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Difficult Dialogue focuses on extremism, antisemitism

Rachel Sauer — Mon, 11 Nov 2024 22:18:47 +0000

Difficult Dialogue focuses on extremism, antisemitism Rachel Sauer Mon, 11/11/2024 - 15:18

CU Boulder’s Center for Humanities & the Arts welcomes German delegation for latest in Difficult Dialogue Series

Late last month, a delegation from Germany joined scholars from the �鶹��Ƶ to discuss extremism, antisemitism and misinformation.

The discussion was organized by the CU Boulder Center for Humanties & the Arts (CHA) in collaboration with the Boulder Council for International Visitors and with support from the U.S. State Department. It was the latest of the CHA’s Difficult Dialogue Series.

The six visiting delegates, representing various regions in Germany, asked not to be photographed or quoted but engaged in a structured discussion facilitated by CHA Director Jennifer Ho. Topics spanned antisemitism, media literacy and the global effects of extremism, reflecting the delegates’ interest in the CHA’s approach to fostering meaningful discussions around divisive issues.

The Difficult Dialogue series is designed to emphasize open-mindedness, respectful listening and personal storytelling. This approach enables participants to confront challenging topics and seek mutual understanding without pressure to agree.

During last month’s discussion, participants shared their perspectives on democracy, racial inequities and the historical issues that influence the present-day political landscape, such as what is happening in Gaza. The U.S. and German participants exchanged experiences and strategies for navigating division, demonstrating the CHA’s commitment to conversations that resonate across borders.

Through the Difficult Dialogue series, the CHA aims to connect people from diverse backgrounds, emphasizing that discussing challenging topics is essential to problem-solving and cultural understanding. By hosting this German delegation, the CHA continues to affirm its dedication to promoting respectful dialogue rooted in the humanities, the center stated.

The next event in the Difficult Dialogue series is scheduled for Nov. 13 and is titled “Is that a fact?!” The session will focus on how to find facts in a world filled with misinformation. This community conversation is co-hosted with Colorado Chautauqua and open to the public and will be held at 6 p.m. at the Chautauqua Community House Rocky Mountain Climbers Club room.

For more information, visit Chautauqua’s website: www.chautauqua.com/event/difficult-dialogue-is-that-a-fact/

The �鶹��Ƶ’s Center for Humanities & the Arts (CHA) is known internationally for its Difficult Dialogue series, which fosters meaningful conversations about complex issues.

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CU Boulder’s Center for Humanities & the Arts welcomes German delegation for latest in Difficult Dialogue Series.

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World War II vet, CU prof joins event marking end of that war

Rachel Sauer — Fri, 08 Nov 2024 15:17:11 +0000

World War II vet, CU prof joins event marking end of that war Rachel Sauer Fri, 11/08/2024 - 08:17

Clint Talbott

Richard Jessor, CU Boulder professor emeritus, to join Miami’s New World Symphony this weekend to be interviewed by historian James Holland

Next spring marks the 80^th anniversary of the end of World War II and the Holocaust, and Miami Beach’s New World Symphony is performing two concerts this weekend that will feature pre-concert interviews with Richard Jessor, a �鶹��Ƶ professor emeritus of behavioral science who fought with the U.S. Marines on the island of Iwo Jima.

Conductor Lidiya Yankovskaya and best-selling historian James Holland will team up for a commemorative concert honoring veterans and the “global sounds of resilience.”

The symphony characterized the event this way: “From the beaches of Normandy and Iwo Jima to the skies of the Tuskegee Airmen, explore the global fight for democracy through music that commemorates and reflects. Soprano Emily Magee makes her NWS debut in the pensive and poignant Four Last Songs.”

In pre-concert appearances on Saturday, Nov. 9, and Sunday, Nov. 10, Holland will interview Jessor about his experiences in the war.

Jessor, who will turn 100 this month, said the attempt to use music to illuminate “such deeply disturbing human experiences as war and the Holocaust is, to my mind, an admirable enterprise deserving support.”

Additionally, he said, the event should underscore the need for societies to do everything possible to avoid such calamities in the future. “And finally, perhaps, as one of the diminishing cohort of WWII combat veterans still alive, I feel a continuing responsibility to be a voice against the madness of wars.”

Jessor noted that the senior vice president for artistic planning and programs of the New World Symphony is Martin Sher, son of Boyce Sher and Daniel Sher, dean emeritus of CU Boulder’s College of Music.

Jessor met Martin Sher in July when he was visiting his parents in Boulder. At that meeting, Sher discussed his plan to devote the 2024-25 programs to commemorating the end of World War II and the Holocaust, and he wanted to present music that would provide an interesting and inspirational commentary.

Examples include Shostakovich’s Leningrad Symphony, written when the city was under siege, and the music for the film Saving Private Ryan, written by John Williams. Sher also wanted to learn more about Jessor’s combat experience as a Marine in the battle for Iwo Jima.

At the time, Sher was consulting with Holland, and Holland interviewed Jessor via Zoom on his blog. Later, Sher conceived the idea of the pre-concert interviews and asked Jessor to have those conversations with Holland in person. “Of course, I agreed,” Jessor said.

This weekend’s Veterans Day concerts are free to veterans. Saturday’s concert is available to stream live and will be available online after the performance. The streaming option is free to anyone with an email address who registers at this link. The full concert program is at this link.

Jessor’s pre-concert interview will not be streamed, however.

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Richard Jessor, CU Boulder professor emeritus, to join Miami’s New World Symphony this weekend to be interviewed by historian James Holland.

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Above: Richard Jessor at his home in Boulder. CU Boulder photo by Glenn Asakawa.

Swastika Counter Project launches

Anonymous — Thu, 24 Oct 2024 21:19:27 +0000

Swastika Counter Project launches Anonymous (not verified) Thu, 10/24/2024 - 15:19

Bradley Worrell

Public advocacy website envisioned by CU Boulder associate professor Laurie Gries tracks swastikas across the U.S. and offers resources to counter those hate-filled incidents

In the months leading up to Donald Trump’s election in 2016, Laurie Gries, director of the �鶹��Ƶ Program for Writing and Rhetoric and associate professor of English, became increasingly concerned about almost-daily news reports of swastikas—sometimes accompanied by hate-filled messages—showing up in public spaces across the country.

“This was the same time when various sources were reporting rising incidents of hate and bias in the United States, when Donald Trump and his racist and divisive rhetoric was just coming into political power, and when white nationalist organizations seemed to be coming out of the woodwork,” she says.

Laurie Gries, director of the �鶹��Ƶ Program for Writing and Rhetoric and associate professor of English, became increasingly concerned about almost-daily news reports of swastikas—sometimes accompanied by hate-filled messages—showing up in public spaces across the country.

Determined to address the issue of the swastikas head on, Gries began working on a project with a team of interdisciplinary scholars with expertise in visual communication, critical geography and social justice education. Their aim was to identify how and where swastikas were placed, who they targeted, what messages they conveyed and how communities responded. The coordinated results of that five-year effort—which document 1,340 swastika incidents in total—recently went live on The Swastika Counter Project website.

