So again, I want to thank you all library community for joining us today, and I want to thank all of our friends on the back end of making this happen, and all of our panelists for being here. And of course, I want to give huge thanks to Hay Day Books, who I love being a partner with. The San Francisco Public Library acknowledges that we occupy the unseeded ancestral homeland of the Romitush Sholoni peoples, who are the original inhabitants of the San Francisco Peninsula. We recognize that we benefit from living and working on their traditional homeland. As uninvited guests, we affirm their sovereign rights as first peoples, and wish to pay our respects to the ancestors, elders, and relatives of the Romitush community. And that link that I popped in the chat box, which I will do throughout the evening. There's a great list to reading resources and websites and organizations, both nationally but really Bay Area that work with first person culture, and some great reading lists of course we love making reading lists. I'm going to talk to you about some upcoming events, and then I'm going to turn it over. On Saturday we have an in person event, and that's going to be in our African American Center, third floor, Mr Keenan Norris discussing his new book Confessions of Copeland Cain. On December we have a heyday month so we're excited again Sunday afternoon to add our correct auditorium so please come on down. It's a nice huge space we can socially distance, and we can hear the daughter of Kimberly, the daughter of Don Cox, and Kimberly Cox Marshall will be in with Mr Steve Wasserman, the director, now director of heyday books. 2pm correct auditorium, same day as the farmers market, many reasons to come to the Civic Center. Virtual talk with Mr Jean Slater November 9 and discussing his book freedom to discriminate. And then November 16 6pm in our gorgeous sixth floor Sororian gallery. We have Tony Platt and Milton Reynolds in combo talking about Tony's book grave matters. There's also a great exhibit on the sixth floor. So many reasons to come down.  And if you're hesitant, we are streaming this on zoom as well. So, all of those in person events you can find on zoom to. All right, so tonight's panel and I already said, I am a huge fan girl of Malcolm, and I am so happy that we get to support this event. I'd like to introduce Claire Greensfelder, associate director California of California Institute for Community art and nature. Claire is a lifelong campaigner for peace, planet and justice, who believes that art, eloquence and beauty are often the best ways to get get one's message across. She has collaborated with dozens of indigent indigenous individuals and tribes, both domestically and globally, with whom she has campaigned for environmental and climate justice, cultural preservation of indigenous rights from 2010 to 2012. She was honored to organize the installation of an international multimedia exhibition at the Smithsonian's National Museum of American Indian. And this was called the conversations with earth indigenous voices on climate change. Without further ado, our panel and Claire, take it away. Thank you so much, Anissa for that beautiful introduction. You might want to perhaps cut the screen share. Great. Thank you. It's so wonderful to be here and big thanks to the San Francisco Public Library for initiating this event to hate a books. It's also sponsoring it deep medicine circle and of course, our wonderful publicist Mary Bisbee beak who has worked very hard to make this event happen tonight. The first thing we'll do the first order of business is I'm going to actually pass the torch to Greg Castro. Greg is a writer and activists within the California indigenous community of heritage of both Saladin and alone. And for over three decades he's been working here in the Bay Area for various kinds of social change and support for indigenous culture rights and lands. He's the Native American programs committee chairperson of the of the Center for California archaeology. He's co facilitator of the annual California Indian Conference, which has been going on for over 30 years. And it's a gathering about California indigenous cultures which is a remarkable event when it takes place. He's co founder advisor to the California Indian History Curriculum Coalition as CSU Sacramento and he's now the cultural director of the association of George Eloni, advising right here in his own San Francisco homelands. But beyond that Craig, Greg is an unbelievably creative, generous, kind, thoughtful and energetic person who just gets about to doing the right thing in his home state of California. And for that Greg I want to pass it to you for your also you're welcome to our now 205 participants welcome Greg. Oh, yeah, I was going to hopefully wait but I see the counter from my screen so you know hopefully 220 or two that that's where my mind is going. Her shot to he greetings in the romantic language. I any her shot Peshaw wall wrap welcome to those of you outside of our romantic homeland to view someone who's in it so, although I don't actually live in my homeland here in the promise country. I'm here today. I'm actually at the exploratory and we're going to be doing an event later this evening here with the sport of the local exploratory and staff, and part of the re indigenizing of San Francisco. It's a slow methodical process but hopefully where this is this is part of it. The event later tonight is part of it. All the work I've been doing the last two years seems to be part of that core idea of re indigenizing our homelands. So thank you for being here. I want to start us off in a good way I'm going to do a couple of rounds of a quick song. One of the bad facts of rheumatoid culture is that there is very little that survive the genocide of our people that all curts are most of our culture or songs ceremonies stories. Sacred understandings have largely been taken from us, we only have a small word list that's left. When I do song I have to borrow from my rheumatoid heritage on my mother's side. And so I want to share with you a little bit of the fog song, which I use to as elders have taught me to clear the room and to clear our minds, so that we can be open to what we're going to hear and what we can all learn as well as share. Thank you all for being here and having me and be willing to listen to the yak about Malcolm and share stories about my dear friend. Thank you. Thank you so much Greg and speaking of Malcolm. As many of you know Malcolm has been struggling with his unwanted guest Parkinson's for the last 15 years, and he'll be speaking intermittently throughout the, the evening when he feels like he wants to. So Malcolm I would like to ask you would you like to make a quick welcome right now. Thank you everybody for coming. And thank you Greg. It's a pleasure to see the rummetage to the live, and it's so heartening.  And in fact, that's what we're talking about tonight is what Malcolm has seen in his life in deep hanging out the book in question. So thank you all for joining me today. I'm going to be giving you some readings and wonderment in native California, which came out just earlier this year from Haiti. And we're going to be giving doing different readings from the book that each of us have selected, talk about what what it means to us how we see them, but also all under the theme of, well what would it take to read into Francisco. And I think they said already but if you have questions that you want to address to any of the speakers or to the group as a whole, you can put them in the q amp a, or you can put them in the chat. And now I'm going to pass it on for an introduction, just some opening comments from Dr Rupa Maria. And Rupa is, I don't even know where to start. She is a doctor she's an activist she's an author with a recent book that is just amazing, which is Rupa remind me inflamed deep medicine and the anatomy of injustice, which is astonishing dealing with the health system, inequality, capitalism, climate crisis, and, and how we get around to a justice framework for all of those things it's really amazing. And she's also been partnering with Greg and others in the last number of years to develop deep medicine circle and a farm down in the peninsula area of the below San Francisco near San Gregorio that is working to reindigenize that land through plantings and farming and tradition and culture and it's just an amazing endeavor so just to open Rupa the evening I thought I would ask you, what, what has struck you out of deep hanging out since you've been reading it what what is your, you've gotten to know Malcolm I know you love the book I know you love what you guys have had a lot of conversations. When you think about reindigenizing San Francisco when you think about deep hanging out. Where do you go. I have a newbie here with elders like Greg and Malcolm, who are both people I respect so deeply, and both of them have really shaped my work and understanding so I just want to to say that I'm the newbie here so I don't know. I don't want to get dressed to start this conversation. But I was really, you know, probably my favorite part of the work that that Malcolm really gets out in this book, the work of transforming transforming our world into a kinder space, is the active hanging out and not just, you know, shooting the breeze but deep hanging out and getting to do that with Greg, you know you mentioned what a generous and energetic and multi dimensional person he is. That's really been one of the most beautiful things in the last year is getting no Greg and his family. And to sit by the fire together and to listen to the land together to hear the songs. And to, to get to know people but I.  One of the passages that really stuck with me was when he brought up Frank, Frank La Pena, Sage's dad. The thing to know Sage has been an amazing experience she's an amazing California native herbalist she has done watershed restoration she knows how to talk to the plants and knows songs and knows how to read land. And such an interesting way that for me as a doctor artist person, I can only approximate to what I understand through writing music and what I hear when I listen to the water and listen to the land. And so I just wanted to share a little passage that struck my eye, where he says, writing about the future Frank La Pena laid bare the bleakness of the prospects ahead. When there are no more Indians, then we will end when the songs and dances are forgotten, and when our language is forgotten. And when we do not honor the earth because we have forgotten that all living things on earth are sacred and important. The world will end. But just before that time, we will know the time of emptiness, the depth of despair and those lines sums up a sadness and a deep sense of defeat that ran through this, the entire Indian Later in the same article after reviewing an exhibition of paintings by Judith Lowry La Pena concluded, I believe that art is one answer to preventing the emptiness that the loss of culture or the indifference of society will impose. We are still alive. And that passage really struck me because in all the work I've done, I'm, you know, working with Sage on imagining some decolonizing medicine practices that we want to be bringing to the land there and doing mobile clinics and herbal apothecaries and all these things that work out in Standing Rock with the Lakota community out there. And we think of decolonizing medicine or re indigenizing. To me, it doesn't become an exercise of the intellect. It's an exercise of art. And that's where I understand it. I feel like it's like writing an opera. That's the feeling I have in my body is like, oh, we're going to write a really good song together. And so I just, that that struck me because that space in the art of not knowing and being in contact with, you know, some people might call it the sacred or the unknown or the, you know, something bigger than us. I really feel like it is the thing that can help us re indigenize. But first we should ask Greg, what does that even mean? What does that mean to re indigenize? Well, that's what I've been rummaging around Yalama here in San Francisco trying to figure it out. It's not under any rock that I've uncovered yet. There's no magic process because our culture, our stories, our songs, our knowledge tells us of things we know about. But this last 250 years is a world we don't know about. We didn't know about. It's a world of hurt and pain and despair that we did not experience. I mean, as humans, we obviously are not perfect and had conflict, but we had ways, especially sacred ways of resolving that conflict. And this is a different kind of conflict that we have no resolution or solution for yet. And so part of that process of genocide, cultural and spiritual as well as physical genocide was to take those tools away from us. And just that we hadn't experienced it, things that we would use to deal with it were taken from us.  