Four space-age looking pillars – or the Bartle Hall pylons – allows for 388,800 square feet of column-free exhibit space.
For 30 years, these four space-age looking sculptures have helped define KC’s skyline.
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A Common Financial Pitfall for New Professional Photographers |
In the competitive and often unpredictable world of professional photography, managing finances can be as crucial as mastering the lens. The journey from a budding photographer to a seasoned pro is fraught with challenges, not least among them is financial management. This important video from a seasoned professional discusses a crucial mistake less seasoned photographers often make.
Coming to you from Scott Choucino of Tin House Studio, this insightful video takes a look at a common yet critical mistake many photographers make: the temptation to splurge following the receipt of a big paycheck. This instinct, as described, is often fueled by the initial euphoria of success – the desire to upgrade equipment, buy new accessories, or simply reward oneself. However, this practice is cautioned against, emphasizing the importance of financial prudence in a field where income can be sporadic and unpredictable. Choucino shares personal experiences, highlighting how premature spending on non-essential items can lead to financial stress, especially when subsequent jobs are delayed or payments are slow to arrive.
What stands out is the emphasis on a disciplined approach to financial management. The advice to wait for multiple jobs to come in before considering any major purchases is practical and grounded. It reflects a deep understanding of the industry’s uncertainties and the need for photographers to be financially prepared for dry spells. The focus shifts from immediate gratification to long-term stability, urging photographers to view their earnings through a lens of sustainability rather than momentary excitement. It’s important advice for anyone who wants to make an income from their work. Be sure to check out the video above for the full rundown from Choucino.
Don’t miss the monumental photography exhibit at the CAC, celebrating Black culture
GESTURES OF REFUSAL
Black New Orleans photographers have long used their cameras as a tool of resistance to racism, exclusion, invisibility, displacement, and even the wrath of the flood that followed Hurricane Katrina. That’s the point of the “Gestures of Refusal” exhibition that currently covers two whole floors of the Contemporary Arts Center.
With roughly 250 photographs by 105 photographers, there’s a lot to take in. Luckily, it’s not one of those shows where the photos are lined up on blank walls, one after another, like boxcars.
Curator Shana M. griffin (whose name is spelled lower case) has divided the feast of photographs up by theme and has even produced five separate installations to better engage audiences in the experience.
It all starts in the so-called “Living Room,” where a selection of snapshots and commercial photos capture ordinary Black family life. As griffin explained, the home has always been where Black people were able to curate intimate images — “loved ones, couples, weddings, and children” — without the sort of stereotyping and marginalization they often encountered in the world at large. Living rooms are private art galleries.
The “Living Room” display is decorated with homey furniture and nostalgia-inducing wallpaper. Elsewhere in the sprawling exhibit is a sophisticated apartment interior, appointed with sansevieria, modern sculpture by Martin Payton and an array of artistic nude photos. The setting is decidedly different than the “Living Room,” but the intended theme of photographic expression pushing back against the influence of racial oppression is the same.
Some photos in the ‘Gestures of Refusal: Black Photography and Visual Culture’ exhibition at the Contemporary Arts Center are displayed in the environment of a sophisticated apartment.
In a small back room found at the end of a dark corridor, visitors to the CAC will encounter “Honey Bear’s Hot Spot,” an old-school Black neighborhood bar. The joint is lined with lush photos by L. Kasimu Harris of folks taking it easy, as a huge video screen boils with a kinetic second-line parade. Cocktail glasses stand on a bar near the video screen, glinting in the scarlet glow of neon beer signs.
As griffin lamented, gentrification is making such saloons and lounges scarcer and scarcer. The curator believes Harris’s work holds back the tide, artistically anyway, by capturing such scenes for posterity. “It’s like a protest against forgetting,” she said.
Upstairs, there’s another darkroom lit only by a deep red glow. Most people, griffin said, have never seen the inside of a photo darkroom, and they are increasingly less likely to, as digital photography continues to dominate. But griffin’s darkroom — complete with the vinegary scent of developing solution — is a touchstone of the craft and labor that photographers bring to their work. It is lined with lustrous black and white prints, hung from clotheslines, as if drying. Look for a few shots by official Jazz Fest photographer Girard Mouton III.
One exhibit space in the ‘Gestures of Refusal: Black Photography and Visual Culture’ exhibition at the Contemporary Arts Center captures the appearance of an old-fashioned darkroom.