Recently, Gries spoke with Colorado College of Arts and Sciences Magazine about the Swastika Counter Project. Her answers were lightly edited for style and condensed for space limitations.

Question: How did the swastika project come together and why did you decide you needed to address this issue?

Gries: When Trump first came onto the political scene, I started hearing about increased incidents of hate and violence, and as a visual rhetoric scholar, I began noticing more and more reports of swastikas showing up on the streets of the United States.

On the day that Trump was elected, I woke up deeply concerned and asked, ‘What if I tracked these swastikas? What if I took the digital research method called iconographic tracking that I worked for 10 years to develop and applied it to this particular case? What might we discover?’

I didn’t really start tracking swastikas on that day; I just made the commitment because I had long wanted to use my scholarship for public humanities research. I guess, then, one might say that Trump was the motivator, but really it was fear. At the time, a lot of people—the FBI, the Southern Poverty Law Center, journalists and scholars—were attributing a rise in antisemitism and violence to his rhetoric. It was my fear that if that’s the case, those incidents were surely only going to be amplified as he rose to power.

I don’t have any comparative data (i.e., data on swastika incidents) prior to Trump’s arrival on the political scene to confirm whether that’s true or not, so I’m very careful to say that the data we collected can’t really be used as evidence for that claim, but in our data, we certainly can see that there are a lot of associations that people are making between swastikas and Donald Trump and white nationalism.

Question: Was no one else tracking and compiling these incidents in which swastikas were being placed at houses of worship, schools and other sites?

Gries: Actually, there are quite a few projects that have tracked antisemitism, and even swastikas, but they have been constrained in various ways. Some sites only track antisemitism that happen on college campuses. Some track antisemitic events that happened all over the world. Then there are sites like ProPublica, whose tracking projects were limited to a particular year. So, I wanted to create a project that would transcend some those constraints.

Question: What are some of the top findings of your research as it relates to swastika placement, any language accompanying the swastikas, maybe any surprises your research uncovered?

Data analysis by The Swastika Counter Project found at least 1,300 documented incidents of swastikas in the United States between Jan. 1, 2016, and Jan. 20, 2021.

Gries: I think it’s important to note that the swastika incidents we discovered occurred in all 48 contiguous states and in the District of Columbia, so this is a national problem. Of course, they were showing up more in cities with large populations, which is to be expected. But we were surprised that according to our data, swastika incidents most often surfaced in schools, and almost equally in K-12 and higher education settings. We thought swastikas might mostly show up on the exterior of religious institutions, and particularly Jewish religious institutions, but that wasn’t the case.

We also were surprised to discover so many swastikas surfacing in private spaces. Of course, a lot of swastikas were spray painted on the exterior of buildings in urban spaces. But our data discloses how swastikas were often drawn on people’s cars, on their homes, on the dorm doors of students, and in some cases, on the interior walls of people’s homes that had been broken into and, in one case, lit on fire.

I think the other most surprising finding was just the horrific language that was showing up alongside swastikas—from racist and homophobic appeals to white nationalism to implicit threats of surveillance and violence to direct threats of genocide. And also that such threats were directed at not only Jewish community members; a lot of Black American, Latinx, LGBTQ-plus community members and immigrants were also commonly targeted. It was just overwhelming—the multi-directional hate and very graphic violence.

Question: How did Colorado compare to other parts of the country when it came to swastika incidents?

Gries: For Colorado, there were 30 reported incidents in our data set. So, I would say it’s not uncommon in Colorado for these swastikas incidents to occur, and I’ve had a lot of people tell me about swastikas they witnessed that aren’t even in our data set.

We know, for instance, that Colorado State University in Fort Collins has had so many swastika incidents that they recently created an antisemitism task force. One of our (Swastika Counter Project) advisory board members is actually heading up that task force because antisemitism on that campus has become such a serious problem.

In contrast to the incidents of public swastikas that The Swastika Counter Project tracks, some cities worldwide have also seen anti-swastika graffiti. (Photo: Cogiati/Wikimedia Commons)

Question: Beyond tracking incidents of swastika placement around the country, what other kinds of information can be found on the Swastika Counter Project website?

Gries: Part of our challenge was figuring out how to present the data in ways that would be useful for a variety of community stakeholders—people who are dealing with swastika incidents in their communities, such as school administrators, teachers and parents, the local police force, and local and national politicians. We wanted to create a swastika tracking project that has a strong civic component to it, which I think makes this project a bit unique. So, we created an interactive map that can be filtered in different ways; data visualizations that can be easily downloaded; and educational resources and lesson plans for teachers at various levels. We also generated two different reports, one of which describes and analyzes how different communities have responded to swastika incidents, so that stakeholders can read those accounts and learn from them. That’s especially important, because in our research we found that the various stakeholders often worked in isolation in responding to swastika incidents.

Question: The Swastika ‘Counter’ Project—is it fair to say the name is a play on words?

Gries: Yes—it’s a double entendre. The goal is to both count and counter the contemporary proliferation of swastika incidents in the United States. And in that sense, the Swastika Counter Project is very much a scholarly activist project.

When we first began tracking swastika incidents, we planned to simply report our data and let the evidence speak for itself. And to a great extent, the data still does do that. Our findings report, for instance, is largely descriptive. But the longer we worked on the project and discovered the gross horror of violence that was ensuing, the more we felt compelled to also take more concerted action by building out the educational component of the website. So today, I don’t pretend that the data advocacy website isn’t motivated by my own desire to try to address some very real, pressing problems and to use my scholarship to try to create a more just world. This is very much a project where I’m wearing my activism on my sleeve.

Question: What kind of assistance did you have when it came to tracking and compiling data, creating visual representations, developing a website, etc.?

Gries: The central work of tracking, coding, and analyzing was done by myself and Kelly Wheeler (assistant professor at Curry College), but we soon realized we needed more help. I reached out to Morteza Karimzadeh in the geography department here at CU Boulder, and he and his former student, Jason Miller, ended up doing all the amazing work with the mapping part of the project.

Residents of Eugene, Oregon, responded against swastikas found in a city neighborhood in 2017. (Photo: SBG Photo)

I am also really proud that we received a lot of help from various students at and beyond CU. For instance, an undergraduate computer science major at the University of Michigan, Ann Arbor, worked on the data visualizations with us, while graduate students from that same institution helped to create some of the lesson plans. Here at CU Boulder, a team of undergraduate students enrolled in a technical communication and design class in the Program for Writing and Rhetoric did a user-centered study for us to help develop a website that would be easy to navigate and comprehend for a public audience. And then another group of tech comm students helped us figure out how to invite community participation through features under the Contribute tab of the website. In this sense, the Swastika Counter Project is really exemplary of the immense value that data humanities and public humanities education can have for both undergraduate and graduate students. I am really excited about that.

Question: People who commit several years of their life to a project will often call it a labor of love. Is that how you would describe this project?