And in the larger Ramatrish area only a few survived. The existing Ramatrish Association is for family groups that descended from one person. That is the only descendants that we can find so far from one person that survived into the 20th century. And that is incredibly daunting. And then, on top of that, not having our culture to fall back on his tools. Fortunately, I grew up knowing I was native as California native. I'm salooning on my dad's side those are the southern neighbors to the Eloni, and he grew up in the homeland. So he was in very attached with the homeland and I think that's what saved me. And that connection as well in and managed to keep that connection. So we had connection to a place that we came from. And I'm also romsen from the Monterey County and we were well aware of that growing up, although that landscape is greatly changed, but we could still reach out and touch a few places at least that similar to how it was before. And that is incredibly important to know that there's those places left as an anchor to to what we try to do. And from that, we then draw from the umbilical cord the spiritual umbilical cord that we have to our homelands to draw strength, because talking to the elders I realized that these constructs we have as important as they are to us and as valid as they are to us of who we are as people, Raman Tush, Chochenyo, Miwok, Lakota, whatever that happens to be. Those are this world, but I really believe on the other side it is all the same. We're all indigenous, and we're all connected through that spiritual umbilical cord to the same sources of knowledge, but they come when they come out of the land in specific places, they're specific to that place. And so we're searching for that place still in in raw mattress country and it's it's still there I believe it. It's pretty hard to find in San Francisco right now, considering the huge amount of change here over and layers and layers. So we're going to go to a auditorium where one of the projects we're working on is something called buried history, where it's literally layered history as they build and construct new buildings they're going down to set up foundations and going through, you know, era after era after era of European history, and then eventually coming to our history down at the bottom down in the deepest rooted part. And that's the hard part because there's so much above it so much that's layered above it and camouflaging it and hiding it from us, but I believe it's there. And so that's that's the struggle for me. Regiginizing is starting with the people that came from here, starting with the relocated people that are here now that I've formed relationships with through the American Indian cultural district. The newcomers who are of open heart and want to learn, because in the end they were indigenous someplace else as well. And I think again they can. It's not that I want to teach them my way. I want to teach them that there is a way that they can reach out to. And it's not our way it's their way and they need to find their way. But I think there's going to be a lot of connection and commonality when they come to that place between us all. I think that that is so so perfect when you're talking about the visitors have come because Malcolm is indeed one of those. And we all have learned so much I mean his authorship of the alone way, the way we live these books the news from native California, or landmark. It was my life for sure when they came out it was just astonishing the first time I saw news from native California that there was enough going on to fill a magazine for times a year it was just beautiful and so Malcolm's asked me to read a section from the introduction of his book.  Thank you so much everyone who's with us. We're really, you're as much the part of the story as we are the participants who are here this evening. Now, the introduction. This is Malcolm speaking. Several years ago, I was invited by members of the Kashia Pomo tribe of Sonoma County to be a guest at their annual acorn harvest celebration. I was honored and grateful to be there. So when Larry Panola, one of the ceremony leaders asked if I would help by serving the acorns to the elders. I of course accepted the acorns have been showed pounded into flour leached boiled into kind of a porridge and spoon into little paper cups like the ones used for fast food ketchup. I put some of these cups onto a tray and walked over to a group of elders sitting on lawn chairs. I served them a small wave of uneasiness and puzzlement spread throughout the group. Then laughter. I noticed a mischievous smile on Lenny's face. I learned later that this ritual serving of the first acorns of the season was a job that was traditionally reserved for a young girl. Although I should have been embarrassed in truth I felt honored by their laughter and laughed along with everyone else. I recognize that one part of my function within the Indian community was to be laughed at. Say that again for all of us. I recognize that one part of my function within the Indian community was to be laughed at. The laughter held much affection and gave me a role to play. It was not my only role however, as I did all kinds of other things. Outsiders generally have specific functions that pretty much define and limit their relationship to the Indian community. Anthropologists study culture. Linguists study language. Lawyers advise tribal governments. As for me, I participated in the community as a writer and a publisher of a magazine. I was a writer in California that covered many aspects of Indian culture and history. And this gave me a chance to look at people's personal albums, ask deeper questions about their lives, learn about their histories, and get involved in all kinds of tribal activities. I felt very often that I was simply there as a friend. I've often described my time spent with California Indians as deep hanging out. My eyes has a connotation of hippie casualness, but it was coined by anthropologist Clifford Gertz in 1998 to describe anthropological research done via informal immersion in a culture, as opposed to research done by conducting formal interviews and distance observations. Such an approach has been criticized as not being objective enough. And indeed the book before you is not an objective study of California Indian life. It's seen through my eyes. It follows my passions and it also exhibits my limitations. I've included things that were of special interest to me. And I did not cover important topics that were outside my interest at the time. As a practice deep hanging out very much corresponds to Indian ways of gaining knowledge. It is an older way in which you don't pursue knowledge as much as you put yourself out there with the hope that knowledge will come to you. I learned much from sitting on people's porches playing checkers with them, listening to their stories, telling stories of my own. My academic reflections come from hours spent in libraries reviewing anthropological treatises, linguistics reports and field notes. I'm proud of the research I've been able to do and grateful for the trust and the access to the lives that native people have given me to their lives. The book you're holding is the result of 50 years of such hanging out. Often being useful as a publisher. Yes, but often just being there as a participant accepted to a degree I could never have anticipated. So how did a balding bearded Jewish guy from the other side of the country end up serving a corn mush to a cluster of Indian elders. Let me try to explain. And if you want to see the explanation, you're going to have to read the book. Greg Rupa Malcolm comments and comments from the. I would just say one of the people in the chat just said, the alone way is one of the most important books I've ever read. Thank you Malcolm 1000 times for everything you've created and gathered and published, and how you've inspired and educated so many people actually I could just read the book. But Greg or Rupa or Malcolm Greg, hearing what Malcolm had to say about decadding out Rupa your own reflections. How did a balding Jewish guy end up where he is and what has it brought to us. I love. So Malcolm's work has been a huge part of my own waking up I was born and raised in Rama's Hoshuloni territory. My grandfather died there my sons were born there. And it wasn't until I read that book that I started to understand what the feeling I felt was when I would sit near the oak trees or walk in the redwood grows a feeling that felt like I felt when I was in India, where my ancestors are from where my grandparents left because what is it $62 trillion of wealth was stolen from the colonization of our lands. And so when Greg talks about, you know, all of us have our way to connect to the umbilical center of the earth. In some way we've all been orphaned through colonization. And I think that, you know, a Jewish man ending up here can find that resonance and, and that that resonance harmonization with other people who've gone through these struggles that are different. And still this orphanhood is something that I think most of humanity has shared. And now we will share more with the climate crisis and the mass migrations that are already starting. And so that what you said Greg about all of us having our way that's different, but we all still have that desire to connect with our, with our mother, with the mother of the earth and where we've all sprouted up around the world. And that's a really beautiful thing. And I chuckle a little bit because when I think about how our book was written so Raj Patel and I wrote this book and Raj is a research professor, you know, school of Lyndon Bain Johnson and Texas and public public policy. And then I did most of my research with my guitar. So my my guitar here is my research tool, where I would use my music as a way to travel around the world with my band to be able to see the intersection between society and health and wellness and what was going on with different people and when you bring a guitar instead of a stethoscope people actually let you into their homes. It's a beautiful way to travel around the world because the openness of communities when you bring your music.  