Also upstairs is an altar dedicated to the legendary Mother Katharine Seals and traditional spirit churches that were once more common in New Orleans. Seals, who died in 1930, is seen in a historic photo or two loaned by Xavier University.
Large mud bricks, made by sculptor MaPo Kinnord seem to symbolize the spirit church’s anchor in both the ethereal and earthly worlds. The photos of the Black spirit churches, griffin explained, indicate how “traditional healing practices have been disregarded.”
Visitors mustn’t overlook the small round gallery on the CAC’s ground floor, devoted to photographer Polo Silk. Silk employed his trusty polaroid camera — which he dubbed Chelsea — to document the rise of hip-hop culture in the Crescent City in the 1980s and beyond.
The tiny, one-of-a-kind photos of young people swept up in new music and fashion are some of the most transporting images in the show. The gallery includes a wicker throne and airbrush-style backdrop for selfies.
As griffin explains, Polo Silk simply refused to allow that slice of Black culture to slip by without being captured — although the styles emerging from housing developments were generally swept away be what she called the “politics of disgust.”
New Orleans master photographer Polo Silk, who documented the early rap scene, is given his own gallery in the ‘Gestures of Refusal: Black Photography and Visual Culture’ exhibition at the Contemporary Arts Center captures the appearance of an old-fashioned darkroom.
And that’s not everything. “Gestures of Refusal” includes passages of nature photography, queer fashion shots, musicians, Black Masking Indians, vintage photos from both the 1960s civil rights struggle and the Black Lives Matter protests, and cemetery scenes — including a poignant image by the late Times-Picayune photographer Bryan S. Berteaux. Plus a suite of the cracked and splintery photos by Chandra McCormick and Keith Calhoun, made from negatives that were submerged in the 2005 flood and later rescued, bearing the scars of their ordeal.
The sweep of the show is astounding. Congratulations to feminist/activist/artist griffin, who is currently resident curator at the CAC, and all of her consultants, collaborators, and, of course the 105 photographers.
“Gestures of Refusal: Black Photography and Visual Culture” is part of the ongoing “Seeing Black” series of exhibitions at various institutions. The show continues through April 29.
The CAC is at 900 Camp St. Hours are 11 a.m. to 5 p.m. daily, except Tuesdays. Admission is $10 or $8 for seniors and students. For more information, visit the CAC website.
Visitors to the ‘Gestures of Refusal: Black Photography and Visual Culture’ exhibition at the Contemporary Arts Center enter the atmosphere of a Black neighborhood barroom.
Photographic Society of Chattanooga Unveils 2024 Youth Photography Showcase for High School Talents – Hits 96
Photo by Marco Xu on Unsplash
Let’s get “In The Know with Gino”…
The Photographic Society of Chattanooga is gearing up for its annual Youth Photography Showcase, a platform designed to engage young individuals aged 14 to 19 in the captivating world of photography. This showcase is specifically tailored for high school students or those attending an equivalent educational institution.
With the primary objective of highlighting exceptional photographic talent among high school-aged individuals, the competition welcomes submissions from students in public, private, and home schools, as well as youth groups. It provides a unique opportunity for budding photographers to transcend boundaries and gain recognition for their creative endeavors.
Now in its 18th year, the 2024 Youth Photography Showcase is set to kick off on January 14th and will continue accepting submissions until February 17, 2024. Importantly, there is no entry fee, making it accessible to all interested participants.
The competition features six distinct categories for submissions, allowing young photographers to explore their creativity across various themes:
- Architecture
- People/Animals
- Scapes
- Photojournalism
- Color Photographer’s Choice
- Monochrome Photographer’s Choice
Detailed information about the submission process, including required sizing information and the submission form, can be found on the Photographic Society of Chattanooga’s website at chattanoogaphoto.org/contests/youth-photography/.
In addition to the opportunity for recognition, the competition offers enticing incentives, including a cash prize for the Best of Show and ribbons for Honorable Mention, 3rd, 2nd, and 1st Places in each category. Certificates will also be awarded for images selected to be sent to the Photographic Society of America (PSA) for further competition.
For those seeking more information or clarification, interested parties are encouraged to reach out to the Youth Photography Showcase Chairperson, Gary Conner, at youthcontest@chattanoogaphoto.org.
This annual event serves as a celebration of youthful creativity in the world of photography, fostering a sense of community and recognition for the next generation of visual storytellers.
