1 00:00:00,400 --> 00:00:02,700 Clown class matters. Don't let anybody tell you 2 00:00:02,708 --> 00:00:11,800 different, hello, and welcome to design, adjacent the podcast 3 00:00:11,800 --> 00:00:14,600 that talks about the next step design, both today. 4 00:00:14,800 --> 00:00:18,600 And tomorrow. I'm your host, Ben EF Johnson. 5 00:00:19,100 --> 00:00:25,000 And today, our guest is an artist, a leader, facilitator, 6 00:00:25,500 --> 00:00:28,600 and program designer. Our Guest is none other than 7 00:00:28,600 --> 00:00:32,700 Regina Bane Who currently serves as the executive director of the 8 00:00:32,700 --> 00:00:36,800 Louis Armstrong House Museum in New York, she's worked for the 9 00:00:36,800 --> 00:00:41,200 last two decades, experience in building, nonprofits capacity, 10 00:00:41,400 --> 00:00:45,200 arts and growth organizations prior to coming to the Louis 11 00:00:45,200 --> 00:00:49,000 Armstrong House Museum. She served as the vice president 12 00:00:49,400 --> 00:00:53,100 of the Posse Foundation. A national leadership and 13 00:00:53,100 --> 00:00:56,800 college access program, which helps since teams of students. 14 00:00:57,300 --> 00:01:00,700 The top colleges and universities is through her work 15 00:01:00,700 --> 00:01:05,099 there as the deputy and to the co o that she was able to 16 00:01:05,099 --> 00:01:08,700 provide inside and executive directors for their tin site 17 00:01:08,700 --> 00:01:10,900 offices throughout the United States. 18 00:01:11,800 --> 00:01:15,500 She's worked to help drive and develop organizations, but it 19 00:01:15,500 --> 00:01:19,900 helped change the future for students and young leaders. 20 00:01:20,500 --> 00:01:23,300 Regina's deeply committed to social justice. 21 00:01:23,700 --> 00:01:27,000 And his use her background to facilitate and train others. 22 00:01:27,300 --> 00:01:30,700 In having conversations about social identity leadership and 23 00:01:30,700 --> 00:01:34,700 group dynamics. It's through her work as both a 24 00:01:34,800 --> 00:01:38,400 supporter of the Arts nonprofit leader and an artist herself 25 00:01:38,700 --> 00:01:41,500 that we love to bring her today to our podcast. 26 00:01:42,200 --> 00:01:45,100 So, without further Ado, I welcome Regina to our design 27 00:01:45,100 --> 00:01:48,500 adjacent podcast today. It is wonderful to be here. 28 00:01:48,500 --> 00:01:50,700 Hello. It's so great to have you here 29 00:01:50,700 --> 00:01:53,000 in this Moment. Full disclosure for everybody 30 00:01:53,200 --> 00:01:56,200 Regina and I have known each other since our days at college. 31 00:01:56,200 --> 00:02:00,200 So yeah. Wonderful to watch how your 32 00:02:00,200 --> 00:02:03,700 impact in the world, and career has evolved over time, and you 33 00:02:03,700 --> 00:02:06,800 started in your role, as executive director of the Louis 34 00:02:06,800 --> 00:02:10,400 Armstrong House Museum shortly. After I took over at aiga as to 35 00:02:10,400 --> 00:02:13,200 remember reaching out to congratulate you on that role. 36 00:02:13,600 --> 00:02:18,100 Hmm, talk a bit about this transformation and kind of 37 00:02:18,100 --> 00:02:22,500 Journey, you spent about 15 or so years with the Posse 38 00:02:22,500 --> 00:02:26,600 Foundation doing work with students and providing access to 39 00:02:26,600 --> 00:02:28,500 college. Age and life beyond, and then 40 00:02:28,500 --> 00:02:32,300 but always having art and culture is a part of your world 41 00:02:32,300 --> 00:02:34,600 and then you take this pivot to take on this executive 42 00:02:34,600 --> 00:02:38,300 leadership for all, give us a little bit about that transition 43 00:02:38,300 --> 00:02:41,900 for you. So I'll start all the way back 44 00:02:41,900 --> 00:02:44,600 at to college. I majored in theater and 45 00:02:44,600 --> 00:02:49,200 African-American studies and then went on to get my MFA from 46 00:02:49,200 --> 00:02:52,200 the Yale School of drama. And so, I was an actress, I was 47 00:02:52,200 --> 00:02:55,100 performing out in the world, but at the same time I was always 48 00:02:55,100 --> 00:02:58,800 volunteering to help. It's to do playwriting workshops 49 00:02:58,800 --> 00:03:01,300 for kids who would do to do different things and I 50 00:03:01,308 --> 00:03:07,100 volunteered to lead staff training exercise, for the Posse 51 00:03:07,100 --> 00:03:09,600 foundation. And that's when the opportunity 52 00:03:09,600 --> 00:03:13,400 came to be full-time at the Posse Foundation at the time. 53 00:03:13,400 --> 00:03:16,200 I said, but wait, I'm an actress, should I be doing this? 54 00:03:16,200 --> 00:03:19,800 And so, it was that mix of figuring out my place as an 55 00:03:19,800 --> 00:03:22,800 artist and my place as a leader in an educator. 56 00:03:23,200 --> 00:03:27,000 And so that involved into 17 years with Posse and death, 57 00:03:27,100 --> 00:03:29,900 Lately, the things that I learned as an artist are 58 00:03:29,900 --> 00:03:33,600 directly applicable to what it means to cultivate, young 59 00:03:33,600 --> 00:03:36,300 leaders to cultivate thoughtful dialogue. 60 00:03:36,500 --> 00:03:40,500 And then I looked around, I said, it's time for me to put 61 00:03:40,600 --> 00:03:44,000 art and education together in an even more deliberate way. 62 00:03:44,100 --> 00:03:46,000 Right? And that led me to the Louis 63 00:03:46,000 --> 00:03:49,500 Armstrong House Museum institution, that is dedicated 64 00:03:49,500 --> 00:03:53,900 to a musician, who's also a performer, broadly and a collage 65 00:03:53,900 --> 00:03:58,100 artist, which many people don't know about and to Think about 66 00:03:58,100 --> 00:04:01,900 Arts education music, education, and how it affects well-being, 67 00:04:02,200 --> 00:04:04,400 so that put it all together for me. 68 00:04:04,600 --> 00:04:08,800 And so, I took the leap in the midst of the pandemic, and it's 69 00:04:08,800 --> 00:04:12,500 been a good leap, and we're so grateful and glad that you did, 70 00:04:12,600 --> 00:04:15,400 when I look at the program. It's we were talking hand. 71 00:04:15,400 --> 00:04:18,700 Some of the work that we're doing your name and the museum 72 00:04:18,899 --> 00:04:21,800 come up all the time in ways. I haven't even shared. 