It's a very different dynamic. And so my, my understanding of health became much deeper than what we learn in medical school. And that's why, you know, our book is about deep medicine that it's not just this understanding of biological pathways. It's understanding how all the structures around us have either prohibited our health or enhanced it. And for most of us who come from colonized places, even folks who are white, whatever that is, people from Europe. People from our own people before they went and colonized everybody else. And so we've all been orphans from our, our hearts and that's why I think art is such an important part and Malcolm's words in this book, really resonated with me, because of their personal because of the storytelling nature So those are just my some of my reflections but I, I think that the stories are such a deeper way of, of knowing, you know, who we are and why we're here and what happened here. Thank you. Greg, that section about Malcolm's introduction and serving a corn soup and being the, his role being to be laughed at. Well, I don't know if I would have put it that way but I think, you know, I think that's all one way of of of allowing him to show what his willingness was to contribute to the community. I remember I know a number of people have said that low being I remember giving a talk, the archaeologist anthropologist talking about how he came into the community down south and they basically put him in the chicken pen and he was, you know, plucking chickens and collecting eggs. And, you know, I'm trying to figure some others, my friend Janet eyes this archaeologist, when she first went to sumac, the newly renamed always named sumac park up in up north. She went to the kitchen that that and just started helping cooking and people noticed. I think that's what probably happened with Malcolm, they noticed. You know, they asked this thing and it might have been ingest it might have been human behind it, there might have been teasing, which is a very native way. But there's also something more, and they wanted to see what he would do. And he gave to the community. And to me that's the ultimate definition of deep hanging out.  You know, he had no idea probably if I mean he wasn't aware that that's what was happening, and he wasn't aware that it would be, you know, decades later he's still there in a sense. But in that moment, he was open to it. To me that's deep hanging out. And I've seen that with Malcolm, as he knows I'm going to tell this story I mentioned it earlier to him when I talk, when we talked. Many years ago in the early 90s, there was a California Indian Conference up in Eureka area. And Saturday night when people, some people went to the banquet but a lot of us went and visited with friends and we all were invited to Joy Sunderberg's place overlooking Trinidad Bay, this beautiful place, there was about 20 or more of us in this big feast. And there's beautiful food, you know, some of it done traditionally, good friends, all that stuff. And Malcolm was having none of it, because Joy's daughter had just had a baby. And Malcolm spent the entire time holding that baby.  You want me to eat? I just love babies. I just love babies. And again, that's a real way of deep hanging out. You know, he was bonding with this child and through that to Joy's community. And so it was maybe the most profound but just one of the ways that I witnessed Malcolm hanging out over the years. He went to all the California Indian conferences and hung out at the A day table. So that people would come to him and he would get the news, he would get the stories, he would get the connections. And he did the same for the South Side for California Archaeology. He went to many of those conferences, even before I started going and hung out. And so that's a very native way, which is astonishing from a balding Jewish guy as he says, but again, Indigenous roots. So he knows, I think they also understand about community and interconnection and connection with each other, and I think that's one of the reasons that we are bound to each other. So it's not a matter of creating a relationship. It's feeding the relationship that's already there that's inherently there as human beings. And we just, in this modern world, really often forget that. But Malcolm never has forgotten that. And that's what he's all about. That's what deep hanging out is. It's amazing. We're getting some incredible commentary. It's like, we're so, we were so sad that we couldn't be in the room with everyone and, and, you know, have 150 people in close quarters and have a big party afterwards which we promise we will do once it's possible again this is, we're going to have the biggest rolling book party you could possibly imagine some of our good friends are posting beautiful comments in the chat and I want to share first from Eric Wilder with his agreed permission. This is from a northern part of our state. And he's also been a active participant in California icons California Indian Arts and Culture Festival. He's an advisor to our mapping project and he's also just joined our California family and we're so grateful to Eric for his care and participation in willing to spend time with us on zoom. And Eric writes, my grandmother as he parish and our family have worked to preserve our stories, traditions, culture, history and personal narratives. Malcolm has through his sincerity and his gifts, allowed us to have a record of us that will always keep us alive. It's a great honor. And I want to add to that, Teresa Harlan, who is working to preserve and restore me walk homestead on the shores of Tamales Bay within the confines of the Point Race National Seashore, and who is extraordinarily determined and creative and successful person and changing Teresa writes, I'm here with Tiger. We love the idea of Lanny's manner of introduction. It allowed Malcolm to show his kind and genuine humility and generosity. Malcolm continues to gift us Malcolm.  What, what do you see now, 40 years later, would you still serve acorn mush. Where are you now. I still love, I still love babies. And I think the smell of a newborn baby is so intoxicating. I'm just simply getting stoned. Okay. And actually in speaking of getting stoned another section of the introduction takes us right back to the 70s in Berkeley and Malcolm picked out this section he wanted me to read. So here we go from page 12 of the introduction of deep hanging out. In the 1970s, Berkeley was a place rich in Indian historical resources, and it even had a burgeoning awareness of California Indian culture. Near us was the Phoebe Hearst Museum of Anthropology with its superb collection of Indian artifacts, photographs and scholarship. The linguistic department at UC Berkeley was assembling archives of California Indian languages. The home of the Hearst Museum's researcher Vera Mae Fredrickson and her husband David, an archaeologist at Sonoma State University attracted a steady stream of archaeologists anthropologists folk singers and poets. In the Fredrickson home, as in many others in Berkeley at the time, there was an openness to other ways of living and thinking that fueled a seeming wildfire of exploration, innovation, experimentation and creativity. But it wasn't until I was well along in my absorption of academic books and journals that there may asked if I would like to meet somebody named Philip Galvin. Philip was an Aloni elder associated with Mission San Jose and a character of a nearby convent. I spent many hours sitting on his porch in the South Bay community of Fremont. I had never met anyone like him. He was thoroughly Catholic. In fact, one of his sons was a priest. And yet he had grown up in Alisau, a reestablished Aloni village site near Sanol where the Aloni language was still spoken. And remember, this is the 70s, and many of the old ways were kept. I discovered remarkably that there were still California Indians living in the area who like Philip have been born near the end of the previous century. They in turn have been raised by people who had known California before the gold rush. Many of them grew up speaking their native language as their first language, the pacing and tone of their lives were from another time. And all the world will never see again. Whenever I encountered one of them, I would enter another world, listening to their stories, hearing their humor and ferocity, sharing their defeats and victories was an unexpected and great privilege. The experience moved and shaped me. I realized that I had found something of tremendous value, and I couldn't keep it to myself, which is why we're all here. Again, this is from deep hanging out the introduction. Greg Rupa comments Malcolm. I know that Greg just even the joy and actually Rupa you spoke about what sage La Pena has been doing with you on the farm. And sharing the knowledge and the tradition what is in a way Malcolm didn't keep. He couldn't keep what he was learning to himself and the generosity of California's Indian community and sharing its knowledge, especially now when there's an awareness and a receptivity is astonishing given the history Greg what what would you say, because it's not ours to keep. It's it doesn't belong to us in a modern sense it's not a possession that we can hold on to and stick in our pocket and forget about it. We are caretakers and stewards of it. And we also have to do it in such a way that we add our own refinement to it own knowledge, our own learnings and contributions to it, even if it's only a little bit, and then pass it on.  We share the food. Everybody goes hungry. Everybody gets what they need. And that that idea of passing the food around until everybody is satisfied at their hunger has been taken care of. And I think that applies to knowledge as well. And I think that's what I learned from elders is that we, we have knowledge. It's in its, it's ours, but not in the ours of modern times but the Mars are the ours in the sense of traditional, as in it's our responsibility. It's our obligation to take that knowledge that was given to us as a gift. We didn't earn it, we didn't deserve it, but it was given to us nonetheless. So we should be grateful for it and take care of it, and then pass it along to somebody else, the way it was given to us. And that doesn't always just mean to native people, I think, when we build relationships, and we see people willing to build relationships with us just like Malcolm has, because of that DHO technology that he used deep hanging out. You know, then we understand this is a good person that to whom to we should gift this knowledge, not always knowing what's going to happen there but we have the trust. Once we have that relationship that it'll be done in a good way and, you know, all the work that Malcolm's done for all these many decades shows that, you know, he's done such good work to enhance and embrace and uplift native people. And given us our voice like to me that's the really important part. As important as his writings are his advocacy for us to have our own voice to have our own stocks, like me being here tonight. I think our own writings being published by him whether it's in book form or in New South California, probably the most important gift that he's given to native people in my opinion. That that is repaid our gift to him, many times over and use that as a tool to encompass other native people that we wouldn't have been able to reach other people that have been sort of lost to their culture. But New South Native California and a day books and Malcolm have reached those people in ways that we probably could know so I'm really grateful to Malcolm to facilitate that I I met a lot of elders through his advocacy that have become important mentors to me. That's amazing Greg and you know so many of those stories are in the book. Malcolm actually wrote a question directly to you in the chat, which is you Greg you've talked about how much was lost. And this is from Malcolm language ceremonies traditional knowledge. Can you say something about what's been retained you address that a little bit already a sense of an underlying value system and then I would ask Rupa for you to do the same from, you're in the middle of a cultural celebration Diwali I think from your own perspective. You