SOURCE: Chattanooga Pulse
“Probably two percent of all photographers in those days were black”, Normski recalls how he became the man with the golden shutter in the age of hip-hop
2023 marked the 50th anniversary of hip-hop, the music and social movement born in The Bronx district of New York and comprising the ‘Four Pillars’ of DJing (or turntabling), rapping (MCing), graffiti (writing) and breakdancing (B-boying). From its early days, hip-hop became a social movement for disaffected urban youth across the USA, before hitting the UK and Europe in the mid-1980s.
Man with the golden shutter
Normski’s Man With The Golden Shutter features 139 B&W and over 100 colour images, providing exclusive insight into the hip-hop movement in the 80s and 90s. Published by ACC Art Books, priced £45/$60.
Norman Anderson, aka Normski, was one of the pioneers of the UK hip-hop scene. As a youngster growing up in a Jamaican family in north-west London, he was fascinated by hip-hop. After trying breakdancing, he spent his time documenting the movement with a Kodak 126 Instamatic camera his mother had bought to cheer him up when he was ill.
From traveling around the US and the UK taking pictures of a genre on the brink of world domination, Normski then presented BBC ‘youth TV’ shows Dance Energy and Def2, and turned his hand to DJing, but it is his talent for interacting with people, his eye for detail and empathetic approach that make Normski’s photographs a unique record of the hip-hop genre. Now he has compiled a book, showcasing over 200 images from the scene, with artists such as Run DMC, Public Enemy, NWA and others.
Interview
Norman Anderson, otherwise known as Normski, is a British photographer, DJ and TV presenter. Growing up in London, he began documenting the early days of hip-hop culture in the UK and USA. His work has been exhibited in Tate Britain and is part of the permanent collections at the Victoria & Albert Museum and the Smithsonian National Museum of African-American History and Culture.
You have captured some of the most famous hip-hop artists with your lens. How did you first get into this genre?
Around the late 1970s, there was this new thing called hip-hop, a thing for young people that ultimately came from America to Britain. There were other movements, of course, but the hip-hop movement had all the cool clothes and the music was a combination of everything you thought you knew, but it was presented differently. So you stopped playing your parent’s records and you were able to get your own. Suddenly it wasn’t a record anymore, it was an object that was representative of our generation. That’s
when hip-hop caught me.
There was this mythical place called Covent Garden, where all the breakdancers were and lots of kids of all colors and cultures – you didn’t see that often at the time. For me, being a young black guy from London, I felt comfortable. I quickly realised that if I wanted to be part of the scene, I needed to do something to support it.
“Covent Garden in London was a mythical place for me, with so many breakdancers and kids of all colors and cultures” (Image credit: Normski)
So that was about the same time as your photographic journey started?
Yes, in a way. Even before that, I used a basic camera to take pictures at gigs. I realised that having a camera gave me a unique perspective, almost like a passport to be with real photographers – I found that very exciting. I was becoming a photographer by learning from watching all these pros. But I was never really comfortable with that kind of fighting to get good shots at a gig. I kind of got bullied out of it – you didn’t have lots of black photographers in the 80s. I had good shots and created a portfolio, so in the late 1980s, I got my first job at a magazine and focused on portraits instead of live shots. I always enjoyed taking portraits and, with this, I became a part of the hip-hop crew for a night.
What would you say has changed for black photographers starting out now, compared with your day?
Probably two percent of all photographers in those days were black, so not very much. But there were some photographers of African and Caribbean heritage who paved the way. These people had already established as black photographers doing work to represent the black community. That was fortunate for me. I got a lot of support and I was comfortable because I saw guys that looked like they could have been my big brother or uncle. Something happened. Nowadays, a lot of young black people are leaders in a range of creative fields.
“Here’s De La Soul in one of those five-minute sessions, outside Brixton Academy in London in 1989” (Image credit: Normski)
A contact strip of Ice Cube, taken outside his mother’s home in LA after he left N.W.A (Image credit: Normski)
In those past 40 years, photography has changed significantly. What are your thoughts on this technical revolution and do you still work with analogue?
Back in the 1980s, photography wasn’t something that was encouraged in a state school or normal comprehensive school. If you were going to a private school and your family had money, then you probably could have immediately gone into the arts.