Gries: For me, I don’t think it was about love so much as it was about committing to do social justice work and really trying to walk the walk. I mean, as you might imagine, it was not fun to track so many incidents of hate and violence around the country. …

It’s also just been a beast in terms of labor. I tell people that this project was probably more intense work than my first 350-page monograph because I had to teach myself so many new skills, not only in terms of research, but also guiding and managing team projects, doing data advocacy, and developing web content skills. I am so glad I did this project, but for the last eight years, it’s just been very intense.

Question: If former President Trump is elected to a second term in November, do you think you would take up this project again?

Gries: I’m really, really torn. Part of me wants to try to secure some national funding and put together a larger team. If I did, I would also want to research (swastika incidents during) the Biden administration, and then start tracking in the present time, too, because I think that longitudinal study would help us address certain questions that we weren’t able to address in this project.

On the other hand, I started this project in early 2017, and it became a large part of my life. My husband would tell me that on days I was doing the researching and the coding that I was affectively different. I was angry. I was upset. I was impatient.

I honestly don’t know if I want to put myself through that again on a personal level. I truly believe that more arts and humanities faculty need to be doing this kind of work, as I think we can bring an important perspective to data-driven research that addresses pressing socio-cultural problems. And maybe if I had the funding and could put together a large enough team where I didn’t have to bear so much of the burden I would consider it, but right now I just don’t know.

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Public advocacy website envisioned by CU Boulder associate professor Laurie Gries tracks swastikas across the U.S. and offers resources to counter those hate-filled incidents.

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Remembering the player behind ‘Fernandomania’

Anonymous — Thu, 24 Oct 2024 18:44:00 +0000

Remembering the player behind ‘Fernandomania’ Anonymous (not verified) Thu, 10/24/2024 - 12:44

Jared Bahir Browsh

Fernando Valenzuela, who died Tuesday, was more than just the first Mexican superstar in Major League Baseball; he helped soothe longstanding resentments in a displaced community

The Los Angeles Dodgers announced Wednesday that Fernando Valenzuela passed away late Tuesday night at the age of 63. The legendary pitcher debuted late in the 1980 season as a 19-year-old, but it would not be until his first full season when the rookie would initiate “Fernandomania,” fascinating not only Dodgers and baseball fans, but people throughout the United States and Latin America.

Valenzuela helped the Dodgers beat the Yankees to win the World Series in 1981, the last time the two teams met. At a time when the Dodgers struggled to soothe their relationship with Mexican American fans, Valenzuela was not only the balm, but also initiated a wave of players from Mexico that continues today.

The Dodgers’ relationship with the large Chicanx community in Los Angeles had long been fraught after the building of Dodger Stadium. Following passage of the Federal Housing Act in 1949, then-Mayor Norris Poulson chose Chavez Ravine, a shallow canyon in Los Angeles, as the location to build 10,000 housing units, promising the Mexican American community living there that they would have their first choice of housing.

Jared Bahir Browsh is the Critical Sports Studies program director in the CU Boulder Department of Ethnic Studies.

Yet after most of the neighborhood was razed, the project was delayed, and when the Dodgers decided to move from Brooklyn to Los Angeles, the area was chosen to build the new Dodger Stadium. The broken promises led to decades of resentment between the team and the Mexican American community in the city, as the remaining residents were forced out of the neighborhood.

Selling out stadiums

Valenzuela was scouted by several teams, but when legendary Cuban-American scout Mike Brito went to evaluate him in Silao, Mexico, he convinced the Dodgers to buy out Valenzuela’s contract in the summer of 1979, just beating out the Yankees. He worked his way up from the minor leagues, debuting with the Dodgers in September 1980 after learning what became his signature pitch, the screwball, which breaks the opposite direction of a curveball or slider.

He spent the final month of the season as a reliever, helping the team contend for the West Division before they lost to the Houston Astros in a one-game playoff.

The following season, the 20-year-old Valenzuela was tapped to be the Dodgers’ opening-day starter after pitcher Jerry Reuss was injured the day before the game. This set off Fernandomania, as he went 8-0 with five shutouts and an earned run average of 0.50. The 1981 season was cut short due to a strike in June, but when the season resumed in August, Valenzuela helped the team win the World Series, becoming the first pitcher to win both the National League Rookie of the Year and Cy Young awards in the same season.

Valenzuela sold out stadiums both at home and away, becoming a phenomenon only a few years after first signing to the Mexican league from his small, rural hometown in Sonora. An international Horatio Alger story, Valenzuela’s rise is one of the most unbelievable in modern sports history.

Valenzuela spoke very little English and struggled to communicate with many of his teammates; however, team manager Tommy Lasorda spent time in the Caribbean winter leagues and helped Valenzuela’s transition to the major leagues, while Mike Scioscia learned enough Spanish to become the young pitcher’s personal catcher. Valenzuela would go on to make six straight All-Star games before shoulder issues related to overuse and the strain of throwing the screwball derailed his career. He ultimately played 17 seasons and threw a no-hitter for the Dodgers in 1990, but his legacy goes far beyond his phenomenal rise.

The first Mexican superstar

Walter O’Malley had owned at least a minority stake in the Dodgers since 1944, accumulating a larger stake in the team and eventually becoming its president in 1950. He was part of the ownership group that signed Jackie Robinson and led the move to Los Angeles in 1958. O’Malley was tired of the Brooklyn Dodgers living in the Yankees’ shadow—their Ebbets Field had less than half the capacity of Yankee Stadium (32,000 vs. 67,000) and the Dodgers lost six of the seven World Series matchups with the Yankees in the 1940s and 1950s. O’Malley saw a business opportunity in moving to the West Coast and building his own stadium in spite of the displacement of the Mexican American community there.

Fernando Valenzuela, known for his signature 'screwball' pitch, winds up during the Dodgers' April 8, 1986, home opener. (Photo: Tony Barnard/Los Angeles Times)

Much like Robinson brought Black fans to the Dodgers, and baseball more generally, O’Malley sought a Mexican player to draw Latine fans who refused to watch the Dodgers not only because of resentment over the displacement, but also because the Dodgers were seen as a team for the white community in Los Angeles. Walter O’Malley died a month after the organization signed Valenzuela, so he never saw the impact of the first Mexican superstar in baseball.

Though famous, Valenzuela still faced many of the same issues other Mexican immigrants faced coming to America. The language barrier led to isolation early in his career, and after his historic rookie season, he was threatened with deportation as he held out for a new contract in 1982, since he was in the United States on a work visa. It was said that Ronald Reagan pushed for immigration reform partly due to meeting Valenzuela in 1981.

Despite the disappointment of being cut by the Dodgers during 1991 spring training, Valenzuela maintained his legendary status with the team, becoming their color commentator in 2003 and having his number, 34, retired in 2023.

His jersey is still one of the most popular, with Valenzuela jerseys seen throughout Dodgers stadium 34 years after he threw his last pitch for the team. In spite of his status as the greatest player from Mexico to play in the Major Leagues, he has not been elected to the Baseball Hall of Fame, although many artifacts from Fernandomania sit in the museum in Cooperstown.

Jared Bahir Browsh is an assistant teaching professor of critical sports studies in the CU Boulder Department of Ethnic Studies.