know what's been lost but what's been retained from your background from the original Indian. So, of India so great please, please go. Well I think that that we have the capability. Still, and that's something we didn't a lot of people still don't realize. I was a little fortunate in that sense I growing up knowing I was native and where it came from and my father, especially on his solid insight be able to take me back to the hills that still look like the ancestors will recognize 1000 years ago that it was incredibly important to me and and I know it's hard looking now here where I am in Yolano here in this built environment sitting in a room on a on a reconstructed pier here in San Francisco. It's hard to reach those places, but it's possible and I now know after all this time that I may not have that knowledge but he have the capability of touching that knowledge. And that to me is the important part that one of our mutual friends, the late great Dr. Darrell Wilson said that we all have that. You know that germ that that that sparkle of our indigenous roots still within us, no matter how deeply buried, and it's just up to us to fan that spark. And, and it's it'll all come back, and I learned through Darrell, I learned through Frank LaPena, who helped my salooning community bring back traditions that had been done in over 100 years, and we're doing them. And that it's, I think the biggest gift is that it allowed us to overcome that despair that we thought it was all gone. I grew up thinking all the rums and I was just gone. My cousin Linda has shown that it's not and she's making and has been making for decades these incredibly stunningly beautiful baskets that hadn't been done and three quarters of a century to a century. That by itself shows that it can be done. And she really inspired me along with a lot of these other elders that it can be done. It's still there. We just have to listen, we have to do our own way of deep hanging out in our own home that's to to attach ourselves to that knowledge again. And that makes me think Greg of the beautiful occurrence that happened on the land that Malcolm and Claire were at. As we're working on this farm which is only a stone's throw from where Portola landed and started his brutal genocidal March around the peninsula. The land were, you know, very intentionally reattaching people to that umbilical cord, right, and one of the first things that we wanted to do on the land was to honor your father with the wish to have an oak tree. And so we said okay well let's do a ceremony let's have a you know planting of the oak tree. And then we're like well it's not really a traditional ceremony it's not a ceremony per se because we didn't really have the ceremonies and I'll never forget meeting with you beforehand and saying you know, we could do some pan Indian thing we could like burn some tobacco or like burn some sage or put something down but that's not what we did, we didn't have that and you know what, and you said I don't know what we did. And so in that space there's an emptiness so instead of trying to fill it let's just let it be empty, you said and I remember that really sat with me the loss of that, and the bravery the courage you had right so that stepping out into that faith of not again and I equate that with art, right. And then we had this gathering of people, and we welcomed people to the land, and then we got these big old oak trees, and then we all gathered around and we dug a hole in the land. And you were on your hands and knees pulling the earth with your hands right in the soil was so rich and dark, and people came to help you. And then we took the oak tree out, and then everyone started touching the roots, and everyone went around, you know, 50 60 people and put their hands on the roots of the tree.  And then there was no hose that could reach there so there was a bucket. And then everyone came and put the water, the first watering with their hands, and the tenderness of watering with the hands with everybody. And then the song that Richie offered a corn song, and everything about it was a ceremony. But it made me think of what you just said that, you know, we might not have all the operating instructions as they were written, you know, because of the loss of information, or that transmission, because of the genocide. But when there's that intactness of our hearts and the, the practice of connecting and being okay with the emptiness and seeing what happens and just the, the, the act of connecting the way in which you led us in that moment and all the community that was there to create that showed me and really spoke to me about a the generosity of the people who were there, and the generosity of the land, because it instructed us and I kept receiving text messages from people, native and non native people saying, I'm still vibrating from like three, four weeks out, people were still moved. Because something was touched in us that recognized the beauty and the power and the and the it's so simple. And so the generosity, the word that keeps coming to my mind when I think of California native community who've embraced me and taught me and held me and continue to generosity, that's the word and it's the same generosity I feel from the earth and walking in the redwood trees and, you know, I don't have my banyan trees here, you know, I'm from a place where there's turmeric and ginger and okra growing. We don't have that we have elderberry and metal and redwoods. But that that earth generosity is there and that, I guess, I have a question for you in that what, what is the role for settlers. For those of us who were born here with most of many of us without our choice of those of us who came here from other lands. In supporting the reindigenization of Yalamu of this territory without appropriating without you know how do we what is our role to support this very important healing work. Of course I have the answer. Of course I don't have the answer of course not I have no clue. And I don't know if there's one way and maybe somewhat dependent on people but I think to me one of the things though that I learned in my process, even as a native person, but having to touch that knowledge again. And one of the things I learned especially from my mentor Daryl is that it's like an onion. He used that metaphor. There's many, many layers, and you have to go through all the layers, and some of them would make you cry. And at the end though you get to the core. But this is a big onion, and we haven't got even close to the core yet, but we still have to peel them back one by one. And there isn't a particular place to start. There isn't a particular place to end there's a particular place to take a technique to it. I think it's just important that you start that you do it. Somehow you start the process, but we're also so focused I think, as a, you know all of us being compromised by colonization in some ways that we don't like to talk about but we are. And as part of it is being so focused on doing. Instead of just being. That's part of it.  You're not supposed to feel. And one of the, because one of the things that happens when you feel you start feeling not only yourself, but others around you. And then you realize, we really are connected it's not just hippie talk. It's not just old Indian talk, we really are connected. And that's the danger to the colonial powers is that when we finally wake up to that. We're all in this together and we're deeply connected. And then the powers will be shaken. And that's the process you start that you just start by thinking and feeding, rather than doing. We were so focused on let's do this and has very busy person as you well know, doing lots of things including things I shouldn't be doing but have to anyway. But still there has to be time and that's especially hard during this pandemic to sit under a tree to sit next to that creek and hopefully it has water in it. The one at the farm does now finally, and just listen to it. Just listen to the creek. And, or just go walking through it right when Satan the first day, Sage came right in, and, and I was still astonished that she agreed to come in that she hasn't left yet. So she's coming. Sage is on this call Sage has been with us to see. Oh, so, yeah, we love you Sage and even despite our adventures in the nettles, and that was part of it. And it's from a path down to the creek, which was sounds like it should be pretty simple but it's not on that piece of property because of the neglect of that of that land has caused such overgrowth and and damage. And it's full of stinging metals are overgrown poison Ivy, all kinds of stuff and we have to like just march through it and, and, you know, it introduced itself to me. Right away. In a thousand little stinging metal bricks that said hi Greg. But at the end of it though, I welcome that, you know, I welcome that discomfort and pain in some cases. Because I felt like I had to go through that that that that was my handshake, my, my hug my embrace to that land, and gave it an opportunity to embrace me. And I think the others got lots of similar hugs as well. And I think that's what you need to do, rather than, you know, be at you know what we're worried about the hose and the and the and the cutters. The cutters later, first just walk through the land and let it touch you, however it wants to touch you, and however painful that might be, just let it touch it, and you touch it. Well it's so interesting about sorry that nettle and the deep hanging on that land was the nettle when it stings you is also wakes you up, right and it's like a little wake up and the nettle on that land. Sage says I'm obsessed and I kind of am because I've just been learning everything about it. They grow to like 10 feet tall I've never seen such big nettle, so abundant and heavy with seeds to feed us. And it makes me think of how you know Portola got sick and his crew for days and it was the native folks on that watershed who came down and offered the medicine. And there on that watershed there's so much medicine, but it makes me think of that time we were in the barn, and the hummingbird was a hummingbird got stuck in the barn, and the hummingbird was flying around and trying to leave the barn, and ended up pooping out and like guided out and it was stuck at the very top, and it circled down and landed right on your plate. Right. And I just everything that's happened on that that land has been singing to us on like you especially the hawks that were born there, the trees in the land that the fish that came up the watershed and yeah it's just so beautiful and seeing you there with your grandchildren, and your wife and that's a kind of a deep hanging out that I've, I'm really excited about is listening, listening to the water and the land and then watching how people reconnect. And just to give people an idea what we're talking about I actually have some photos I took of that day, when we were all there that I'm going to share and Malcolm has made a request. He'd like to hear, can we talk a little more just about the greatness and beauty of California Indian culture, and what we indigenizing California can actually offer to all of us and so I'm going to show some pictures of the land first. And this is Rupa was describing the, I don't know if people can all see this. This was the, the planting that day, and these are Malcolm out there, and you can see, I guess the nettles were in this area. This is the barn that Rupa was just describing, and the plans you guys have but actually before Malcolm goes we answer his question about what's beautiful specifically about California culture what's tell us more about your plans for this place and what is this farm all about that you and Sage and Greg are all engaged in Rupa. The first and most important part is to us is