73 00:04:21,800 --> 00:04:24,700 I've had meetings and someone said working for free Gino for 74 00:04:24,700 --> 00:04:27,000 the museum and these surprising ways recently. 75 00:04:27,100 --> 00:04:30,300 We had a conversation with our all staff of my leadership team. 76 00:04:30,300 --> 00:04:31,500 As we mentioned. We're going to have this 77 00:04:31,500 --> 00:04:34,000 conversation. And several members of my team 78 00:04:34,000 --> 00:04:37,300 talked about their experience recently, engaging with the 79 00:04:37,308 --> 00:04:41,000 museum and talk about what the museum and the work has meant to 80 00:04:41,000 --> 00:04:43,000 them. And I think it's really powerful 81 00:04:43,000 --> 00:04:45,800 if you're able to kind of combine this together, you're 82 00:04:45,800 --> 00:04:47,600 loved for the year. Yeah. 83 00:04:47,600 --> 00:04:49,800 It's been that kind of refreshing surprising moment as 84 00:04:49,800 --> 00:04:51,900 like, we definitely have to have this conversation. 85 00:04:52,200 --> 00:04:54,500 Hmm. When I think about your role, 86 00:04:54,500 --> 00:04:56,600 it's interesting. I think I first met you through 87 00:04:56,600 --> 00:04:59,400 your voice. Enter music before we met. 88 00:04:59,400 --> 00:05:02,300 I think I met hearing you, you seeing and hearing your 89 00:05:02,300 --> 00:05:03,700 interaction. So, when I heard that you were 90 00:05:03,700 --> 00:05:06,000 going to take on this leadership role and know that that's kind 91 00:05:06,000 --> 00:05:09,700 of a poor part of you. So, how is that been leading 92 00:05:09,700 --> 00:05:13,600 this organization that has music in darkness culture as an active 93 00:05:13,600 --> 00:05:16,400 artist yourself. Mmm-hmm. 94 00:05:16,400 --> 00:05:18,400 How is that inspire you are? Or Challenger? 95 00:05:18,400 --> 00:05:21,400 If anything it as you kind of serve this different capacity. 96 00:05:21,800 --> 00:05:25,100 Yes. Well, I think about what it 97 00:05:25,100 --> 00:05:29,100 means to serve artists. It's and also what it means to 98 00:05:29,100 --> 00:05:34,900 preserve and institution, right? And to preserve a legacy and the 99 00:05:34,900 --> 00:05:38,400 Louis Armstrong House museum is very much about preserving a 100 00:05:38,408 --> 00:05:40,000 legacy. We are a museum, we are 101 00:05:40,000 --> 00:05:45,000 historical sites and there is a great deal of research and 102 00:05:45,000 --> 00:05:46,500 scholarly work. That's done. 103 00:05:46,700 --> 00:05:50,200 But at the same time the museum has always been dedicated to 104 00:05:50,400 --> 00:05:54,100 contemporary music and present-day music, but it was 105 00:05:54,100 --> 00:05:57,000 just a little bit buried underneath. 106 00:05:57,200 --> 00:06:00,200 This the historical mission of preserving and sharing the 107 00:06:00,200 --> 00:06:03,400 legacy of Louis Armstrong. And so what I've gotten to do in 108 00:06:03,400 --> 00:06:07,300 the past year and a half is bring what was always happening 109 00:06:07,300 --> 00:06:10,800 to the Forefront? And say we are not only about 110 00:06:10,800 --> 00:06:14,900 preserving the Legacy but we are about engaging contemporary 111 00:06:14,900 --> 00:06:18,800 artists to create new work and that's what we've done. 112 00:06:19,100 --> 00:06:23,100 And we've been able to get commissions out into artists 113 00:06:23,100 --> 00:06:25,300 working right now. In fact right now. 114 00:06:25,500 --> 00:06:28,800 We are looking forward to Two groups of artists for ten 115 00:06:28,800 --> 00:06:31,900 thousand dollar commissions for program, requiring Armstrong. 116 00:06:31,900 --> 00:06:35,700 Now that would have them research in our archives and in 117 00:06:35,700 --> 00:06:37,600 the stork home and create new works. 118 00:06:37,900 --> 00:06:42,400 So, I want contemporary artists to be a part of this Legacy that 119 00:06:42,400 --> 00:06:45,700 to know, they're part of it and to give them space to shine. 120 00:06:46,100 --> 00:06:49,900 It's really great to hear how you're digging into the work in 121 00:06:49,900 --> 00:06:53,700 the Legacy and using that as the material going forward. 122 00:06:53,700 --> 00:06:56,400 So if you think of of Armstrong, is a collage is your often 123 00:06:56,400 --> 00:07:00,200 taking It's pre printed and then reinterpreting and presenting it 124 00:07:00,200 --> 00:07:02,600 for it. One of the other spaces in which 125 00:07:02,600 --> 00:07:05,600 you recently showed up in kind of our world and exploration. 126 00:07:06,100 --> 00:07:11,000 We were working with the Nea and I saw recently that you and the 127 00:07:11,008 --> 00:07:14,100 museum and a project that you're working on was just recently 128 00:07:14,100 --> 00:07:16,300 awarded one of the Nea grants for this year. 129 00:07:16,600 --> 00:07:18,300 Hmm. Tell a bit about this kind of 130 00:07:18,300 --> 00:07:21,300 unique project that really fits in our design space and one 131 00:07:21,300 --> 00:07:22,800 reasons. We wanted to talk today. 132 00:07:23,300 --> 00:07:25,500 Yeah. The work about jazz and Hip-Hop 133 00:07:25,500 --> 00:07:27,000 Heritage sites. Talk a bit. 134 00:07:27,100 --> 00:07:30,200 About you. So the Jazz and Hip-Hop map of 135 00:07:30,200 --> 00:07:34,900 Queens is what neither creating and the National Endowment for 136 00:07:34,900 --> 00:07:38,100 the humanities has awarded us a discovery Grant. 137 00:07:38,200 --> 00:07:41,700 So we're in the beginning exploratory phase and hopefully 138 00:07:41,700 --> 00:07:44,100 we'll move on to prototyping to production. 139 00:07:44,600 --> 00:07:48,800 It was inspired by flushing Town Halls, Queens Jazz Trail. 