of these communities are populated by women, so
Speaker 1: you must have made them feel a tad more comfortable,
Speaker 1: if you will. Well, I I talked about their you know,
Speaker 1: role in the work, which is usually invisible, but no, man,
Speaker 1: they were, they were, they were working hard, but it
Speaker 1: was just happened to be outside the coal mine. Well, so,
Speaker 1: in addition to all the things that you've been doing
Speaker 1: that we've been talking about, you teach at the University
Speaker 1: of Virginia. Our students drawn to your courses, and maybe
Speaker 1: you could tell us a little bit about their reaction.
Speaker 1: What surprises you about about the students today. Well, this
Speaker 1: question makes me remember some of my early seminars. I've
Speaker 1: been at uv A for thirty years or something, but
Speaker 1: in my early seminars I would actually show them a
Speaker 1: lot of the photographs of artists like Richard Misrach, you know,
Speaker 1: of industrialized polluted sites that their whole you know, the
Speaker 1: whole bevy of David Hansen, Martin Pierre going, and you know,
Speaker 1: it was funny. Their reaction was, yeah, so that's our world.
Speaker 1: I'm like, oh, okay, And then I'd say, you know,
Speaker 1: I was like, would you like to do something about it.
Speaker 1: Let's you know, let's really research what's you know behind
Speaker 1: that photograph? And they loved it. And selfishly, I have
Speaker 1: to tell you my teaching has absolutely supported not financial, well,
Speaker 1: actually it is um my, you know, the work, you know,
Speaker 1: the students research and curiosity was unbelievable. So every time
Speaker 1: I did a studio I did. UM, I picked a
Speaker 1: subject that I didn't know very much about, and you know,
Speaker 1: a different one will say every year. So like I
Speaker 1: started with of course dump UM about landfills, and I
Speaker 1: think the students were very excited that I was learning
Speaker 1: with them. You know that we were like we're almost
Speaker 1: like an you know, a design office, you know that
Speaker 1: we would uh just venture into these things. And they
Speaker 1: loved the places we would go, you know. I mean,
Speaker 1: I mean, you know, who doesn't love strapping on protective clothing,
Speaker 1: you know, so uh, you know, steelmaking and robeling. You know,
Speaker 1: just we had really fantastic adventures. And they are the
Speaker 1: ones that the students are the ones that really helped
Speaker 1: develop this way of spatializing UM. You know, the the
Speaker 1: contaminants UM and you know, combining that, like I was
Speaker 1: saying earlier, with the community history UM and to wonder
Speaker 1: about how how would those two UM come together? Well?
Speaker 1: And I would imagine that what you just described as
Speaker 1: empowering for the students because they actually get to do
Speaker 1: something that brings about change. You know. I think so
Speaker 1: many students want to be part of that today, and
Speaker 1: you enable them to be. I like to think so
Speaker 1: you know, because I'm just like, come on, you guys,
Speaker 1: you know, come on over here and get mad with me.
Speaker 1: But also let's get creative together with this stuff. And
Speaker 1: I'm I'm so I do have to say, I'm so
Speaker 1: proud of you know, so many of my students that
Speaker 1: you know, we're out there in the world and they're
Speaker 1: they write me and they're working on these projects. I
Speaker 1: mean this, you know, this work now is not marginal
Speaker 1: for our discipline. You know, it's it's it's pretty close
Speaker 1: to center. Um. And you know, and my students serve
Speaker 1: the ones that are they're they're you know, happily equipped
Speaker 1: to address them. And how rewarding is that? Ha ha ha,
Speaker 1: it's so rewarding. Well, the clock is not our friend, uh,
Speaker 1: and it's winding down. And let me just ask you
Speaker 1: as we conclude this wonderful conversation. Um, these are challenging times.
Speaker 1: I don't think anybody would question that statement at a
Speaker 1: time that everything is questioned. But what gives you hope?
Speaker 1: Mm hmm. Well, you know, I mean, it's a very
Speaker 1: basic thing, but it's a profound thing to say that.
Speaker 1: It's amazing to me that people, you know, and I say,
Speaker 1: when I say people, it's like from mayors you know,
Speaker 1: to women on the street are aware of the environment,
Speaker 1: and um, you know, they may not be acting upon
Speaker 1: this awareness, but I think slowly but surely they will,
Speaker 1: and um my students will help with that. Well, thank
Speaker 1: you so much for sharing your experiences with us, and really,
Speaker 1: more importantly, thank you for what you do. It's really
Speaker 1: been a pleasure to hear about it. And Julie Bergman,
Speaker 1: may you continue to do this for a long time.
Speaker 1: It's terrific. Thank you, Thank you, ambassador. What a great
Speaker 1: way to look at the world. It's so inspiring talking
Speaker 1: to Julie Bergmann. Here are three things I took from
Speaker 1: that conversation. First, when we create something new, we need
Speaker 1: to remember what came before. Just paving over the past is,
Speaker 1: as Julie says, a form of robbery. Second, any project
Speaker 1: gets better when it takes into account the opinions of
Speaker 1: people who live near it. Whenever she undertakes a design,
Speaker 1: Julie seeks input from the community. She asked them what
Speaker 1: they remember, what the site means to them. Finally, like Julie,
Speaker 1: we can take hope from the younger generation. Julie's students
Speaker 1: recognize that the world is full of problems, but they
Speaker 1: are ready to take on the challenge of fixing them.
Speaker 1: Tune in next time to hear about our next featured
Speaker 1: woman and discover why she's one of Seneca's one hundred
Speaker 1: Women to Gear. Seneca's one hundred Women to Hear is
Speaker 1: a collaboration between the Seneca Women Podcast Network and I
Speaker 1: Heart Radio, with support from founding partner PNG Have a
Speaker 1: Great Day.