rematriating the land. And so, giving it back to Ramatosh aloney people, reestablishing the connection of Ramatosh aloney people on that land in a sovereign way. And then, working to heal the land that's been really abused by, you know, Western farming practices. Understanding that connection to land is connection to culture and who we are and so supporting our California native communities as in a site where people can come and be on the land and attach to the land and do work on the land and create art on the land so eventually doing having people to come stay and practice and develop ceremony as Greg sees fit and others, you know, a lot of it's just all still developing but the main thing is moving the land back in the hands of indigenous people who can heal. Our work deep medicine circle right now in partnership with post because this farm was part of a farmland futures thing so we are farming. We're developing farming systems with Sage La Pena and our farmers agro ecologists to advance a new form of farming that blends traditional ecological knowledge with agro ecology. We're growing food to give away to people in San Francisco through our partnerships with the American Indian cultural district and tenderloin neighborhood development corporation to address the manufactured crisis of hunger. So, we're growing, you know, medicines and foods will be starting an herbal apothecary this winter we're hoping Sage is a powerhouse of plant medicine knowledge. And that big barn I think we'll be hoping to build stuff like that out. But first and foremost, it's providing a space for indigenous people to reconnect to their homelands. And that is the most important piece of this work. That's so exactly right. And Greg, when Malcolm says, you know what the beauty of California Indian culture and re indigenizing California. How do you see your relationship to this land that you're doing in collaboration with Rupa and the Pacific of the peninsula open space land trust. How do you, how do you bring California Indian culture how do you read indigenize, and also talk a little bit about the American Indian cultural district which is a wonderful new initiative in San Francisco. Well, you know, what I learned over the years and I kind of alluded to it earlier with with my mentor Darryl is this onion layer. And there came a point after being you know I was on early on my father's Selenium People's Tribal Council became tribal chair for a while. I was involved very, very fortunately through Malcolm and others to culture bearers like Darryl, like Frank, like Julia Parker, like many others El Frank, early on as well. They, they taught me a lot. And there was a point where I thought like, okay, I, you know, I know I don't know everything, but I'm pretty good. Right. And it's think when they're like, you know, they, they're in their table twos and then when they get to about seven days like, okay, I kind of know this stuff. I'm cool here. And then things started to challenge me and I think mentors and elders kind of help that to understand it's like you only have a little bit, you still only have a little bit. And the lesson is, you're always going to only have a little bit and you always have to thirst for that knowledge because it's so incredibly vast how can you, the hubris are thinking that in a few decades I could learn 15,000 years of accumulated knowledge between three tribal communities is just nuts. And I should have like, you know, caught myself and I had much earlier than I eventually did to know that to humble myself in, in the gift of what I do know, which is probably higher than the average person. And yet it pales and compared to other culture bearers let alone the ancestors. So, and that didn't make me feel bad. It made me incredibly energized that's like what a gift that I was allowed to even touch this to be in a place to touch it, and that I had parents and a community and a family in a community that I worked my way through that put me in a place to touch that, because I mean I have other close relatives including brothers who, who were interested and had the same opportunities and didn't walk down that path but I did. And, and I'm incredibly grateful for the enrichment that it does it's just, it's like being in a little box, and then they take the, you're a whole life, and then they take you outside and put you in a field, and you open the box, and it's a very milky way above you, and just as to the horizon that you've never could have even imagined before. That's how I look at that native culture, even my own culture, even the rheumatist culture, because I'm still, you know there's still a lot here. That's the lesson I got from a lot of different people, including my, you know, people like my cousin Linda, we were raised in the rumpson community thinking that it's all gone. There's nothing left. And she showed there's a whole lot left. And that it's still there to be reacquired. And, and that's the work that I'm engaged in and it's a never ending work. And it's the process the walk you, you take to to it's not the place you get to at the end. And that leads leads right to the third jam of a section that Malcolm asked me to read tonight so I'm going to do that. One last time and if others have questions you'd like to add in the chat. That would be the easiest way to let them, we're going to go about another 15 minutes so keep in mind if you have a question we'll try and pass them along but this is from the chapter, entitled Indian pedagogy. So look for California Indian teaching techniques. And this is exactly what you were talking about great. This subhead is what a song means. In Southern California, a few people still sing what are called bird songs linked verses that used to be sung for four nights straight during the winter. I count the wanderings of divinities over the world in the earliest moments of creation. My friend Ernest Siva, a Serrano and Kuiha Indian from banning is one such singer. Once after he had sung an especially lovely verse, I summoned up the courage to ask him what it meant. After some thought he responded something like this. If I was asking what the words meant he'd be glad to translate them for me. But that's not really what the song meant, at least not to him. What gave the song its meaning was not just the words but what it had taught it to, but who had, sorry, what gave the song its meaning was not just the words, but who had taught it to him. When it could be sung, who could sing it, all the other times it had been sung to whom he had taught or would be teaching it. When it was sung in a funeral, for example, that circumstance added to the memory, and thus the meaning of the song. Traditional societies personally transmit and personally use knowledge. It doesn't exist in books that can be shelved songs are not recorded on CDs that can be played at will. It doesn't exist only because one person gives it to another, and it is kept alive only by repeated use and personal transmissions. How one learned something and uses that knowledge are important in traditional societies. People in the dominant culture, on the other hand, seem to feel that whatever is to be learned exists independently from the way it is transmitted. While one person learned something from a parent, another from a teacher, a third from a computer, we like to assume that they all know the same thing. You simply know as a fact that the earth revolves around the sun, whether you absorb that fact and learned it in adulthood, figured it out on your own, had to reject religious belief to get there, or learned it in English or some other language. No matter how you learned, it's a fact. And in our culture, facts are seen as solid little building blocks unchanged by how they are acquired to use in traditional cultures that does not seem to be the case. Knowledge transmitted orally from generations to generations, just as Greg was describing just now comes with much more history, more personal interaction, more flavor if you will, and perhaps is felt with greater depth and emotional complexity. I remember that in my grammar school, a teacher I had a crush on would read us books such as Heidi. I still think of the Swiss Alps with a great yearning and great love that I can't help but thinking would not be there had I picked up a book from the local library and read it myself. Native pedagogy concerns itself, not just with what is taught, who teaches it, and under what circumstances teaching is not in other words just a means of conveying knowledge and information. It's kind of a grow part of that knowledge and information as well. So, yeah, it's not, it's not, it's not data. It's not discrete data as we treat information in the modern society. These are living things that are part of a living family. That was probably the most profound thing I ever learned from one of my mentors, Frank LaPena, when he was helping us he were years ago we were trying to bring back our bear ceremony. And he made this comment that just profoundly stuck me right to my heart, and I think about it often almost even he said, essentially, for many years you didn't do the ceremony, but it continued nonetheless. And now you're giving it form again. Okay, and every, that's the, that's a big onion. And I peel it back and it goes deeper and deeper and what it tells us is, these nuggets of culture that we put in little packages as information bits. That's not what they are. They're living beings that have a life of their own, apart from us, perhaps above us. And we need to accord them the respect that we would to any elder. And they exist beyond us just because they're not in our site doesn't mean they're not doing their business. The next to me is what I learned about culture. It exists beyond us, and before us, and probably after us. And we give it that respect. And if we're lucky enough to sit down and deep hang out with that bit of culture for a moment. We should be internally grateful for it because that's a riches far beyond gold. Thank you, Greg. So beautiful and David low, one of our participants has written a question saying, I'm wondering if the land that Rupa and Greg and sage are re indigenizing on the San Mateo coast is close to Kyroste, the land near Franklin point that the ocean are stewarding. Is there any collaboration happening there between those two projects. Right now we're so busy just getting our own, our own bearings together as our group and our and our work on the land. So not not right now. But I, yeah, I, I just wanted to say I really love what you shared there Greg whatever you tell that story about the ceremony happening. Even if we weren't doing it, it exists on its own. And the way that we think of like my work as a professional musician, right, it was hanging out with indigenous community and being invited to actually re indigenize my songs from women up north in Canada called me up there to do a indigenized version of one of my songs. And I had no idea what that meant. And what it meant was sitting in ceremony for 12 hours and then working on a song for three hours. At the end of that, a beautiful medicine song happened. And when that happened it, it really the, the feeling of that was much more akin to my practice of the classical music or the rags and the, the, the way I learned music through India, anything that I'd experienced in Western music as a musician where these songs become things that are sold and commodified and bartered and then you are put forth as an entertainer which is probably the most, you know, the cheapest version of what you could be through a cultural, I mean, I mean not that entertainment is a bad thing I think it's good for us to feel happy and uplifted but songs have such a deeper and I don't know they carry so much complexity in medicine and also made me think of how when we're taught medicine