140 00:07:48,900 --> 00:07:50,400 It was that was produced in the 90s. 141 00:07:50,400 --> 00:07:53,600 So it was a map that you put on the wall with this gorgeous 142 00:07:53,600 --> 00:07:56,900 Artistry related to it. And I saw that on the wall. 143 00:07:57,300 --> 00:08:00,100 Of the museum and I said, what is that? 144 00:08:00,200 --> 00:08:03,000 That's excellent. We need to do more with that. 145 00:08:03,200 --> 00:08:06,600 And so that started a conversation about how to 146 00:08:06,600 --> 00:08:11,500 digitize write that while a map and how to have it connected to 147 00:08:11,600 --> 00:08:16,400 stories and to have a not just be about jazz, but about hip-hop 148 00:08:17,000 --> 00:08:21,100 and there are so many connections familial connections 149 00:08:21,200 --> 00:08:25,100 between current day, hip hop artists who had jazz artists as 150 00:08:25,100 --> 00:08:29,500 their uncle's as a dad's as Their mothers and who gave them 151 00:08:29,700 --> 00:08:34,100 the equipment to gave them the musical ear to create the music 152 00:08:34,100 --> 00:08:36,799 that they do now. And so, we want to tell that 153 00:08:36,799 --> 00:08:40,299 story until it about Queens because often the story of jazz 154 00:08:40,299 --> 00:08:43,000 is told through Carlo and the story of hip-hop is told through 155 00:08:43,000 --> 00:08:47,400 the Bronx or Brooklyn, but queens has a unique story to 156 00:08:47,400 --> 00:08:50,800 tell because of his geography, because of the way things work. 157 00:08:51,000 --> 00:08:54,900 I was talking to someone an artist and he said, yep, quiz is 158 00:08:54,900 --> 00:08:56,900 different because there are home. 159 00:08:57,100 --> 00:09:02,000 Once with garages and basements. And so literally, they would 160 00:09:02,100 --> 00:09:07,100 roll down the street and their car or walking and listen to who 161 00:09:07,100 --> 00:09:10,500 was practicing and then they would hang out and sometimes be 162 00:09:10,500 --> 00:09:15,000 invited in and there's something about the geography of queens 163 00:09:15,000 --> 00:09:18,500 that allowed for that. And so we want to pop that on a 164 00:09:18,508 --> 00:09:21,000 map and then connect that to stories. 165 00:09:21,400 --> 00:09:25,200 I love the premise of the project and in our world with 166 00:09:25,200 --> 00:09:26,900 the designers of reframe way, fine. 167 00:09:27,000 --> 00:09:29,300 Adding story making and tracking. 168 00:09:29,300 --> 00:09:33,000 Those are all things that that our community really spent a lot 169 00:09:33,000 --> 00:09:35,300 of time taking any thinking about it and seeing this 170 00:09:35,300 --> 00:09:40,100 connection that you're able to take these Heritage sites, in 171 00:09:40,100 --> 00:09:42,500 spin it on its Edge a bit. And I think about in my own 172 00:09:42,500 --> 00:09:45,500 family, my son's interaction with music. 173 00:09:45,500 --> 00:09:48,300 Not only comes from me, but it comes from spending time in the 174 00:09:48,300 --> 00:09:50,500 basement with his grandfather. Yep. 175 00:09:50,600 --> 00:09:55,700 Who has access to all of the music published and unpublished 176 00:09:55,900 --> 00:09:57,600 and it's connection point. Comes in. 177 00:09:57,600 --> 00:10:01,100 And while I'm often surprised where their lyrics are were 178 00:10:01,100 --> 00:10:05,200 frames, that he knows has a 13 year old that are completely 179 00:10:05,200 --> 00:10:08,500 outside of two to three generations of his experience. 180 00:10:08,900 --> 00:10:12,200 Hmm, and I wonder if you said that kind of that those magical, 181 00:10:12,200 --> 00:10:16,000 but important moments, you know, you see that in Silicon Valley, 182 00:10:16,000 --> 00:10:19,200 if you look at the widest technology grow because the 183 00:10:19,200 --> 00:10:21,600 engineers and the connection, then the houses in the 184 00:10:21,600 --> 00:10:24,900 community, the same thing happens for for culture. 185 00:10:24,900 --> 00:10:28,100 Yes, so as you think about, About these projects. 186 00:10:28,400 --> 00:10:30,200 What have been some of the challenges you've had to 187 00:10:30,200 --> 00:10:33,600 overcome and your this is kind of expanded thinking for the 188 00:10:33,600 --> 00:10:35,900 space. Typically, Heritage museums. 189 00:10:36,100 --> 00:10:37,900 Stay in one lane. Yeah. 190 00:10:37,900 --> 00:10:40,500 I'm not afraid to say that typically what has happened. 191 00:10:40,500 --> 00:10:43,800 So talk a bit about how you've brought this refreshing 192 00:10:43,800 --> 00:10:45,700 Innovation and disruption to the space. 193 00:10:46,000 --> 00:10:49,600 Well, definitely a challenge just just capacity of right 194 00:10:49,600 --> 00:10:51,100 people. We're a small team. 195 00:10:51,100 --> 00:10:56,000 We are small, but feisty nice. And there's a lot of work to be 196 00:10:56,000 --> 00:10:59,200 done. In, in caring for a historic 197 00:10:59,200 --> 00:11:02,500 home and in doing that in the midst of a pandemic, when we're 198 00:11:02,500 --> 00:11:06,200 all had to switch to online programming. 199 00:11:06,500 --> 00:11:11,700 New ways of working for us, new skills, to learn a lot for a 200 00:11:11,708 --> 00:11:16,700 small, But Mighty team at the same time, in the tradition of 201 00:11:16,700 --> 00:11:19,200 Louis Armstrong. The museum has always cared 202 00:11:19,200 --> 00:11:20,900 about Community. Right? 203 00:11:21,200 --> 00:11:24,300 So Lewis was a Megastar. He was a multi-millionaire. 204 00:11:24,300 --> 00:11:29,200 He lived in Corona Queens a A modest community. 205 00:11:29,400 --> 00:11:34,600 And with a modest home and he loved it and he stayed for 30 206 00:11:34,600 --> 00:11:35,600 years. Hmm. 207 00:11:35,600 --> 00:11:39,500 And so, part of our responsibility to continue that 208 00:11:39,500 --> 00:11:43,100 Legacy is to continue to love and care for and tell the 209 00:11:43,100 --> 00:11:47,200 stories of our community. And we have the resources and 210 00:11:47,200 --> 00:11:52,900 expertise around archiving around history. 211 00:11:53,300 --> 00:11:57,400 Recording that could do that. So, when you think, About the 212 00:11:57,400 --> 00:12:02,100 values of Louis Armstrong. It makes complete sense that we 213 00:12:02,100 --> 00:12:05,400 are doing this Jazz, and Hip-Hop map of Queens, because Louis 214 00:12:05,400 --> 00:12:07,100 Armstrong would have cared about that. 215 00:12:07,300 --> 00:12:09,900 Ryan would have wanted to tell that story and put his resources 216 00:12:09,900 --> 00:12:12,800 to that. So it's in complete alignment 217 00:12:12,800 --> 00:12:16,400 once you think about values. And so now how to get the work 218 00:12:16,400 --> 00:12:19,500 done that can only be done in Partnership. 219 00:12:19,700 --> 00:12:23,600 And so that's why we need to work with flushing Town Hall. 220 00:12:23,600 --> 00:12:26,600 The kupferberg Center for the Arts Queens Library. 