Top image: Fernando Valenzuela pitches a two-hit, 4-0 victory over the Montreal Expos at Dodger Stadium May 21, 1986. (Photo: Marsha Traeger/Los Angeles Times)

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Fernando Valenzuela, who died Tuesday, was more than just the first Mexican superstar in Major League Baseball; he helped soothe longstanding resentments in a displaced community.

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Family raises funds for Cystic Fibrosis Foundation by pairing with CU Buffalo Bicycle Classic

Anonymous — Wed, 16 Oct 2024 14:49:14 +0000

Family raises funds for Cystic Fibrosis Foundation by pairing with CU Buffalo Bicycle Classic Anonymous (not verified) Wed, 10/16/2024 - 08:49

Bradley Worrell

They ride for 5-year-old Cora Beaver, who was diagnosed with the illness shortly after birth

When David Beaver and his 9-year-old daughter, Brenna, crossed the finish line of the Buffalo Bicycle Classic in September, they were met with the sounds of cowbells ringing and family members loudly cheering.

It was Brenna’s first time to do the 10-mile Little Buff ride, so it was special in that respect, but beyond that, every Buffalo Bicycle Classic ride for the past five years has felt especially rewarding for the Beaver family, which has spearheaded efforts to field a group of riders for Team Cora Force to raise money for the Cystic Fibrosis Foundation.

Cora is the name of David and Brittany Beaver’s youngest daughter, age 5, who was diagnosed with cystic fibrosis in 2019, just two weeks after her birth.

Cora (left) and Brittany Beaver (Photo: Beaver family)

Cystic fibrosis (CF) is a rare inherited disorder that can cause severe damage to the lungs, digestive system and other organs. CF affects the cells that produce mucus, sweat and digestive juices, which are normally thin and slippery. However, in people with CF, a defective gene causes the secretions to become sticky and thick, plugging up tubes, ducts and passageways—especially in the lungs and pancreas.

In years past, many children born with CF did not survive into adulthood. And while there is no cure for the disease, lifespans for children today with CF have increased greatly, thanks to medical advances and disease management efforts, according to the Mayo Clinic.

Brittany Beaver says receiving Cora’s diagnosis was tough on her entire family.

“Our faith has gotten us through all the hard moments. Also, staying connected to our family and community and the CF Foundation has been instrumental in helping us through the ups and downs of the disease,” she says.

Raising money for a cure

Beaver says it was her father-in-law, Dave Beaver, who spearheaded Team Cora Force as a fundraiser, driven by a passion to raise money to find a cure for his granddaughter.

“In 2019, he rallied literally everyone he knew—and continues to do so—to ride for Cora. He sends emails, has meetings and sends out texts often to remind people and invite them,” she says.

In other parts of the country, the CF Foundation has its own organized rides to raise funds to find a cure for CF, but Beaver says the Rocky Mountain chapter discontinued its annual ride around the time of COVID. So, Dave Beaver organized a group of his friends to ride in the Buffalo Bicycle Classic, with donations riders raise benefiting the CF Foundation, she says.

“My mother-in-law (Doreen Beaver) actually worked at the university for 30-plus years, so we have strong roots at CU, and that’s why we wanted to do the ride there,” Beaver says. “Plus, it’s a great ride, we love the area, and because of the location it was easy for (the riders) to be able to attend.”

Cora Beaver on her scooter at the Buffalo Bicycle Classic (Photo: Beaver family)

Organizers of the Buffalo Bicycle Classic have allowed the CF Foundation to have a booth at the event every year, which Beaver says has been a great way raise awareness about CF, efforts to find a cure and Team Cora Force.

As for the riders on Team Cora Force, Beaver says they are easy to spot, thanks to their distinctive purple and gold bike jerseys with the words “Breathe In” on one side and “Breathe Out” on the other. She says riders participate in all levels of the Buff ride, from the 10-mile Little Buff to the 100-mile Front Range Century and everything in between.

Ridership on Team Cora Force has grown every year, currently averaging between 35 and 40 participants, according to Beaver.

“Our goal is always to raise about $40,000 a year with our team for the CF Foundation,” she says. “I don’t know what our exact number is for this year, because we leave it open where people can continue to donate after the ride, but we always raise quite a bit of money for the CF Foundation under Team Cora Force. All gifts are tax deductible, because it’s a nonprofit, and people donate whatever they feel comfortable giving.”

Beaver estimates Team Cora Force has generated about $200,000 since it first started its fundraising efforts. And while she acknowledges the goal is ambitious, she says she would love to see the group raise $1 million in total for the CF Foundation by the time Cora is ready to attend college.

“We love raising money for the CF Foundation, which is just a remarkable organization,” she says. “They do so much, not just to help find a cure, but they do much more for us families. With CF, it’s just a very difficult disease and it affects our everyday lives a lot, so we’re grateful for everything they do to help us. I don’t think that our experience as parents of a little one with CF would have gone as well as it has without the CF Foundation; they’ve been truly remarkable.”

Beaver says that, for their part, riders have remarked how satisfying it’s been for them to arrive at the finish line to find Cora and other Beaver family members congratulating them.

“It’s always really sweet, because Cora is often at the finish line with her little cowbells, cheering them on,” she says. “It’s not uncommon for riders to have a few tears in their eyes at the end, knowing they did this hard ride to raise money for the CF Foundation, and seeing Cora there to welcome them.”

Top image: David Beaver (left) and daughter Brenna at the Buffalo Bicycle Classic (Photo: Beaver family)

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They ride for 5-year-old Cora Beaver, who was diagnosed with the illness shortly after birth.

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He will, he will rock you

Anonymous — Thu, 10 Oct 2024 13:11:59 +0000

He will, he will rock you Anonymous (not verified) Thu, 10/10/2024 - 07:11

Rachel Sauer

Pursuing a passion for music, CU Boulder economist Murat Iyigun transforms from recognized expert on economics of the family and economic history to regional rock star with a growing musical reputation

In a low-key pub and grill on a quiet street in Littleton, Colorado, it’s about 10 minutes to 8 on a Saturday night, and the renowned economist seems to be in six places at once.

He’s sound checking his guitar and finalizing plans with the light technician and joking with the singers and ticking through the set list with the drummer and donning a dusky green bomber jacket and wraparound shades.

The dance floor in front of the stage is empty for now, but it won’t be for long. At a little after 8, members of the steadily growing audience put down their forks and drinks to welcome—as they’d been invited, as the musicians had been introduced—the Custom Shop Band.

Murat Iyigun is a professor of economics focusing on the economics of the family and economic history.

A kaleidoscope of colored lights flashes from the rafters toward the stage as lead singers Amy Gray, Mckenna Lee and Abbey Kochevar begin an iconic refrain: stomp-stomp-clap, stomp-stomp-clap.

“Buddy you're a boy, make a big noise, playin' in the street, gonna be a big man someday,” Gray sings, achieving the stratospheric, Mercurian growl and grandeur of the original. “You got mud on your face, you big disgrace, kickin' your can all over the place. Singin'…”

The renowned economist leans toward his mic and joins the immortal chorus: “We will, we will rock you.”