in Western medicine, how much of that knowledge has been gained through violence. And so what kind of medicine can Western medicine be, if it has been gained through violating the rights of animals and other people. And that's something that I'm really starting to think about as I, you know, peel back the onion of the work that I'm doing as a doctor or even a musician. But it's made me not really excited to book any gigs and to sit and think about, you know, the songs I hear on the land. Because I can hear the water and I can hear the land and you know one of the first things Sage told me was to do is sit and meet with a bobcat that was coming to hang out on the field at 530 I wake up really early and I'd get out before dawn to drink my tea out on the field, and I'd sit there and a bobcat would just sit there and look at me and we just look at each other and then I started singing to the bobcat and then the bobcat would sit there. And that process of like connecting with things through song and, and in another way is just so out of our understanding of culture in this dominant narrative. And I just feel grateful for, you know, Claire you asked about the volley and the volley right now for myself as a person who was born Hindu and seek in this land, and thinking about the violence towards indigenous people in India, and how that myth and story of the volley is a part of that, almost the way Christianity is to indigenous people that happened between Hindus and the bossy the lead people. And so how my culture in India has been a part of an oppressive regime over there and how that violence towards indigenous people is still happening in India and the forest are still being burned and people are still being forced off their lands and I think for myself, as I have two sons I think how do I transmit the beauty of my culture and my ancestry without the violence. What is it in my ancestry that is connected to the earth and to our place on earth that can come without those things that have been put upon it in place there to oppress other people. And that work feels like it's dream work and and work of sitting and listening to elders who have been thinking about this and also to the land. So. So Rupa, we also just got a question that's slightly off topic and yet it's something I know that matters so much to you, I'm going to read it. When someone asked a Lynn Barbary asked. No, it was, where did it go. Come back, Jane Mariposa asked Rupa I'm reading your book, and I wonder your about your feelings about vaccinations. I'm not sure I want one but there's a lot of pressure, please respond and I know you've done a lot of advocacy around this so I just wanted to give you a chance since you've got an audience to put out your point of view. Oh man. Man, why does this question keep coming up no matter what I'm talking about.  That matters to me as a doctor. So my number one desires to see my community be healthy. But it is complicated, you know there's people who don't want to get the vaccine for historical reasons reasons where like I just mentioned that medicine has been a tool of colonial domination and violence, and you can't ignore that fact. I also know that some people, you know are just nervous I was nervous when it came out, and I'm a doctor and I'm on the front line. And so, you know, do I think that the vaccine is the solution to getting out of the pandemic. Well we just learned that a bunch of deer are harboring coven right now. So it's a deep reservoir, are we going to vaccinate all the deer, probably not. So, you know, I don't think vaccination is the way out of this, I think it's helpful to mitigate death and suffering and spread, but ultimately I think we need to redesign our world to be healthier. And that means a lot of things that means dismantling our food system that means dismantling the fossil fuel industry that means ending capitalism that means a lot of different things. So that's how I see the end game of the pandemic can vaccination help people stay safe yes it can. And I just want to acknowledge that throughout the evening, I've been looking at the participant list and there's colleagues there's friends there's even a couple of my former roommates of, you know, it's just so wonderful that the, what we talk about reindiginizing the alternative culture that Malcolm describes that drew him out here and kept him here is also something that has made the landscape and the community that we have here more open and ahead of everything and willing to entertain all these ideas, which is, and to do something about it. It's like what Greg said and others earlier on I'm not sure if he said it today but in our conversations about this it's one thing to offer a land acknowledgement it's something else to actually do something about it. To make that offer active and, and Greg I guess I would kick it back to you for as we're coming upon closing comments since it's 718 and we promise we'd wrap up by 725 at the latest. And it's all to know about reindiginizing the culture, and Malcolm I'd also like to ask you what it did come in with the closing words about the evening but also about your what you would like to see in our local community, going on into the future. Hi.  No of course I don't have the answer. I think here's, but here's one approach. And I recall a friend of mine who worked with the bioneers years ago, and he shared with me recording I may be publicly available about Evan Peters from up in Alaska. He came and spoke at buying ears and he talked about a time where he went to go see the great culture bearer or in lines back east. And they him and as Orin and his wife took their Evan to a their sacred lake to do prayer and ceremony. And as he they got to the lake and they were walking out to it. Warren's wife said told Evan don't touch the lake, it's polluted. And it turns out to be one of the most polluted lakes and the Western continent. And he looked at the into the water. And he saw his own reflection and it wasn't a nice shiny mirror like reflection I think it was more of a machine to it because of the pollution that was on the water. And it was still in brackish, but he saw himself but he didn't see himself as he would in a mirror, it was a distorted view and I think from that he said, until we clean up the pollution and ourselves we're never going to complete. Take out the pollution in the world. That's essentially what he said and I believe that we have to look inward that's that's a very native philosophy that I learned very early on you look at yourself first take care of yourself, clean up your own act. Then you can perhaps be in a position to help someone else in whatever way is offered to you and comes your way, but you have to take every own thing first to be in a place where you can do it in a good way with a good heart. You don't have to have all the knowledge. That's not what's called for is to be there, be there for each other. And I think that's the first step in all of this about re indigenizing is remember, we're part of a living system that's interconnected in ways that cannot be separated by any philosophical political system, no matter how hard it tries. And the pandemic showed that the lockdown showed that the suffering that happened because we can no longer see each other right the angst we have tonight because we can't be at the public library again. There's just little ways but 1000 ways every single day show us how much we're connected. That's the first task to remember, we're all connected. And then things will flow from there. Thank you Greg Rupa. Take us home here. Oh I just, I don't want to say anything after that that was beautiful. Thank you Greg. I just have so much love and respect for what Greg shares and, like all of us I know Malcolm has so much love and respect, and so much love and respect for you Malcolm thank you for teaching all of us and showing us how to rock the walk. And really educating us and sharing with us stories so that we can know who we are as as newcomers on this beautiful land. Malcolm has just asked me to remind me that I should be, let you all know that we have lots of wonderful programs going with the California Institute for Community Art and Nature. I just put our web link in the chat for you, but come to our website see what we're up to look at our Facebook page. We've got all kinds of projects going on and I just want to also amount news from native California. I can't say enough about subscribing to it what I mentioned earlier in the programs. Maybe it was in the program tonight that it changed my world the first time I picked up a copy of that magazine, having grown up in California with all the stories about. There were no more California Indians and it was to see not to the were so many but the culture was so rich and I want to give a shout out here to the California Indian basket Weavers Association. And to my cousin Sarah Greensolder who did so much to help make it get it started and to all the California basket Weavers Indian basket Weavers who's carried it on these many years. It's been an extraordinary place and I used to see Malcolm there hanging out doing the auction every year with together with Frank LaPena that she would say the mutton Jeff of the Siva movement and just there's so many hidden gems of culture, alive and well. And just today we were talking about reviving a California Indian storytelling festival there's so there's so many, so much out there there's no need to miss it it's there waiting for you. And with that let me pass it to you Malcolm. For some closing comments. If you want to give any totally up to you. Yeah. Thank you Malcolm. Again, I know that just from the comments I've seen in the chat that there's so many of us who can trace our awareness our understanding and our beginning relationship with the true owners and original inhabitants of this land through work that Malcolm has done and it hasn't stopped there with a lonely way or news. One last time I really encourage you to take a read of the book it's gorgeous. There's so much more. And with that I just want to thank again the San Francisco Public Library. Thank you so much for all the hate a books, deep medicine circle. Craig Castro, Rupa Maria, and of course Malcolm for giving us the opportunity to even have this conversation. It's been a beautiful evening and we're very grateful and thank you all for joining. Thank you Claire. Good night. Thank you. Thank you everyone and library community. Thank you for showing up tonight and a mini deep hang out. Thank you all, and we appreciate you. Library community we love you panel. Thank you so much Malcolm. Thank you. Just. Thank you. Thank you. And if you could keep the zoom open for a little bit for all the beautiful comments that are closing comments that are happening.  So it'll look pretty on YouTube. Thank you.