In the beginning, I was never able to afford to go out and get films processed. I never had a dad’s camera to borrow. So, I went out and did some odd jobs to try and get a bit of extra money. Now, you can do photos a lot quicker with a lot less. You can buy a good camera for not much money, shoot non-stop for free, use a laptop instead of a darkroom and send pictures all over the world. Back in those days, you had to buy a camera, you had to buy film, and you had to ‘become’ a photographer. Now, you can even use your smartphone and act like a photographer…
DJ and music producer ‘Goldie’ said the difference between your photographs of him and anyone else’s was that it captures his soul… how did you gain this skill?
I take that as a really beautiful compliment but I’ve never thought of it as a skill. It’s quite rewarding because he works and has worked with the best. I’d think that is because, at that moment of photographing, I’m all in with the person, kind of on a soul level. I’m not just there to photograph because a magazine told me to. I don’t treat them like they’re big superstars. I am like a friend and I think that that might be the thing.
Some photographers are quite rough and direct people to create powerful images. I’m not good at being hard on people. If someone doesn’t seem comfortable, I want to know why. I often ask them ‘What would you like to do? Should we go outside? Where’s your favorite place to hang out?’. Then they’re leading the session and I can capture much more as they are offering much more about themselves.
Hip-hop legends Public Enemy playing at the Hammersmith Odeon in London as part of the 1987 Def Jam tour (Image credit: Normski)
This anti-apartheid event at Camden Town Hall in 1986 brought Normski back to his north-west London roots (Image credit: Normski)
What do you do if you can’t leave the building or are restricted in time?
That’s a big thing and that’s what I hate about press photography. Often the manager says something like, ‘You can’t go outside, we’re in a hotel, five floors up. You only have 20 minutes to photograph because we have another photographer lined up…’
That was the case when I was photographing Salt-N-Pepa. Instead of staying in the same room where every press photographer captured them, I wanted to do something different. I asked if I could take a photo of them doing their makeup in the mirror, as they just started getting ready. So, I squeezed into this tiny bathroom with the three rappers and to get the right angle to capture their reflection in the mirror, I had to squeeze right in a corner. It was kind of funny to get this shot and we had a great time. I took them out of being big superstars, I go and meet the people and that makes a big difference.
Born in the mid-70s, breakdancing is an expressive art form that is tied to the rhythms of rap music (Image credit: Normski)
So in situations like that, would you say ‘less is more’ when it comes to camera equipment?
When I arrived for this shoot, another photographer just left with a big bag, lighting stands and more equipment. The press manager was asking me where all my stuff was, but I only had an Olympus 35mm, a couple of lenses and a flash. I never worked with a lot of equipment. There were times when I saw photographers with two camera bodies… two! I had my camera and lens, two or three films, that was it. And that’s enough, as long as you know how to deal with it.
And also the fewer people on set, the better. I don’t like having too many people behind or around me because then everyone tries to direct and half the people in front of the camera are looking at them instead of me. It’s essential to connect with the subject’s eyes and have their full attention.
The British rapper from the East End of London exudes a powerful energy as he interacts with Normski’s lens (Image credit: Normski)
You said you take them out of being superstars and that comes across when flipping through your new book, especially those images of sleeping rap stars. Can you tell us the story behind those frames?
It all started when I was noticed by a manager at one of their gigs. He was like, ‘What are you doing? Are you taking photographs?’. They came from America and didn’t have a photographer, so he asked if I would like to do that. I said ‘yes’ straight away. I ended up with a tour jacket on their tour bus. The rappers were all tired and jet-lagged. Then there was the moment when everyone was asleep. I sat there with some of the biggest rappers of the day and realised how weird and cool this was – Big Daddy Kane and others, all fast asleep. So after I photographed them at their gig, I took the chance to capture them asleep. The first lady and biggest mouth in hip-hop, Roxanne Shanté, was still in her outfit, wearing her jewellery. She sucked her thumb like a lot of humans do when they sleep – no matter what age, it’s a comfort thing. She still looks like a hip-hop queen, just showing her human side.
Normski captured the American rapper and actress Queen Latifah at the Empire State Building in New York (Image credit: Normski)
Talking about your new book, Man With The Golden Shutter, what does this publication mean to you?
As a photographer, the idea of creating something that will outlive us still makes me pinch myself. I had my work exhibited in established houses and museums to celebrate black British and hip-hop culture, but this book is probably better than anything. I’ve had my work featured in a few books before, but they were other people’s books, not mine.