221 00:12:27,100 --> 00:12:31,200 As a host of advisers who all have expertise and experience 222 00:12:31,600 --> 00:12:32,900 because this can't just be hours. 223 00:12:32,900 --> 00:12:36,600 It has to belong to the people's whose story is it is. 224 00:12:37,000 --> 00:12:40,800 And so that's how we're going to get it done to not do it alone. 225 00:12:40,800 --> 00:12:45,900 Put to do it in community and Armstrong was a true kind of 226 00:12:45,900 --> 00:12:48,100 magnet in this space and being there for 30 years. 227 00:12:48,100 --> 00:12:50,600 Think of all the people he brought through to come through 228 00:12:50,600 --> 00:12:53,200 to see him. They would come into the come by 229 00:12:53,200 --> 00:12:56,900 the den to sit down and visit with Louis. 230 00:12:57,100 --> 00:12:59,900 Pops. And that includes all the other 231 00:12:59,900 --> 00:13:02,100 Jazz luminaries who lived in Queens. 232 00:13:02,100 --> 00:13:04,200 That includes Dizzy. Gillespie, right? 233 00:13:04,200 --> 00:13:08,100 Jimmy Heath, they were all there and they would come and come by 234 00:13:08,100 --> 00:13:11,800 and say hello and hangouts and Lewis would record them. 235 00:13:11,900 --> 00:13:14,500 Sometimes, secretly hasn't it stopped exactly. 236 00:13:14,500 --> 00:13:19,400 It's up together different times, but we have all those 237 00:13:19,400 --> 00:13:23,500 recordings in our house. And so that is what when 238 00:13:23,500 --> 00:13:26,100 contemporary artists come and do research in our archives at some 239 00:13:26,100 --> 00:13:29,700 of the things that they're listening to the sound Ambience 240 00:13:29,700 --> 00:13:33,100 of a party, which was launched on recorded in this home. 241 00:13:33,600 --> 00:13:35,500 What's been the most surprising thing for you? 242 00:13:35,500 --> 00:13:40,900 As you've kind of transitioned as an artist principally, then 243 00:13:40,900 --> 00:13:44,700 as a trainer and facilitator, to now, as a leader at a non-profit 244 00:13:44,700 --> 00:13:48,400 space, what has surprised you along the way that there are 245 00:13:48,700 --> 00:13:53,600 some skills that are completely differentiated? 246 00:13:54,000 --> 00:13:58,100 And then there's some skills that are that And surprising 247 00:13:58,100 --> 00:14:00,400 ways. So the differentiated skill as 248 00:14:00,400 --> 00:14:04,400 an executive director. I have to raise our budget and 249 00:14:04,600 --> 00:14:07,500 that is a responsibility that stays with me. 250 00:14:07,900 --> 00:14:11,800 I have to make sure all of our folks are paid and we have the 251 00:14:11,800 --> 00:14:14,800 money to do our programming and that's a differentiated skill is 252 00:14:14,800 --> 00:14:18,900 different than what I do as an artist as a facilitator, but 253 00:14:18,900 --> 00:14:24,000 then there is the Baseline skill that I learned as an actress, 254 00:14:24,300 --> 00:14:26,000 which is what it means to listen. 255 00:14:26,900 --> 00:14:32,600 And respond nice and actually, some people who know me, know, I 256 00:14:32,600 --> 00:14:35,900 probably heard this story what I learned through clown class. 257 00:14:36,200 --> 00:14:38,900 Okay, so in drama school do tell. 258 00:14:39,100 --> 00:14:43,600 I took a class called clown and there are lots of different 259 00:14:43,600 --> 00:14:46,400 types of clowning, but this particular type of clown. 260 00:14:46,400 --> 00:14:50,600 Workshop was about what it means to enter a room to allow people 261 00:14:50,600 --> 00:14:55,000 to laugh at you and to leave. And to do that repeatedly, and 262 00:14:55,000 --> 00:14:58,600 what it taught me was What it means to be absolutely 263 00:14:58,600 --> 00:15:02,300 vulnerable, right? And open to the people in front 264 00:15:02,300 --> 00:15:06,900 of me and yet secure enough in my own well-being with a cord 265 00:15:06,900 --> 00:15:11,200 that is rooted that I can allow people to laugh at my foibles 266 00:15:11,200 --> 00:15:15,500 and my faults, okay, and we can be together in that moment and 267 00:15:15,500 --> 00:15:18,300 then I can leave. And so where I've used those 268 00:15:18,300 --> 00:15:22,900 skills as a leader is to be able to enter into rooms of 269 00:15:22,900 --> 00:15:26,900 uncertainty, to listen closely to allow people to see See my 270 00:15:26,900 --> 00:15:28,400 fault. Some of the things that I do not 271 00:15:28,400 --> 00:15:31,700 know. And yet to assert myself in the 272 00:15:31,700 --> 00:15:34,700 knowledge and truth that I have to make the statements. 273 00:15:34,700 --> 00:15:37,300 I need to make and to move things forward and then to leave 274 00:15:37,300 --> 00:15:40,100 and move on. And I've done that in rooms with 275 00:15:40,100 --> 00:15:42,000 people who have much more power than I. 276 00:15:42,400 --> 00:15:45,800 I've done that in rooms with people who I don't know, who are 277 00:15:45,800 --> 00:15:49,500 maybe not as powerful as I in different ways, and I need to 278 00:15:49,500 --> 00:15:53,900 make space for. It's been an incredible skill to 279 00:15:53,900 --> 00:15:56,500 have in to apply. So that's the translation. 280 00:15:56,600 --> 00:15:58,600 Bosco, okay, and then that's just the straight-up. 281 00:15:58,600 --> 00:16:00,200 I need to make some money for my folks. 282 00:16:00,200 --> 00:16:02,600 So that's so that we can keep moving things forward. 283 00:16:02,900 --> 00:16:06,400 So all those have been surprises for me as I move it to the 284 00:16:06,400 --> 00:16:08,900 wrong. So we mentioned a bit about 285 00:16:08,900 --> 00:16:13,000 space and making space. So I'd love to explore that both 286 00:16:13,000 --> 00:16:16,700 is a metaphor but also talking about space. 287 00:16:16,900 --> 00:16:20,600 You're on the verge of opening up an additional space for the 288 00:16:20,600 --> 00:16:23,100 work that you get. So you have the principal house 289 00:16:23,100 --> 00:16:25,600 but talk a bit about what's next on the horizon. 290 00:16:25,700 --> 00:16:26,900 Yes. Equal. 291 00:16:26,900 --> 00:16:30,000 And then let's talk about what space we're trying to create 292 00:16:30,000 --> 00:16:31,800 going forward. Yes. 293 00:16:32,100 --> 00:16:36,400 So physically the historic home of Lewis and Lucille Armstrong 294 00:16:36,400 --> 00:16:40,600 exists on 107th Street in Corona Queens. 