Hello stampers. Hello. Welcome to Stampin' Chat with Stampin' Jill. I'm Beth and I'm Aubrey and we're excited to be here with you today. Yes. We are, if you don't know, we are part of the Stampin' Jill team. So, yep, there's a few of us that hop on here and create together for you guys and play with Stampin' Up product and we've got some fun stuff to show you today. Yes. So today we wanted to talk about a recruiting deal that Stampin' Up has going on. Yeah, they don't do them too often so it's always really exciting when they release one. The typical starter kit that we call like the way you sign up to be a distributor with Stampin' Up a demonstrator is you get $125 worth of product for $99 and you get to choose that product of whatever you like from the current catalog offerings. It also comes with business supplies. You get a free paper pumpkin. Did you know that? I didn't. I didn't think you knew that. I was going to surprise you. I didn't know. On top of that one, 25. You get those other things but for the month of June they've offered a special. How much do they get now, Aubrey? Let's quiz. $155 worth of product for $99 plus tax. Free shipping. So you just pay $99 plus tax and you get to choose $155 worth of Stampin' Up product. Super good deal. That's the long and short of it. Yes. So we wanted to show you what $155 worth of product looks like and then play with that and you can see what we come up with. Yeah. With $155 worth product. That was our thought was sometimes that sounds like a lot but I know when I go to the grocery store lately $155 doesn't get me very far. True. So we want to show you in Stampin' Up product that you can see how much that looks like. Even if you have a big wish list right now, this is a great way to get it for $99 instead of $155. Yes. So we both chose two different sweets or product offerings and then added some things to it to get to the $155 and we'll show you but while like while I'm showing you what I chose, Beth's going to play because we don't want to be here all day with you. So I'm going to start and let's go to our hands here. So I chose the Stargazing sweet of products. This is a really good catalog. Oh sure. Do you have one handy? I do. Okay it has a bunch of tabs on it. That sweet has like that has such a good layout. Yes it does. Actually I might have it even. Sorry guys I kind of threw that on her. Oh it's in one of my yellow tabs not in my it's somewhere here let me get that one. There we go. Hey so this is the Stargazing sweet of products. It does look so nice and pretty on this page. First of all if you have this sweet already I want to know because this is one of my favorites. It's one that drew my eye in the very beginning when I first went through the catalog. So in this sweet if you just put in this code right here you get the reach for the star stamp set and the coordinating dies that's bundled and then you get the Stargazing 12x12 designer series paper and you also get the holographic trio specialty paper which is this really really fun iridescent paper. So that's the first couple of products you get. I want to give you a closer look at the designer series paper here. It is really cool. So you can see it has this really fun like planets and on the back of each of them is like a galaxy looking piece so that's kind of fun if you want to have the galaxy behind. So do you know what my favorite is about this sweet though? What? Well I love the colors but the dies. You've got to show them the dies. I will. Okay I'll get there. Sorry I'm really excited. They are so fun.  I know. I know. Okay just wait. Sorry I'm just really excited. So they have really fun like patterned in here. Just super cute paper and like I said on the back of each one is this really fun like galaxy looking paper which is so cool. Okay and then the dies. Yes I want to show you. So this is a 16 piece die set and it has our you can cut out our little space guy and what did we decide this was a shuttle instead of a rocket? Yes. Because if you cut the wings off then it's a shuttle or no then it's a rocket. Right. It's a shuttle with the wings.  Who doesn't need circle dies?  Look at like this card that I made like on this card all of those planets with those circle dies. I know look at that for every shuttle. So cute. So fun. So you get all that but that's only the beginning. So with all that you need some paper you need some accessories and you need some stamp pads. So you can also get five stamp pads in that $155. I chose these colors that kind of coordinate with this suite. You could obviously choose whatever stamp pads you want and then I put that you could get the new core color collection of card stock. This just gives you all three times best core color collection card stock core color collection of card stock. That's a good one. But what's great is this has a lot of the colors that are in this suite but it also has all of those new colors that Stampin' Up just came out with. So that's a really a really really good card pack or card stock pack to get and then a pack of just basic white because everybody needs 40 sheets of basic white and then that's still not all. You can get rhinestones basic rhinestones and these super cute let's see I'm gonna open them these are the iridescent shaker circles they don't technically go with this suite of products oh is that right but they coordinate so cute I'm surprised they don't like I know they aren't part of them I know so cute let me show you a card I used them on. So I already played with this set so I already kind of have some cards you can see them on here look how cute they are just added into the background with those little spacemen so fun okay so that's what I'm playing with all of that product Beth do you want to show them what your yes yep I chose the fresh as a daisy sweeter products so that includes the cheerful daisy stamp set and the dies that coordinate which are so fun it includes oh I should show them in the catalog oh yes yep because it's really cute in here too did you say the yellow tops are sweet yeah they're some of them oh I have that over it's like more toward the back okay I know that much let me find it sorry guys we should have practiced this it's okay oh I like that they'll forgive us okay well it's gonna be the last one last one you knew I knew I should have started at the back okay look how cute here is the fresh as a daisy sweet collection so fun and the thing we really love about it is it features our new in colors for this year the five new in colors so the stamp set and dies would come with this $155 value of products you've got those you've got the paper you show you this DSP right here the 12 by 12 designer series paper it's really neat the one thing I love about this designer series paper is it comes with this um pre-portioned sheet in here that you can cut up into the different things kind of like a one sheet wonder that's premade for you and use it for your cards so cute like let me show you I made this one today and I just cut this little piece from the corner with the little sky in the background and added some flowers what a fun car so cute and we played with a bunch I'll show you my samples in just a second and then along with that we did the in color juke trim these really you got five of them and those new colors you get these adhesive back solid gems they come in colors that coordinate with the suite as well and then you get a few things of cardstock you can get 140 sheet count of basic white and then you would get the assortment of the new in color cardstock as well which gives you just the little piece that coordinates totally with that suite so you'd be able just to create a ton of stuff oh and five stamp paths do I just put my stuff okay and then five stamp paths which we chose the new in colors boho blue moody mauve wild wheat copper clay and pebble path kind of give you a good little start to your stamp collection if you don't have any or it gives you the new ones if you've already got some and here oh and the pecan pie pecan pie pecan pie ribbon with that cute border on there you get a spool of that and that brings you to $155 and let me show you some of these cards to obry's also played with this one and created most of these I think between her and Jill yeah cute the dies are really fun it has this layering die in there that you can do like this and kind of create little flowers on top of each other just you can do simple stamping kind of like what that one is but and then this one is another simple stamping it uses another one of those little pre-cut pieces from the designer series paper and you can do things a little bit more complex with the dies it's just a really fun bundle and the designer series paper is really pretty it does a lot of the work for you which I love that's up my alley anyway so I like the different color combinations I can make with these new in colors you can go bright and fun with the boho blue and the moody mauve or you can go a little bit more and like in the regal tones or the neutral tones with using the other ones it's got fun grouping of products it makes it really easy super fun yeah so what are you making over there well I um sat down to play and I had used so much of this paper already to cut out different I should have showed you to um to cut out different planets that I didn't have like a full piece to use on a paper so I just cut it out of diagonal and it looks intentional so it looks really cute there you go actually I like it with a little rim of your iridescent yeah that paper is so cool but it does like big pieces kind of make your eyes go a little crazy so just a little bit of it is actually perfect a little bit goes a long way yeah and I stamped my greetings friend but it's a little wonky so we're gonna try that again well I really love um stamping off this is a two step stamping set so with the cheerful daisies you've got the outline and then you've got what fills in the flower and so if you just take your moody mauve or any color you can stamp the outline a little bit darker and then you can um stamp off one time like I've done here and it will give you just kind of a good filler for that I like that little tip with two step stamping then you don't need a bunch of different colors of stamp pads you can just use the same one yes that is one of the best things when you're starting out too is to remember that you can stamp off to get a whole different color and this wild weed is kind of a trippy color when I stamp it sometimes it pulls a little green some yes have you noticed that yellow green and brown it's like it's like it depends on what color it's with it depends on what you're using it with because I was like oh shoot I didn't choose a color that has a green to use for leaves yeah but on my other sample let me see where I put it I use the green or the wild weed and I feel like it looks like green leaves on there it yeah is that funny yeah so let's see what it looks like on just white paper because that one was a pattern or whatever yeah it's funny it still totally does it can it can pass for green yeah I like it I'm a fan well and that actually moves it into like a folly color scheme too it can for sure so it's good it is good so guys if you have any questions about joining Stampin' Up now is your time yes to ask away we are open books how long have you been involved with Stampin' Up Aubrey um oh heavens I I feel like I'm a lifer I've been Stampin' for fun since I was 11 or 12 yeah I think that's when we used to go with mom and then um I started working with Jill how long ago with uh me out with home medicine is she is that what you go off of yes she's 14 so I started when she was almost a year so almost 14 years she in October it'll be 14 years okay there's my one card with our cute astronaut oh pretty so fun I have another one I want to do and we'll see if I can okay and I'm kind of going for like a wallpaper-y look here oh cute I just saw uh it was actually a commercial no it must have been a real where a girl was painting her trim to match her wallpaper that she had done and it was like this really pretty floral pattern I wonder if you can kind of see I'm just filling in the white with this blue but I'm stamping it off twice I stamped the image full strength a couple places but by doing that it's just making like a really soft blue background I'll have to show in a picture because I don't know if the camera's picking it up very well but I think it's kind of pretty and it reminds me of that wallpaper that girl that I saw so cool because it's nice just not have like a stark white background that boho blue right yeah boho blue and then I did the moody mauve I probably added too many of those little things we're going to cover it up it's going to be okay you guys don't you worry it will it will all work out oh