It wasn’t so much a threat as a promise. For the next four hours, minus breaks between sets, the band founded by Murat Iyigun, a �鶹��Ƶ professor of economics and former economist with the Federal Reserve Board in Washington, D.C., would rock everyone there.

And they would rock hard.

‘You should listen to Queen’

The question, then, is how does a scholar and economist widely known for his research on the economics of the family and economic history come to be on a pub-and-grill stage on a Saturday night, slaying licks originally conceived by Brian May?

“Life is funny, isn’t it?” Iyigun admits.

The story starts, as not many rock stories do, in Ankara, Turkey. The son of a Turkish father and a Turkish-American mother, Iyigun grew up during a tumultuous time in Turkey, when older kids might stop him on the street to ask whether he was a leftist or a rightist. Still, he says, he was lucky and maybe even a little sheltered, while some of his older sisters’ friends became victims of the left/right violence.

It was that violence, in fact, that caused his older sister’s university to be shut down for seven months. To continue her chemistry studies, she transferred to The Ohio State University, but not before leaving her LP collection to her younger brother.

“I was about 13, and I was counting the days to when she left in July because I was going to be getting all the LPs,” Iyigun recalls with a laugh. “‘Hotel California’ was huge that summer, and then there was Cat Stevens, ELO. I was totally captivated even though, compared to now, things were so closed for us. Going to the U.S. was like going to Mars. But in terms of music and Western culture, especially among urban secular Turks, we followed everything.

Murat Iyigun was inspired to learn to play the guitar after hearing Queen's album Live Killers. (Photos: The Custom Shop Band)

“Now you can get all the vinyls and they’re easy to come by, but at that time people basically made tapes that everyone shared around. There was all this bootleg stuff that would come from Europe, and someone in Istanbul would press some vinyls, but I was never sure if they had an agreement (with the record labels) or if those were counterfeit.”

At the tender age of 13, Iyigun was more into the mellow side of rock n’ roll. A few years deeper into his teens, however, and he discovered KISS. Visiting family in the United States during the summer of ’78—a time that might be considered the fever-pitch apex of the band’s makeup years—Iyigun acquired all things KISS: T-shirts, posters, tapes, you name it.

It might have been the following summer, he doesn’t remember exactly, that he went camping with friends and met one of the great platonic loves of his teenage years—an older girl who inadvertently changed his life.

“She said, ‘You should listen to Queen, they’re a great band,’” Iyigun recalls. “So, I asked someone to make me a tape of the Live Killers album, and that was it.”

It says something about what happened to him, listening to that album, that he currently has—in a glass case in his Boulder home—a replica of May’s immortal Red Special guitar, signed by May. Iyigun also bought Red Special replicas for both of his daughters.

He heard Live Killers and had to learn to play guitar, is the point. Then he and some of his friends, including an ambassador’s son whose presence allowed them to practice at the Swiss embassy in Ankara, formed a band. Iyigun absolutely loved it, but making it as a rock musician in a Muslim country in the 1980s started to strike him as increasingly impossible.

“I thought, ‘OK, I need to get my act together,’” Iyigun says, so he came to the United States to earn an MBA at Boston University and then a master’s and PhD in economics at Brown University.

His parents had given him a Les Paul guitar when he graduated high school and began studying business administration at Hacettepe University—“in Turkey back then you just didn’t have these instruments, so for my parents I know this was very costly,” he explains—and as a graduate student at Brown he bought an amp and noodled around at home.

The Custom Shop Band includes, left to right, lead guitarist Murat Iyigun; singers Amy Gray, Mckenna Lee and Abbey Kochevar; drummer Kevin Thomas; bassist Elliot Elder; and keyboardist Tone Show. Steve Johnson (not pictured) also is a member of the band. (Photo: The Custom Shop Band)

But then life happened. He was beginning his career, he had a wife and young children, he was working toward tenure, and he just didn’t have time to play, for more than a decade.

Then, about 15 or so years ago, at a time he was hardly ever playing guitar, his daughters and wife gave him the game Guitar Hero for Father’s Day. He played it a bit and realized the game console was an instrument in its own way, so with typical focus “I thought, ‘I need to learn to play it well,’” he says. “It’s nothing like guitar playing, but I thought I could learn to do this, and then I was thinking about how I used to play. And that’s when I brought out my guitar.”

Learning through blues jams

“Once I started to come back to it, I realized some of my fundamentals had gone,” Iyigun says. “So, I started by taking these baby steps. I immediately hooked up with a great music teacher, Jeff Sollohub, a Berklee (College of Music) graduate and super nice guy, and every two weeks I’d work with him on a new song, on composition and things like that.

“Within a year or two, I realized I’m only going to get so good if I don’t actually go out and play. By the time I came back to it, there were so many more resources online, YouTube and things like that, and I still got a lot of joy out of playing at home. But I quickly realized there’s a limit to how much I can improve unless I get out and play. That’s when I discovered blues jams, which are the easiest way to go play live even though blues is super difficult to play well.”

He went to multiple blues jams a month around metro Denver and endured the “painful, painful learning process.” A significant moment of clarity and focus came when he saw the parallels between being onstage playing and lecturing in front of a full classroom or at an economics conference.

“I had a lot of embarrassing days where the ride home would be miserable, and I did that for a couple of years, and I was discovering other jams and just kept playing,” he says. “The limitation of blues jams, though, is you pack all the gear, get in the car, drive 40 minutes, get on the list, then the person running the jam will put these bands together and you play for 20 minutes. So, I drove there an hour, waited an hour, spent this time to play 20 minutes—and 18 minutes of that was painful.

“But after doing that a couple years, this blues band of three guys needed a guitar player, and they’d seen me play, so they said, ‘Do you want to join a band?’ I joined for about a year, and there was this point where I’m like, ‘Yeah, this is what I want.’”

Inside, though, he was still the kid obsessed with KISS and Queen who knew all the guitar greats, not just the blues ones. He was treasurer for Mile High Blues Society, but he wanted to play rock.

[video:https://www.youtube.com/watch?v=1GsmjeOjVPs]

Joining the band

The Custom Shop Band—the name is a reference to the custom guitars Iyigun plays—came together in a way that could be interpreted as either patchwork or destiny: friends of friends, acquaintances who know a guy, calls and emails that began with, “Hey, are you interested in being in a band?”

Elliot Elder, the Custom Shop Band bass player and a 2022 CU Boulder graduate in jazz bass performance, was recommended by a mutual friend. Amy Gray, the original in what is now a trio of lead singers, was recommended to Iyigun by another mutual friend:

“I was singing with another band and had recently left them when I got a message from Murat,” Gray says. “He saw me in a video from that band, and he said they were looking for someone to do backups and fill in when their lead at the time was not available.

“So, I looked them up, I went to a show to see what they sounded like and saw that they played some fun songs, that they as instrumentalists all sounded good, so I thought, ‘Why not, let’s give it a chance, they all seem very nice’ and I jumped in and went with it.”

Murat Iyigun joins in on harmony during the Custom Shop Band's set list of "hits, with a twist."