295 00:16:40,700 --> 00:16:43,900 Nice. It is there for everyone to come 296 00:16:43,900 --> 00:16:47,800 and see and have tours through this gorgeous space. 297 00:16:48,000 --> 00:16:50,100 There is right now. We're open Thursday, through 298 00:16:50,100 --> 00:16:52,900 Saturday and has been open for decades. 299 00:16:53,200 --> 00:16:56,400 Next door is a core. 'Guess japanese-inspired. 300 00:16:56,600 --> 00:16:59,600 It in at Lucile created for Louis win. 301 00:16:59,900 --> 00:17:02,300 He had heart attacks and needed to recover. 302 00:17:02,700 --> 00:17:04,800 And so she built this space of Peace. 303 00:17:05,099 --> 00:17:06,900 So this next door to the historic home. 304 00:17:07,700 --> 00:17:10,300 I also mixed doors fix torque home is something called so 305 00:17:10,300 --> 00:17:16,400 misplace, so Soma her Aldo was the neighbor who supported Louis 306 00:17:16,400 --> 00:17:20,000 and Lucille and when she passed she donated her home to the 307 00:17:20,000 --> 00:17:22,800 museum. And so now that is becoming a 308 00:17:22,800 --> 00:17:26,400 part of our campus. Okay, then across the street. 309 00:17:26,500 --> 00:17:29,700 It's is the new Louis Armstrong Center. 310 00:17:30,000 --> 00:17:32,400 It is a 14,000 square foot building. 311 00:17:32,400 --> 00:17:34,600 That's been 15 years in the making. 312 00:17:35,100 --> 00:17:38,800 It's going to house a 75 seats jazz club. 313 00:17:39,200 --> 00:17:43,900 It's going to have a new exhibit that multimedia being curated by 314 00:17:44,200 --> 00:17:46,200 jazz pianist and multimedia artist. 315 00:17:46,200 --> 00:17:49,200 Jason Moran and it's going to house the archives. 316 00:17:49,200 --> 00:17:53,400 The physical archives that 60,000 pieces is the largest 317 00:17:53,400 --> 00:17:57,400 Archive of any jazz musician. One of the This of any black 318 00:17:57,400 --> 00:18:02,100 musician, all of that is going to be on 107th Street in Queens 319 00:18:02,100 --> 00:18:04,800 and this new building. And so we are in the midst of 320 00:18:04,800 --> 00:18:07,600 construction. We're working with an incredible 321 00:18:07,600 --> 00:18:10,200 people to get it done. It's incredible. 322 00:18:10,300 --> 00:18:13,400 You space. And you mentioned another artist 323 00:18:13,400 --> 00:18:17,200 who I just have deep respect and love for with Jason Moran and 324 00:18:17,200 --> 00:18:21,400 his glasses that is about space. That's also sound in history and 325 00:18:21,400 --> 00:18:25,600 memory, so I'm going to deviate from a question before and ask 326 00:18:25,600 --> 00:18:28,800 you this question. If you could put together your 327 00:18:28,800 --> 00:18:33,000 dream backing band and Ensemble I could be in it. 328 00:18:33,100 --> 00:18:37,600 Oh Lord any Manny, I'm getting you in trouble together, you do 329 00:18:37,600 --> 00:18:40,600 this to me. Oh my goodness. 330 00:18:41,600 --> 00:18:47,300 So I think about skill and then I think about heart. 331 00:18:47,500 --> 00:18:51,300 Mmm and what? It means to interact on a heart 332 00:18:51,300 --> 00:18:56,900 level with people and There are so many people who could be, who 333 00:18:56,900 --> 00:18:59,800 I would love to have a heart connection with in order to 334 00:18:59,800 --> 00:19:02,000 create some music. I can't name names. 335 00:19:02,000 --> 00:19:04,500 I'm being your that. Not gonna do this to me. 336 00:19:06,100 --> 00:19:10,000 That was a beautiful answer. I'm going to ask because we have 337 00:19:10,000 --> 00:19:12,200 skill and heart connection space in there. 338 00:19:12,200 --> 00:19:16,900 So I will send you a list of who I think we should see at the 339 00:19:16,900 --> 00:19:18,800 club when it opens up at the space. 340 00:19:18,800 --> 00:19:21,100 Yes, please. And I would love that. 341 00:19:21,200 --> 00:19:23,300 We'll get back together on our podcast and we'll talk about 342 00:19:23,300 --> 00:19:26,300 whether or not And I made it happen, but don't worry, but 343 00:19:26,300 --> 00:19:28,300 it's an incredible things to think about team. 344 00:19:28,400 --> 00:19:30,300 And we rebuilt people together in a team. 345 00:19:30,300 --> 00:19:33,200 I think what you said is a great metaphor for that people you 346 00:19:33,200 --> 00:19:36,200 bring together a skill and those who have with heart before we 347 00:19:36,200 --> 00:19:38,400 talk about a lot of work with teams. 348 00:19:38,600 --> 00:19:41,400 We can always teach skill. You can always teach heart 349 00:19:41,800 --> 00:19:44,000 hmmm-hmmm-hmmm. Bring that should get her to 350 00:19:44,008 --> 00:19:45,400 have the commitment to the mission. 351 00:19:45,800 --> 00:19:49,800 How has it been for you and in coming in, you know, is it as 352 00:19:49,800 --> 00:19:53,600 the first time executive director with a deep interest 353 00:19:53,600 --> 00:19:55,900 in? Art and culture and taking on a 354 00:19:55,908 --> 00:19:59,800 new team and, you know, we both had the mix of taking on a new 355 00:19:59,800 --> 00:20:03,000 team and I'll add one to that during the missed the pandemic. 356 00:20:03,400 --> 00:20:06,400 Yes. What kind of educate some time. 357 00:20:06,500 --> 00:20:09,800 What kind of Leadership Lessons were you able to draw from that 358 00:20:10,000 --> 00:20:11,900 and what are some of the challenges candidly that you've 359 00:20:11,900 --> 00:20:14,600 had to deal with and kind of bring a team together in this 360 00:20:14,600 --> 00:20:16,300 moment? Yes. 361 00:20:16,900 --> 00:20:21,300 So I think for this particular team, they many of them have 362 00:20:21,300 --> 00:20:23,700 been with the organization for a very long time. 363 00:20:23,900 --> 00:20:31,600 You have a deep dedication and have worked tirelessly to make 364 00:20:31,600 --> 00:20:33,800 things happen in the midst of the pandemic. 365 00:20:34,000 --> 00:20:37,600 And I came in August of 20/20. So they have been working for 366 00:20:37,600 --> 00:20:40,500 months in the midst of uncertainty, right. 