I wanted to represent all of my work in a classy way, showcasing both the hip-hop culture and the crazy street stars. To be honest, some of my best pictures don’t even feature famous people. I wanted the book to treat each contact like a print so it’s visually clear for the viewer. I did this all before the era of Photoshop, creating photograms, multi-printing and montages, all in the darkroom by hand. These images deserve quality – and the publisher, ACC Art Books, has smashed it out of the ballpark. The entire team was amazing and supported me throughout the process, otherwise, I would have missed out on quite a bit by trying to do it all myself.
“Taken in 1989, these guys were the epitome of raggamuffin style” (Image credit: Normski)
2 new exhibitions of Florida photographers at Appleton Museum
This piece by Karen Glaser is titled “Within the Swamp, Robert’s Lake Strand” (circa 2009). It is a pigment print on Hahnemuhle photo rag and is 37×25 inches.
The Appleton Museum of Art, College of Central Florida, presents new exhibitions that showcase the diverse talents of two acclaimed Florida photographers. On view from Feb. 10-July 7 will be “Karen Glaser: Swamps and Springs,” and “Across the Threshold of India: Photographs by Martha Strawn.” This is part of Appleton’s season-long celebration of Florida’s beautiful natural springs.
“Karen Glaser: Swamps and Springs” highlights the wonders discovered through the artist’s lens. From the magnificent Everglades to the pristine rivers and springs of north central Florida, Glaser’s series focuses on what lies above and below the glassy surfaces.
{p class=”xmsonormal”}{span}Martha Strawn’s “Mickey Mouse” is a representational diagram made for the Pongal festival in a village near Madurai, Tamil Nadu (circa 1998). It measures 38×28 inches.{/p}{/span}
Photographer fined after drone “narrowly missed” Fatboy Slim at show
A photographer was ordered to pay over $1,100 (£860) in fines after losing control of a drone at a Fatboy Slim show, narrowly missing the DJ.
The incident took place back in 2022 during Fatboy Slim’s – real name Norman Cook – Big Beach Boutique 20th anniversary show on Brighton Beach, which saw over 8,500 fans in attendance.
About 15 minutes prior to the end of Slim’s performance, Giles Dalby, the amateur photographer and owner of the drone reportedly flew his DJI Mavic Mini onto the stage and narrowly missed both the DJ and members of the crowd. The aerial device was switched on to sport mode which increased the risk of danger to Slim and the audience.
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Speaking to Brighton Magistrates Court on January 4, Dalby claimed that there was no malicious intent, and that he only wanted to capture some cinematic shots of the set.
“I crashed trying to leave the area, looking to back out for an overview of the scene and finish with a wide view. It was an honest mistake that I will ensure will never repeat itself,” he said (per Music Tech).
He continued: “There was no malicious intent. I switched it into sport mode which deactivates the downward sensor so I could come quickly up and out, but I accidentally went forward and down.”
Prosecutor Megan Attree said, “At quarter to ten, the security were alerted that a drone had crashed into the stage, narrowly missing the crowd and the headline act.”
Attree also revealed revealed flight recording data, which showed Dalby ignoring “multiple warnings” as the drone flew out of control — concluding that, “despite the lack of damage or injury the risk posed was very real.”
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Dalby was found to be in breach of the Air Navigation Order 2016 and was subsequently charged with “recklessly or negligently allowing an aircraft to put a person or property at risk”.
In other Fatboy Slim news, the DJ is set to headline this year’s edition of Victorious Festival.
He and Snow Patrol will be co-headlining the Friday night of the festival, with Jamie T and Biffy Clyro topping the bill on the Saturday and Sunday, respectively.
The festival will return to the Southsea seafront in Portsmouth on the August Bank Holiday weekend (August 23-25).
Slim has also donated auction items to raise money for multiple sclerosis sufferer Vikki Drama.
Heartland Community College featuring interactive sculpture exhibit
Heartland Community College is featuring an interactive sculptures exhibit by local artist David Dow at the Joe McCauley Gallery.
Top 25 male poses (and how to pose them)
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Remembering Klee Benally, a Navajo activist and artist who championed Indigenous causes
On Saturday, January 6, around 1,000 people crowded into the Orpheum Theater in Flagstaff, Arizona, to remember Indigenous activist Klee Benally.
Leona Morgan is a Navajo activist and longtime friend of Benally. She spoke at the celebration of his life.