Gray recruited Kochevar, whom she knew from performing with her in theater, and Lee, who had recently moved to Colorado from California and whom she knew through mutual friends. And that’s how the Custom Shop Band has worked: Iyigun founded it and continues to act as band leader and manager, but in every other way it’s a democracy.

“Murat is an awesome band leader,” Elder says. “One of the reasons why a lot of bands don’t get past a certain point, in my opinion, is the band leader doesn’t have the flexibility and communication skills to manage situations where lineups change, things change on short notice, people have different ideas about how a song should be played. Murat’s emailing venues, scheduling gigs, managing lineups and all the while teaching at CU. He puts a lot of work into it. You meet a lot of people in the music scene who don’t communicate, who don’t get details to people on time, but Murat is definitely an exception.”

The band, which also includes Kevin Thomas on drums and either Tone Show or Steve Johnson on guitar and keyboards, practices in-person when adding a new song to the set list or a new musician, but otherwise its members practice at home with versions of the songs that Iyigun sends to everyone. In keeping with the band’s democratic ethos, every member brings song suggestions to the table.

At any given show, the Custom Shop Band may open with Queen’s “We Will Rock You,” and soon thereafter play “Flowers” by Miley Cyrus and “It’s Raining Men” by The Weather Girls, which might be followed by a mashup of Foreigner’s “Jukebox Hero” and Led Zeppelin’s “Whole Lotta Love.”

On a Saturday night in September, at a pub and grill on a quiet street in Littleton, “So What” by P!nk gets booties to the dance floor in a joyful melee. A dude to the left is lost in his own world of intricate air guitar and a lady on the right has divested herself of shoes. A little later, as the band plays Cheap Trick’s “I Want You to Want Me,” the air guitarist to the left reaches a fever pitch as the band’s lead guitarist, who also happens to be a renowned economist, absolutely wails on the solo.

And transitioning smoothly into Sweet’s “Ballroom Blitz,” the dancefloor still throbbing, the economist is grinning wide.

He will rock you.

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Building bridges between Boulder and Ukraine

Anonymous — Wed, 18 Sep 2024 16:21:58 +0000

Building bridges between Boulder and Ukraine Anonymous (not verified) Wed, 09/18/2024 - 10:21

Rachel Sauer

CU scholar Rai Farrelly is partnering with English language teachers in Ukraine this semester through a U.S. Department of State program

In some of Rai Farrelly’s first meetings with her new colleagues, they warned her that the air raid sirens might go off while she’s observing their classes.

If that happens, she recalls them telling her, they’ll run down to the bunker in the basement and hope that a nationwide effort to increase internet capacity in subterranean locations has reached their schools and universities. And then they’ll pick up where they left off, because students are still eager to learn, and her colleagues’ job is to teach them.

Farrelly, a teaching associate professor and Teaching English to Speakers of Other Languages (TESOL) director in the �鶹��Ƶ Department of Linguistics, is virtually partnering with educators in Ukraine this semester through the U.S. Department of State English Language Specialist Program.

Rai Farrelly, a teaching associate professor and TESOL director in the CU Boulder Department of Linguistics, is virtually partnering with educators in Ukraine this semester through the U.S. Department of State English Language Specialist Program.

The Ukrainian educators are part of the State Department’s Access Program and work with either teenagers in after-school programs or undergraduate students training to be teachers in any subject because “Ukraine has a plan to start teaching all their content in English coming up very soon,” Farrelly explains.

In her role as an English Language Specialist (ELS), Farrelly will observe classes and partner with teachers in Ukraine on strategies and methods for teaching large, mixed-level English classes. Farrelly’s TESOL students at CU Boulder also will partner with English language students in Ukraine via virtual conversation sessions.

“Our realities are worlds apart,” Farrelly says, “yet we'll be connected online and building community together.”

Educational collaboration

Farrelly, whose teaching experience has taken her around the world—from Armenia to Tanzania, where she co-founded Project Wezesha to help support students from rural areas who are pursuing post-secondary education—qualified as a State Department ELS several years ago.

To qualify as an ELS, an educator must have a master’s or PhD in TESOL or applied linguistics and the ability to partner with teachers and students around the world either in person or virtually. The program, which is organized through U.S. embassies and regional language officers around the world, focuses on “delivering and maintaining quality English language programs overseas and promoting mutual understanding between the U.S. and other countries.”

During the COVID pandemic, Farrelly accepted virtual ELS positions in South Korea and then Panama. Last semester, her pedagogical grammar class at CU taught English through a virtual cross-cultural exchange with learners at a language school in Arequipa, Peru.

“I have a really nice relationship with colleagues at this school, and they were like, ‘Rai, send your teachers,’” Farrelly says. “Because of that, we have had three CU students teach there, so this program really opens up doors, and I’m going to be working with them again this semester.”

The teachers in Ukraine with whom Farrelly is collaborating this semester have mentioned many of the challenges that English language teachers worldwide face: how to scaffold instruction in classes that contain everything from absolute beginners to intermediate-level speakers; when and how to correct pronunciation and grammar; how to group students during oral exercises; how to invite participation in a way that helps students feel excited to speak.

To help her support the teachers in Ukraine, Farrelly is even arranging a Zoom session with the 14-year-old daughters of three of her friends “so I can do a playful interview on the gender dynamics in class and what their teachers do in a U.S. class to make it comfortable for them,” she says. “That’s one of the concerns that my colleagues in Ukraine have expressed, that 14-year-old boys won’t work with girls and how can they get them to work in groups.”

Seeing people as people

Farrelly says her experiences working with English-teaching colleagues around the world—including in Indonesia and Russia—have taught her the vital importance of a “community of practice and what it means to work closely with teachers who ‘speak your language,’” she says.

I just like approaching teacher development collaboratively and creating bonds with people. I love the relationships you form with other teachers—those connection moments where you’re like, ‘Oh, my gosh, I’m dealing with that same issue!’ And the next thing you know, ideas start forming.”

One of the biggest and most pervasive challenges in the TESOL field is the incorrect notion that anybody who speaks English can teach it. “Decades ago, anyone could step off a plane, and if you looked like me and talked like me, you could get a job,” Farrelly says. “Meanwhile, teachers in those countries who go through pedagogical training, who get degrees in teaching English, weren’t getting jobs.

“Even now, there are a lot of short TEFL or TESOL certificates you can get online. Meanwhile, I’m the director of the TESOL program at CU, and my students are taking five or six courses with me to earn a TESOL certificate. There’s a depth and breadth of proper preparation that goes beyond how to teach a language. It’s about understanding individual differences, personalities, motivations, culture, how your (first language) influences acquisition, classroom management, curriculum design. There’s so much that goes into it that’s beyond simply speaking English.”

In her ELS role, Farrelly says a significant focus is teacher mentoring and teacher development: “I’m such a huge fan of collaboration, especially among teachers,” she says. “So much of what I’ve done is grounded in working with teachers, and I never want teachers to see me as this expert outsider who’s coming in and telling them what to do. I just like approaching teacher development collaboratively and creating bonds with people. I love the relationships you form with other teachers—those connection moments where you’re like, ‘Oh, my gosh, I’m dealing with that same issue!’ And the next thing you know, ideas start forming.”