367 00:20:40,500 --> 00:20:43,300 And tried to, and making magic in the midst of that. 368 00:20:43,800 --> 00:20:48,400 And so, I think part of my entry was, who's this person who's 369 00:20:48,400 --> 00:20:50,200 going to be our leader? We've been doing it. 370 00:20:50,700 --> 00:20:53,800 We've been making it happen without an executive. 371 00:20:54,400 --> 00:20:59,500 And so part of it was about building trust being a listener 372 00:21:00,000 --> 00:21:05,200 and but also having a vision and saying where this Vision comes 373 00:21:05,200 --> 00:21:09,000 from. So for me, the vision is to 374 00:21:09,000 --> 00:21:11,600 continue to preserve and share the legacy of Louis Armstrong, 375 00:21:11,600 --> 00:21:14,000 but to live the Armstrong values. 376 00:21:15,200 --> 00:21:18,100 And to have all the work that we do come out of that. 377 00:21:18,100 --> 00:21:21,200 And when I say the Armstrong values, I mean, both Louis and 378 00:21:21,200 --> 00:21:25,000 Lucille. So Lucille is Armstrong's wife, 379 00:21:25,200 --> 00:21:28,800 who was cotton club dancer who bought a home that is now our 380 00:21:28,800 --> 00:21:30,500 historic home that we have the tours through. 381 00:21:30,500 --> 00:21:33,500 She bought it with her own money because Louis didn't want to buy 382 00:21:33,500 --> 00:21:34,700 it. So she said well I'm going to do 383 00:21:34,700 --> 00:21:38,300 this myself and she said next time you come off of the tour 384 00:21:38,300 --> 00:21:40,800 bus, come here. This is where we live now. 385 00:21:41,100 --> 00:21:44,300 So there's a, there's an incredible Legacy for Lucille to 386 00:21:44,300 --> 00:21:47,300 celebrate. And so, when I say the Armstrong 387 00:21:47,300 --> 00:21:50,600 values, I mean, a both of them, and those values of artistic 388 00:21:50,600 --> 00:21:52,700 excellence in education and community. 389 00:21:52,900 --> 00:21:58,400 And so, I think once you enter from a listening space and enter 390 00:21:58,400 --> 00:22:03,600 with values that goes a long way towards towards building trust, 391 00:22:04,300 --> 00:22:06,400 one of the things I love about jazz. 392 00:22:07,200 --> 00:22:11,500 I love about music generally, but when I see and listen to 393 00:22:11,500 --> 00:22:13,500 live jazz, I love to watch people. 394 00:22:13,500 --> 00:22:18,000 Listen to each other. Hmm, and when I see an 395 00:22:18,000 --> 00:22:22,100 improvisational jazz bands, well, that's what I get to do, 396 00:22:22,400 --> 00:22:25,300 right? Get to watch people, listen. 397 00:22:26,400 --> 00:22:30,700 And in the midst of listening, create listening and creating at 398 00:22:30,700 --> 00:22:35,600 the same time and that I think that is part of my charge as a 399 00:22:35,600 --> 00:22:39,700 leader, right? How do I create an incredible 400 00:22:39,700 --> 00:22:44,000 Jazz improvisation all band with my team that I am the band 401 00:22:44,000 --> 00:22:47,000 leader of I am not at the front of the stage. 402 00:22:47,300 --> 00:22:49,900 How do we listen? How do we create at the same 403 00:22:49,900 --> 00:22:51,900 time? I move quickly and swiftly, as 404 00:22:51,900 --> 00:22:57,000 we have to do in our current climate, but still have a sound 405 00:22:57,000 --> 00:23:01,600 that can be listened to and that's the lesson of music for 406 00:23:01,600 --> 00:23:04,600 me, the lesson of jazz and the lesson that I've been trying to 407 00:23:04,600 --> 00:23:08,200 take into my approach to leadership at this organization. 408 00:23:08,700 --> 00:23:11,300 It's been is hard. Just that easy. 409 00:23:12,200 --> 00:23:17,900 It's not for the faint, right? Parts, you can't come up in 410 00:23:17,900 --> 00:23:21,400 here, thinking that, you know, things without doing the work, 411 00:23:21,400 --> 00:23:23,800 but I'm doing the work and that's been good. 412 00:23:24,200 --> 00:23:27,100 Yeah, we think about kind of jazz is the impact. 413 00:23:27,100 --> 00:23:30,700 We're talking about the kind of world today, you know, one of 414 00:23:30,708 --> 00:23:33,900 the things I think we'd be remiss if we didn't bring up is 415 00:23:34,400 --> 00:23:38,100 take us back to 1955. Hmm before either of us were 416 00:23:38,108 --> 00:23:41,400 here, right? Adam Clayton Powell jr. 417 00:23:41,600 --> 00:23:44,800 Was at the heart of pushing this idea. 418 00:23:45,500 --> 00:23:50,000 That American jazz artists could be on the Forefront of diplomacy 419 00:23:50,800 --> 00:23:56,000 and democracy. And seeing both Louis Armstrong 420 00:23:56,000 --> 00:23:58,500 and Dizzy. Gillespie perform all around the 421 00:23:58,500 --> 00:24:03,900 world at a challenging time for the us, but as black Jazz, 422 00:24:03,900 --> 00:24:09,900 musicians, opening up the idea of american-born creativity 423 00:24:10,900 --> 00:24:14,200 throughout the world as you kind of champion the Legacy and space 424 00:24:14,200 --> 00:24:15,000 in there. What? 425 00:24:15,300 --> 00:24:17,700 Roll, do you have been thinking about kind of the global 426 00:24:17,700 --> 00:24:21,800 presence? Hmm of the art form and the 427 00:24:21,800 --> 00:24:24,300 creativity. I think about the site, the 428 00:24:24,300 --> 00:24:27,800 Heritage sites, when we talk about jazz and Hip-Hop, which 429 00:24:27,800 --> 00:24:32,000 are no longer refined to The Continuous 48, but a really 430 00:24:32,000 --> 00:24:36,200 without question, impact our world globally, you know, what 431 00:24:36,200 --> 00:24:38,700 are the things that you think about now, and kind of his 432 00:24:38,700 --> 00:24:43,000 legacy as an ambassador in a champion for creativity 433 00:24:43,000 --> 00:24:47,700 globally. Yes, so Louis Armstrong traveled 434 00:24:47,700 --> 00:24:53,100 to over 62 countries. His legacy is definitively 435 00:24:53,200 --> 00:24:54,500 global. Right? 436 00:24:54,500 --> 00:24:58,100 And that is a part of the programming that we want to 437 00:24:58,100 --> 00:25:02,100 create the global ambassadors. So at some point when we're 438 00:25:02,100 --> 00:25:07,700 ready to take musicians historians and young people 439 00:25:08,200 --> 00:25:12,400 around the world in Louis Armstrong's footsteps to have a 440 00:25:12,400 --> 00:25:16,400 global Exchange. Of music and ideas that's 441 00:25:16,400 --> 00:25:19,200 coming. We've taken baby steps toward it 442 00:25:19,200 --> 00:25:23,000 by working with the forum for cultural engagement to partners 443 00:25:23,000 --> 00:25:26,700 with embassies across the world. And so, we did a program 444 00:25:26,700 --> 00:25:30,600 actually with the US Embassy in Russia, where we brought 445 00:25:30,600 --> 00:25:35,500 concerts based on the real ambassadors album to students 446 00:25:35,800 --> 00:25:39,500 and people in Russia, through the US Embassy and with the form 447 00:25:39,500 --> 00:25:42,000 for cultural engagement, and it was beautiful. 