I didn't step enough twice okay I like when you make that noise when I go like oh Beth oh oh silly Beth does that look like maybe not with that one oh look you're like building the solar system yeah I dig it I don't think it's like accurate historically accurate historically well what would you say geographically is it geography in space I don't know actually it's a good question I don't think it is but I don't know geographically but I'm gonna do something like that cute oh he's super cute I like those stars um I saw you punching them out though do they all come out on one die yes yeah well there's two so there's these two dies which makes it a little bit easier oh yeah okay I'll do that so that's kind of fun I kind of want to do like a diagonal card is that like a thing I guess they'll open it however they want but if I make it this way that's kind of fun I don't know what you mean like I want them to open it this way how can I make them open it that way so it's not like a diamond not like this it's like a diamond you need to we need to rethink that whole thing okay it has to like my fold in yep okay we're gonna figure that out yeah I'll help you okay but that's gonna not be done on video oh come on I mean yes I I can see what you're saying now yeah I'm excited about it yeah yeah I know what I see exactly what you're saying it's gonna be amazing okay we're gonna finish that with Aubrey she's gonna help you with that yeah okay all right guys are you gonna show some more cards well I showed them all mine did you yeah you show them yours let's see I showed that and that that one's not anything special here we'll do this one that one's with look at that little hamper I know it's so fun and then cute one so cute oh yeah this is with that this is kind of a oh it's a background stamp yeah their background stamp yeah that one is fun it's not in the stamp set right yeah but you guys just for those circle days yes oh yeah so so here's where we're at oh all the product again okay sorry oh all the product so yeah don't forget right now is a great time if you've got a big wish list to fulfill some of those items you can get full sweets like this or you can just supplement with other things that you want to get I know so many things stamp set I don't know see and then you can get together do it with a friend and then get together and you guys can look at all this stuff you can have I know together look at that can we get it all in I don't know all right there you go all right well you guys this special goes through the end of June so make sure to contact us before June 30th if you want to join our team we have a lot of fun together we do quarterly get-togethers via zoom and we do in person events if you live in the area we'd love to have you join us or not just come and hang out with us yes um but we have a really good time and we'd love to grow our team so if this is something you're interested in please reach out to us at sudemonstrator at gmail.com or you can comment on this video and we'd be happy to uh get back with you yes okay we will see you tomorrow for watch weekly Wednesday and next week for another Stampin' Chat with Stampin' Joe we're not gonna be here oh that's right we're taking next week off yeah we're going on vacation we're all out of town so so we'll see you the following week in July yes yep okay see you


When learning projectile motion, a common example to discuss is to look at the range of a projectile and what things may affect that. And if you are kicking or hitting a projectile at what angle of launch will it travel the furthest? So let me draw a picture of our scenario. Our projectile is launched with an angle of v initial. Sorry, with an initial speed, launching speed of v initial and a launching angle of theta. So our goal is to find an expression for the range as a function of these two initial parameters. And to use that information to figure out what launching angle will give us the maximum range. So I'm just going to add a label for our horizontal displacement here. We will call that the range. And I'm going to write out our goal. Our secondary goal for this will be to find what angle maximizes the range. So let's take a look at what we know given our setup here. We are looking at the special case where the projectile is launched and lands at the same vertical position. So it will start at zero and it will finish at a height of zero. As for any projectile problem, it's very important for us to identify our coordinate system since our velocity, displacement, and acceleration are vector quantities. So I will draw a coordinate system defining up to end to the right to be positive. So now as with any projectile problem, what we need to do is we need to look at the horizontal and vertical components of motion independently. There it is the vertical acceleration that will determine the how long it takes the ball to rise and fall back down to its original height. And it is the horizontal component of motion that will determine how far it travels during that time. But these two components of directions of motion can be analyzed independently. So let's go ahead and write down what we know. So I'm going to set up two columns here in which we can identify our horizontal information and our vertical information. Let's start with our horizontal direction. We know that projectiles do not accelerate horizontally. We know that our displacement is going to be our change in position. So we are starting here horizontally and we are finishing here horizontally. We know that our v-initial is going to be related to our launching speed and angle. And we know that our time for both the horizontal and vertical components of motion will be the same. So let's write down our displacement and let's figure out how we're going to deal with our velocity. I'm going to sketch for us down here our initial velocity vector and its horizontal and vertical components. This purple vector represents our initial launching speed. This here is our angle theta. So this will be our v-initial in the vertical direction. And this blue vector is representing our v-initial in the horizontal direction. As you can see from the right triangle that both the vertical component will be related to the angle theta and to the v-initial by the sine function, whereas the horizontal component will be related to those by the cosine, related to those by the cosine function. Let's go ahead and finish writing down what we know in our horizontal direction. And in our vertical direction we know that our acceleration is going to be, have the magnitude of the acceleration due to gravity and because I chose up to be positive and the acceleration due to gravity is a vector in the downward direction, this will be negative. We have displaced zero in our vertical direction because we leave and return to the same vertical position and displacement is the change in our position, in this case in our vertical position. We have already written down an expression for our v-initial vertical and we know that our vertical motion will last for the same amount of time as our horizontal motion. So what we want to do is using the things that are common here such as our v-initial and our time to figure out an expression for our range in terms of our launching speed and our angle theta. So our goal in the algebra will be to find a common variable that, such as time, that is common for both the vertical and horizontal components of motion and write down expressions for those and then we can set those equal to each other. So the next few steps will show how we find, use our horizontal information to find an expression for the time and then we're going to substitute that into an expression for our vertical motion and we will see where that takes us. Let's write down the equation of kinematics for our horizontal motion. If we look at our equations kinematics we'll see that one of them contains the acceleration, the displacement, the v-initial and the time and if we substitute what we know this will simplify. The last term here does not have to be included because the acceleration is zero. So here we have range in terms of our v-initial and our cosine theta but we have time. We don't want our final expression for range to have time in it so I may have misspoken before when I said that we would solve for time in the horizontal direction then plug it into a vertical expression. We're actually going to do the opposite of that. What we can do is see if we can use our vertical information to find an expression for the time that will allow us to eliminate the variable time from our expression. I'm just going to clear up a little space here and go ahead and start that calculation. As you can see with the variables that we know we would want to use the same equation that we did in the horizontal direction. If we plug in what we know and we can simplify this a little bit we want to solve this equation for t. By doing our algebra here we can get an expression for t of 2 times v-initial sine theta over g. Let's take this expression for t and plug that into our range equation. So we're going to take this and we're going to plug it in right there. And we're going to simplify this a little bit further because as it looks right now it doesn't look to be a very simple expression for the range as a function of our angle theta. But what's going to help us is a trig identity. Trig identities are not something that most students are expected to learn at some point but may not commit to memory for the long term. So I'm going to share with you one of the double angle formulas that 2 times sine of theta cosine of theta is equal to sine of 2 theta. In most math notebooks you can look this one up. Again it's not something that most people have committed to memory but of course you are welcome to reference as necessary in order to try to make things simpler and find a better solution to our problem. So I'm going to substitute this in to our range formula. So now we can see we have derived an expression for our range. That depends fairly simply on our launching speed v-initial, our acceleration due to gravity. Most times we'll assume we're doing this on the earth and the angle theta. From this you can see that so we've met our first goal which is to find an expression for this. Our sort of secondary goal was to see if we can use this information to figure out where what angle would give us the maximum range. So if we have a fixed launching speed v-initial here and g are going to be constant. So our range is going to depend on the sine of 2 theta. From your trigonometry studies you should know that the maximum that a sine function can be is 1. So we know that the sine of 90 degrees is equal to 1 and 1 is a max value for a sine function. So 90 degrees gives our sine, gives us a maximum for this sine function. So at 90, if the maximum for this here is 90 degrees, alright so our max range is when 2 theta will be equal to 90 degrees therefore when theta is equal to 45 degrees. This answer should make you feel pretty good because it seems rather intuitive. This is an intermediate angle between firing something straight up and firing it perfectly horizontally. We can, so if you imagine at this angle we will be able to get enough vertical motion to keep the projectile in the air for a sufficient amount of time and enough horizontal velocity to allow it to travel for a fair distance. This example was the simplified version in which we launch and return to the same height. There is a more complex version in which the launching height, the launching vertical position and landing position are different and that's a slightly more complicated derivation but it will use the same idea and that's something for a future lesson. So hopefully this has helped you learn a little bit more about the range of a projectile.