The fact that Ukraine is a country at war and that geopolitics add a complicated layer to Farrelly’s collaboration with teachers there—in fact, she doesn’t mention her previous experience with teachers and students in Vladimir, Russia—underscores the importance of global partnerships, she says.

“It helps you see people as people and humanizes everyone,” she says. “That’s one of the main aims of State Department programs. It’s access for learners and mentoring for professionals, but it’s about bridging those gaps and promoting cross-cultural understanding. It doesn’t matter where you’re from, at the end of day we can all find so many commonalities.”

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CU scholar Rai Farrelly is partnering with English language teachers in Ukraine this semester through a U.S. Department of State program.

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Financial adviser to share tips on achieving fiscal health

Anonymous — Wed, 11 Sep 2024 20:56:32 +0000

Financial adviser to share tips on achieving fiscal health Anonymous (not verified) Wed, 09/11/2024 - 14:56

‘Let's CU Well: Building a Secure Financial Future: Strategies for Saving, Investing and Achieving Financial Independence’ is scheduled for Sept. 25 at 1 p.m. via Zoom

A �鶹��Ƶ finance expert will lead an online workshop on how to build a secure financial future this month.

Diane Hirschhorn is a is a lecturer of finance in the Leeds School of Business with more than 20 years of wealth-management experience as a financial advisor.

The College of Arts and Sciences event, titled “Let's CU Well: Building a Secure Financial Future: Strategies for Saving, Investing and Achieving Financial Independence,” with Diane Hirschhorn, is scheduled for 1 p.m. Sept. 25 via Zoom. Attendance is free, but registration is required at this link.

Hirschhorn is a is a lecturer of finance in the Leeds School of Business. She has more than 20 years of wealth-management experience as a financial advisor, providing complete wealth management strategies to clients.

Prior to lecturing at CU Boulder, she was a managing director at First Republic Bank. Previously, she worked for Merrill Lynch and Goldman Sachs. During her career as a wealth advisor, she has received several industry awards. At CU Boulder, she is the recipient of a Marinus Smith Award, which recognizes faculty and staff members who have had “a particularly positive impact on our students.”

Hirschhorn received a bachelor’s degree in economics from Cornell University and an MBA from the Anderson School at UCLA. She is also a Certified Private Wealth Advisor.

In the talk this month, she will focus on three areas:

Financial independence.
Earning more interest on your bank account: tips on how to optimize savings and earn higher interest.
Setting a retirement goal: guiding participants on how to establish clear and achievable retirement goals through some very simple math.

Learn to build a secure financial future

What: Let's CU Well: “Building a Secure Financial Future: Strategies for Saving, Investing, and Achieving Financial Independence,” with Diane Hirschhorn

When: Wednesday, Sept. 25, 1 p.m.

Where: Zoom, registration is required.

The hour-long session will revisit important strategies to optimize savings and earn higher interest on your bank account.

The session will conclude with a practical framework to help you decide whether to focus on paying down debt or investing for growth.

The workshop is sponsored by Be Well, the college’s wellness initiative. Let’s CU Well is the initiative’s regular series of expert presentations. The workshop is co-sponsored by the college’s Office for Justice, Equity, Diversity and Inclusion.

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‘Let's CU Well: Building a Secure Financial Future: Strategies for Saving, Investing and Achieving Financial Independence’ is scheduled for Sept. 25 at 1 p.m. via Zoom.

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Bringing multitudes to life

Anonymous — Wed, 28 Aug 2024 17:52:48 +0000

Bringing multitudes to life Anonymous (not verified) Wed, 08/28/2024 - 11:52

From Oprah to Wakanda, CU Boulder alum Aba Arthur has charted a career in which the most impressive thing isn’t necessarily the glow of Hollywood, but the joy of finding her voice in a new world that hasn’t been universally welcoming

Listen to The Ampersand

From a fairly young age, Aba Arthur watched movies and TV with a critical eye. If something happened in a show that she didn’t agree with, well, she just marched right upstairs and rewrote the scene.

That early confidence in her storytelling, in her writing, in her ability to breathe life into a character who previously only existed on a page in her journal has supported her through a career whose highlights include major Hollywood films, books and one-woman shows.

Arthur, who currently plays the character Samara in the show Bad Monkey on Hulu, also appeared in Black Panther: Wakanda Forever and the 2023 film adaptation of The Color Purple musical.

Despite her success—the kind that justifies a certain confidence—she still sometimes finds herself in her car, staring out the window and breathing deep. It’s when she reminds herself “who I am, where I’m going. My words are valuable. I have something to say that matters, and I’m going to kill it.”

Arthur, a 2005 �鶹��Ƶ graduate in theater and dance, recently joined host Erika Randall, associate dean for student success in the College of Arts and Sciences, on The Ampersand, the college podcast. Randall—who also is a dancer, professor, mother, filmmaker and writer—joins guests in exploring stories about “ANDing” as a “full sensory verb” that describes experience and possibility.

Their discussion roamed from the red carpet to the couch with a bag of Cheeto Puffs, with stops in between for mentorship, nostalgia, the joy of making art and what it was like stepping off the flight from Ghana to Colorado.

Aba Arthur (right) on the set of The Color Purple with Oprah Winfrey (left). (Photo: Aba Arthur)

Arthur: I have such a vivid memory of getting off the plane. I'm coming from Ghana and I'm coming to Colorado Springs, Colorado. So, I had only seen on TV or in pictures these guys, and they wear jeans, and they have these big hats. But I didn't know anything about them, so they felt like fictional characters. And I remember so well getting off the plane at the airport and I saw these guys, which I later learned the term was "cowboy."

Randall: In their Wranglers.

Arthur: Yeah:

Randall: In the hats.

Arthur: And the boots. And I remember getting off the plane and just being like, something just happened. Because these people are not where I just came from, and now there are a lot of them. And I've been watching them. So, this is so cool. I've stepped into something new. I think that is the first big memory that I have, period.

Randall: Changed your life. That's incredible. You arrive in the Springs, all the things happen. Next moment, where's the next postcard to yourself that says, ah, Aba, here we go?

Erika Randall (left) and Aba Arthur (right) discussing Hollywood and mentorship and the joy of making art. (Photo: Timothy Grassley)

Arthur: Oof. Oof. It’s a tough one. My first experience with racism. A young boy in my school told me that my skin was dirty. Yeah. I went back to class, and I was crying. My teacher asked me what happened, and I told her, and then she disciplined me. I had to sit in the corner, and I had to face the wall, because she said I was being a distraction. My crying was distracting the class. Yes, this is a true story.

So, I had to sit in a corner of the room and face the wall. And I remember so vividly at some point they were just continuing with class. And I was like, what? I don’t know how old I am. Let’s pick an age.

Randall: Say, 8 or 9?

Arthur: I don’t know, 8? (Laughs)

Randall: All on the Wikipedia page I’m building for you. Age 8.

Arthur: This is still elementary school, though—too young.

Randall: Too young to hear that, to feel that, to be put in a corner.