448 00:25:42,600 --> 00:25:45,900 And we want to continue You to do that with other embassies 449 00:25:45,900 --> 00:25:49,000 across the world. All that was virtual has 450 00:25:49,000 --> 00:25:52,700 happened during the pandemic but eventually to physically, go to 451 00:25:52,700 --> 00:25:57,200 these spaces and I think about what it means to be a black 452 00:25:57,200 --> 00:26:02,900 person representing America and what how Louis Armstrong was a 453 00:26:02,900 --> 00:26:06,900 black man representing America, and he knew the power of that 454 00:26:07,100 --> 00:26:13,000 and he actually declines to use that power when with the Little 455 00:26:13,000 --> 00:26:17,100 Rock. He'll so the state department at 456 00:26:17,100 --> 00:26:20,500 wanted to send him to Russia to represent. 457 00:26:20,900 --> 00:26:23,900 But at the same time, there were a group of students who were 458 00:26:23,900 --> 00:26:28,400 attempting to integrate a school in Arkansas and they were met 459 00:26:28,400 --> 00:26:30,900 with the mob. And Eisenhower was not 460 00:26:31,300 --> 00:26:33,700 responding in the way that Louis Armstrong wanted and Louis 461 00:26:33,700 --> 00:26:36,100 Armstrong spoke to that. And said, you know, what, I 462 00:26:36,100 --> 00:26:40,300 don't think now is the right time for me to go to Russia to 463 00:26:40,400 --> 00:26:43,900 represent in this way. So he was aware of the power. 464 00:26:44,000 --> 00:26:47,600 Power of His presence and of his representation and he wanted to 465 00:26:47,600 --> 00:26:50,900 use it in a thoughtful way, and that's something we want to do 466 00:26:50,900 --> 00:26:54,800 to now as the museum, but we know there's incredible power 467 00:26:54,800 --> 00:26:59,400 their dialogue and exchange. One of the things that's 468 00:26:59,400 --> 00:27:02,400 important is we talk about is our creative agency in the 469 00:27:02,400 --> 00:27:08,800 intention and how we present one of the photos that I love to 470 00:27:08,800 --> 00:27:11,600 look at. And we talked about for his 471 00:27:11,600 --> 00:27:14,600 relationship with his wife. There's a great Black and white, 472 00:27:14,600 --> 00:27:19,500 photograph of him in front of the sinks, in the Great Pyramids 473 00:27:19,500 --> 00:27:22,300 of Giza. And as the trumpet, and he's 474 00:27:22,600 --> 00:27:24,700 basically serenading saluting, his wife. 475 00:27:25,600 --> 00:27:28,700 This is a seamless and to see him taking Jazz and music 476 00:27:28,700 --> 00:27:30,900 throughout the world. And going back to we said before 477 00:27:31,200 --> 00:27:34,400 and having this tribute to his family and sent her. 478 00:27:34,800 --> 00:27:37,700 So we talked about the housing, he said before, he did wasn't 479 00:27:37,700 --> 00:27:39,300 really a big fan of the House of the beginning. 480 00:27:39,500 --> 00:27:45,200 When did that change become? But this Is, you know, so much 481 00:27:45,200 --> 00:27:46,900 of it. Like we talked about the house 482 00:27:46,900 --> 00:27:48,800 is such a central part of it is home. 483 00:27:48,800 --> 00:27:50,500 Yeah, I mean, it's fun for me to hear you say. 484 00:27:50,500 --> 00:27:53,000 Like, he didn't want the house. His wife didn't care, you get in 485 00:27:53,008 --> 00:27:58,000 the house. This is the center of his world. 486 00:27:58,500 --> 00:28:00,500 Yes. Well, first, I have to talk 487 00:28:00,500 --> 00:28:03,900 about the image that you just talked about of he and Lucille 488 00:28:03,900 --> 00:28:05,400 in Egypt in front of the pyramids. 489 00:28:05,400 --> 00:28:08,900 And the Sphinx, that is actually the image that Jason Moran has 490 00:28:08,900 --> 00:28:12,700 talked about as the inspiration for the exhibit that his he's 491 00:28:12,700 --> 00:28:16,200 creating. And that exhibit is called. 492 00:28:16,200 --> 00:28:21,600 He's titled here to stay. And his, when he's talked about 493 00:28:21,600 --> 00:28:24,200 it. He said that the pyramids are 494 00:28:24,200 --> 00:28:30,500 revered, they are protected. They are here to stay and that 495 00:28:31,000 --> 00:28:35,500 house on 107th Street has to be revered and protected in the 496 00:28:35,500 --> 00:28:37,000 same way. Right? 497 00:28:37,000 --> 00:28:42,600 And there is that we are all in that Legacy and undergirding. 498 00:28:42,600 --> 00:28:46,600 That is is a love and commitment with Louis and Lucille. 499 00:28:46,800 --> 00:28:49,300 That is a part of the foundation of that. 500 00:28:49,900 --> 00:28:56,900 And so the reason why I think he stayed in Corona on 107th Street 501 00:28:57,000 --> 00:29:01,100 was partly because of Lucille but also because this is a place 502 00:29:01,100 --> 00:29:05,400 where he could walk down the street as a Megastar and just be 503 00:29:05,400 --> 00:29:09,000 normal when he went to Manhattan and walk down the street. 504 00:29:09,000 --> 00:29:13,000 He was mobbed, he was a star but when you walk down the street in 505 00:29:13,000 --> 00:29:16,500 Queens, The kids would come and they were run up to him and he 506 00:29:16,500 --> 00:29:19,400 could just be walking with them. He could go to the barber around 507 00:29:19,400 --> 00:29:22,200 the street. He could go to his rice and 508 00:29:22,200 --> 00:29:25,700 beans Joy. He could do what he wanted to do 509 00:29:26,000 --> 00:29:29,900 as what he thought of himself as a working class, man went to 510 00:29:29,900 --> 00:29:32,900 work with his trumpet and they came home to be with his family 511 00:29:33,300 --> 00:29:36,300 and that's what he had at the Home in Queens. 512 00:29:36,300 --> 00:29:38,000 And that's what he did. Not want to give up. 513 00:29:38,300 --> 00:29:39,800 He was there to stay. It's powerful. 