“I worked with Klee very closely on fighting the Grand Canyon uranium mine. I have so many banners that Klee painted that I take around the world fighting nuclear colonialism. His last request to everyone was to put their bodies on the line in front of the trucks in front of the machinery,” said Morgan.
In his 48 years, Benally channeled his creative energy into films, music, and writing. When Benally died on December 30, 2023, he was still working on many creative projects. He posted videos on social media, engaged in civil disobedience, and appeared at public demonstrations.
Morning Star Gali
He often expressed his beliefs with a guitar in his hand.
In a video for Song of the Sun from 2013, Benally stomped in the dirt and played his guitar in front of Red Butte, Arizona, the site of a proposed uranium mine.
Song of the Sun
Our mother aches
Iron claws dig until she breaks
And she bleeds for this
How much is enough?
I remember listening to songs of the sun
For all those, whose breath was stolen
Whose future was taken away
Who learned too late
And so we sing again
To the house of dawn
There are no words,
No words that can right these wrongs.
Benally was “doing the work of four to five people at once”
Klee Benally grew up in the Navajo Nation on Black Mesa. He championed many causes in the Flagstaff area. He fought against a ski resort’s use of wastewater to make snow on the San Fransisco Peaks near Flagstaff. The peaks have religious significance to thirteen tribes, including the Navajo, Hopi, Havasupai, and Zuni.
Benally also organized efforts to help unhoused people in the city. He wrote songs and books on the importance of tribal sovereignty and the value of Indigenous culture.
Morningstar Gali is an activist in Flagstaff who helped organize the celebration of life in Flagstaff.
“Within his 48 years, he was able to live many lifetimes,” said Gali. “He was doing the work of four to five people at once. He was doing performance art, and making jewelry, and making music, and writing his book, and working on his video projects—countless projects that he was so dedicated to.”
Morning Star Gali
Benally dealt with health issues in recent years. Even though he was in and out of the hospital towards the end of 2023, he released a new book titled No Spiritual Surrender: Indigenous Anarchy in Defense of the Sacred, and he designed and produced a board game called Burn the Fort.
In the game, white colonial settlers are the villains. Players assume the role of historic Indigenous warriors battling to stop the invaders.
“Colonizers have built a military fortress and are waging a brutal invasion of your lands,” Benally says in the trailer for the video game. “Can you prevent their wagons from bringing supplies to the fort and burn it to the ground before the train reaches the golden spike?”
Benally released the first edition of the game just a few weeks before he died.
Morning Star Gali
Leona Morgan says Benally used every minute of the time he had in this life.
“In his health condition, Klee was working pretty much around the clock. When we would have meetings, he just had this urgency. I think he was aware of his own time because the amount of work that he put out this year is just incredible,” said Morgan.
The celebration of life in Flagstaff was a chance for family and friends to honor Benally. Actor and filmmaker Norman Patrick Brown highlighted the importance of the grassroots causes to which Benally had devoted his life.
“We lose a warrior; what do we do? We take his place. Stand, and rise, and fight. We lose a warrior; what do we do? We pick up his spear. Stand and fight. Someone had told me, ‘There’s never gonna be another Klee Benally.’ I said, ‘No. There’s going to be hundreds of Klee Benallys,’” Brown said.
Morning Star Gali
Benally’s work lives on through hundreds of videos and songs. In 2019, Benally recorded a series of videos showcasing his songwriting.
One of those songs was She Was a Mountain, which honors Navajo matriarchs who resisted relocation from Black Mesa in the 1970s.
The song is an excellent example of the life that Klee Benally lived and what he stood for.
She Was a Mountain
It was the words she didn’t say
She sang the sun down every day
Into the silence, shouting
And when they came to move her,
She was a mountain
It was compromise she wouldn’t make
Sowing resistance, every day
With every seed planted,
They couldn’t move her
Because she was a mountain
Oh, Katherine get your gun
Oh, Roberta sing your song
Oh, Pauline cut the wire
Oh, Mae start the fire
This story is part of Voices From the Edge of the Colorado Plateau. Voices is a reporting collaboration between KSUT Public Radio and KSJD Community Radio. It seeks to cover underrepresented communities in the Four Corners. The multi-year project will cover Native, Indigenous, Latino/Latina, and other communities across southwest Colorado.
Explore more Voices stories on the KSUT website.