Arthur: And I’m listening to the class continue. She’s teaching, and I’m in the corner of the room. And so, at some point I turned around and I’m watching them, and they’re just having class. Everybody’s just continuing on like everything is normal. And that was a strong memory.

Randall: Is that memory as yet in a film? Because I’m watching that movie.

Arthur: It’s just going to take a second. Probably. That’s a tough one for me. It’s going to take me a second to work through that. Because I have to watch that scene, if they’re going to do it.

Randall: And hearing that story, sharing that story, is a critical action of undoing racism. And the work that you choose, you are writing critical stories about undoing racism. You are ANDing with political science the way that you’re in theater and political science. But your body politic is your body showing up as representation. Does that feel true for you?

Arthur: Yes, I love ampersands. And multihyphenate is a term that it took me a while to sink into. So, for me, it was always “&.” This & this & this. And I’m equally all of them.

Randall: And with that is engaging those identities to then bring forth new character into worlds. I’m listening to you and I’m watching your reel, and I don’t think you need confidence. Do you need confidence?

Arthur: No.

Randall: No.

Aba Arthur on the set of Black Panther: Wakanda Forever. (Photos: Aba Arthur)

Arthur: I have a lot of it. (laughs)

Randall: Where did this come from, and can we bottle it?

Arthur: I wish. It comes from so many things. It comes from being the fourth-born child of a very high-achieving family. It comes from being the new kid a lot. You have to know who you are when you’re the new kid.

Randall: And in Hollywood, you’re the new kid in every room for a minute.

Arthur: Yes.

Randall: Are you not the new kid yet?

Arthur: I’m always the new kid, yeah. I’m the new kid a lot. And so, I didn’t realize at the time—another one of those life-changing things you don’t understand—as we were moving, I didn’t realize the effect that would have on my life in the future. The positive effect it would have on my life in the future. Because when you’re a kid, it’s hard. That stuff is difficult. And I didn’t want to be the new kid and I didn’t want to have to find that confidence. But I always felt like if I come in the room and I am as wonderful and as great as I am, the people that are supposed to be in my life will come to me.

Randall: You are a galaxy. Yeah.

Arthur: I really appreciate that. And I’m going to walk with that, because I feel like you have to protect your own peace and your own space. And coming into new environments over and over and over again, if you don’t know who you are, then you’ll get lost. And you’ll go with the trends and you’ll do what other people say, because it feels better to be a part than to be an outsider.

Randall: So be the new kid.

Arthur: I excel at being the new kid now. I excel because I’m coming in as who I am. So, rock with me or not.

Randall: That’s right. That’s right. Were you a journaler?

I excel at being the new kid now. I excel because I’m coming in as who I am. So, rock with me or not.”

Arthur: Uh-huh. Oh, my gosh.

Randall: Are you going to burn those or publish them?

Arthur: I have them all, yeah. You know why I have them?

Randall: I want to know.

Arthur: So, I would watch television and the audacity of myself as a child. I think about it now, I’m like, wow!

Randall: I love it.

Arthur: I would watch television, and I would be like, hmm, I don’t like the way that ended. And then I would go upstairs and I would rewrite it.

Randall: You would actually script it?

Arthur: Yes, I would rewrite it. I would write it like, hmm, “So, Chad walked in, and he saw Sarah, and then he walked over and kissed her.” But in the show, maybe he didn’t walk over and kiss her first. Maybe they just talked for a while. So, I just would rewrite it the way I wanted to see it. And I would do that a lot. I would write myself into the shows.

Click the button below to hear the entire episode.

Listen to The Ampersand

Top image: Photos courtesy Aba Arthur

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Noted animal behaviorist Temple Grandin to speak at disability symposium

Anonymous — Mon, 19 Aug 2024 21:22:24 +0000

Noted animal behaviorist Temple Grandin to speak at disability symposium Anonymous (not verified) Mon, 08/19/2024 - 15:22

CSU professor credits her autism for her ability to think in pictures and thereby notice things that most people overlook

Temple Grandin, a groundgreaking professor of animal science at Colorado State University whose work has led to the more humane treatment of livestock around the world, will speak at the �鶹��Ƶ Disability Symposium Oct. 8 and 14-18.

According to David Braz, a faculty affairs coordinator in the College of Arts and Sciences, the symposium aims to bring attention to people who have traditionally flown under the radar.

“When we talk about diversity, equity and inclusion in public settings, and highlight a lot of groups that have been historically excluded, a group that does not seem to get as much attention are individuals with disabilities, whether apparent or not apparent,” he says.

One disability, or different ability, that often goes unseen is autism, something with which Grandin herself is intimately familiar.

Grandin has written several books about autism and her experiences living with it, including Thinking in Pictures, The Autistic Brain and Emergence: Labeled Autistic, which Oliver Sacks said was “unprecedented because there had never before been an inside narrative of autism.”

Though Grandin, who didn’t speak until she was three and a half years old, encountered teasing and bullying growing up, she nevertheless credits her autism with giving her the ability to think in pictures and thereby notice things that most people overlook.

“The thing about the autistic mind is it attends to details,” Grandin said during a TED Talk in 2010. “The normal brain ignores the details.”

It’s this detail-oriented way of thinking that has enabled Grandin to transform the field of animal agriculture globally. Over the course of her decades-long career, she has written more than 400 articles for scientific journals and livestock periodicals and has designed livestock facilities in the United States, Canada, Europe, Mexico, Australia and New Zealand.

Now perhaps one of the most recognizable and beloved scientists in the world, Grandin believes it is important for people to realize that not everyone thinks in the same way, and that’s a good thing. “The world needs all kinds of minds!”

Grandin's presentation will be in-person and on Zoom from 5:30-7:30 p.m. Oct. 8. Registration is required.

Grandin's presentation kicks off the weeklong symposium, whose aim is “centering the experiences of persons with disabilities on campus." It will focus on a range of topics, including navigating higher education systems while diagnosed with a disability; how disability and ableism are defined; barriers for disabled veterans in academic settings; medical advocacy; and more.

The symposium has been funded for a second year with support from the College of Arts and Sciences and the Office of the Senior Vice Chancellor for Diversity, Equity and Inclusion. The symposium has been made possible through the efforts of the College of Arts and Sciences Office of Justice, Equity, Diversity & Inclusion, University Libraries, the Be Well program, CU Disability Services, the Office of People, Engagement and Culture and students in the College of Arts and Sciences.

The symposium aims to inform students, staff and faculty but is open to the general public.

Registration is required. Links to register are included with each presentation, and each registration page includes the option to request accommodation if needed for registering.

Please note that some symposium attendees and participants may be immunocompromised. All attendees are encouraged to wear a mask while in attendance.

Each year, CU Boulder strives to create an experience that is accessible and accommodates the needs of those with disabilities. If you identify as having a disability, you will have an opportunity to indicate any accommodation requirements when you register using our online registration system. Please also feel free to e-mail us at asinfo@colorado.edu to let us know how we can better enhance your experience.

CSU professor credits her autism for her ability to think in pictures and thereby notice things that most people overlook.

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