514 00:29:39,800 --> 00:29:43,400 As you tell the story of us, making the idea of home. 515 00:29:44,200 --> 00:29:46,600 Hmm. And what that means, independent 516 00:29:46,600 --> 00:29:49,500 of traveling the world independent of the fame and the 517 00:29:49,500 --> 00:29:51,500 space. In there to talk about those 518 00:29:51,500 --> 00:29:55,200 simple things that are so important to reinforce home for 519 00:29:55,200 --> 00:29:56,600 us. Mhm. 520 00:29:56,700 --> 00:30:00,100 I often when we have our conversations, we often ask the 521 00:30:00,100 --> 00:30:03,100 question, is to, what advice would you give to those 522 00:30:03,100 --> 00:30:05,100 following in our footsteps? Right? 523 00:30:05,300 --> 00:30:08,400 The students who are navigating school today the young 524 00:30:08,400 --> 00:30:11,000 professionals here? What advice would you give and 525 00:30:11,000 --> 00:30:13,800 finding their path or their professional? 526 00:30:14,600 --> 00:30:17,000 Clown class matters. Don't let anybody tell you 527 00:30:17,000 --> 00:30:21,900 different. There are going to be some 528 00:30:22,000 --> 00:30:24,900 obscure classes that you take especially if you are a part of 529 00:30:24,900 --> 00:30:29,600 a liberal arts education that you might be unsure of how does 530 00:30:29,600 --> 00:30:31,900 this play? And that your parents may be 531 00:30:31,900 --> 00:30:35,600 unsure of how does this right play into your career goals. 532 00:30:35,600 --> 00:30:38,400 How will this help you? Sometimes you have to make those 533 00:30:38,400 --> 00:30:42,100 connections for yourself, but if you if you think deeply and 534 00:30:42,600 --> 00:30:47,000 thoroughly about the Studies that you are engaging with, you 535 00:30:47,000 --> 00:30:49,300 can make connections to the rest of the world. 536 00:30:49,800 --> 00:30:54,600 So one of the reasons why stories and artwork that is 537 00:30:54,600 --> 00:30:58,700 about a particular group of people, or particular way of 538 00:30:58,700 --> 00:31:02,200 thinking that goes deep in that way, connects to the rest of 539 00:31:02,200 --> 00:31:05,700 humanity is because it goes deep in that way. 540 00:31:05,800 --> 00:31:10,200 So it's okay to go deep into the study of one particular thing, 541 00:31:10,600 --> 00:31:15,300 as long as you did look up and out and Make the connections to 542 00:31:15,300 --> 00:31:17,500 the rest of the world to translate the skills to 543 00:31:17,500 --> 00:31:22,700 translate the learning. So go deep, be thoughtful and 544 00:31:22,700 --> 00:31:26,000 look up so that you can connect with the rest of the world. 545 00:31:26,200 --> 00:31:28,900 Nice, a my final question for you. 546 00:31:30,000 --> 00:31:34,200 What's inspiring you today? What gives you that additional 547 00:31:34,200 --> 00:31:38,200 push that kind of Wellspring of ideas and inspiration today? 548 00:31:38,500 --> 00:31:43,000 When I see two people listening to each other and making music 549 00:31:43,500 --> 00:31:49,900 when I see people fighting for their lives through War when I 550 00:31:49,900 --> 00:31:54,100 see people acknowledging war and being willing to say, even in 551 00:31:54,100 --> 00:31:56,700 the midst of that there has been racism. 552 00:31:57,400 --> 00:32:03,800 When I see people trying to protect their humanity and their 553 00:32:03,800 --> 00:32:08,100 Joy by walking away from the conversation about war and 554 00:32:08,100 --> 00:32:12,500 racism and thinking about peace. All of those are moments that 555 00:32:12,500 --> 00:32:16,200 inspire me. Because it's about for me. 556 00:32:16,200 --> 00:32:21,800 It's about fighting for truth. In the moment that I am in right 557 00:32:21,800 --> 00:32:25,900 now with people. And so I'd look for the moments 558 00:32:25,900 --> 00:32:28,900 as much as I can because they're always there. 559 00:32:29,200 --> 00:32:30,900 I just have to see them. Wow. 560 00:32:31,300 --> 00:32:35,100 I can't believe that our time has come to an end, but I will 561 00:32:35,100 --> 00:32:41,800 say, I'm smiling in, it's a joy to watch how you've grown and 562 00:32:41,800 --> 00:32:43,700 your work has progressed to this moment. 563 00:32:44,300 --> 00:32:47,800 It's kind of the perfect combination in thinking of as an 564 00:32:47,800 --> 00:32:51,800 artist, as a leader, as a Visionary. 565 00:32:51,900 --> 00:32:54,400 And as inspirational healer, Regina. 566 00:32:54,400 --> 00:32:56,800 Thank you for spending this afternoon. 567 00:32:56,800 --> 00:33:00,600 And for us to have a chance to just share and talk about the 568 00:33:00,600 --> 00:33:04,000 world around us. The impact that music and home 569 00:33:04,700 --> 00:33:07,600 can have and the opportunity we have, when we come together to 570 00:33:07,600 --> 00:33:10,000 talk. Thank you for free. 571 00:33:10,000 --> 00:33:12,500 She is so much, Billy. Thank you for having me. 572 00:33:13,300 --> 00:33:17,600 And thank you all for joining us for this episode of design 573 00:33:17,600 --> 00:33:21,200 adjacent. We also invite you to check out 574 00:33:21,300 --> 00:33:25,400 our upcoming podcasts, where we explore the world both today and 575 00:33:25,400 --> 00:33:27,500 tomorrow and the impact that design has. 576 00:33:27,700 --> 00:33:31,700 And we encourage you to check out the Louis Armstrong House 577 00:33:31,700 --> 00:33:34,800 Museum, whether you're in New York or online. 578 00:33:35,600 --> 00:33:37,800 Thank you. Once again, show notes for this 579 00:33:37,800 --> 00:33:40,500 episode will be available on AIG a.org. 580 00:33:41,500 --> 00:33:43,400 Please subscribe to our show on anchor. 581 00:33:43,400 --> 00:33:47,400 Apple, podcasts Google play Spotify or wherever you get your 582 00:33:47,400 --> 00:33:50,600 podcast. Aiga is designed adjacent 583 00:33:50,600 --> 00:33:54,800 podcasts and its contents by the copyright of aiga, the 584 00:33:54,800 --> 00:33:59,200 professional association for design All Rights Reserved, any 585 00:33:59,200 --> 00:34:02,900 redistribution or reproduction of part or all of the contents 586 00:34:02,900 --> 00:34:06,700 in any form is prohibited without a Gigi's Express written 587 00:34:06,700 --> 00:34:09,900 permission. My name is Li Xian zhuang until 588 00:34:09,900 --> 00:34:10,500 next time.