Highlights - JULIAN LENNON - Singer-songwriter, Photographer, Doc Filmmaker, Exec. Producer of Common Ground

Interviewed by Mia Funk

How can the arts inspire us to lead lives of greater meaning and connection? What kind of world are we leaving for future generations?

Julian Lennon is a Grammy-nominated singer-songwriter, photographer, documentary filmmaker, and NYTimes bestselling author of children's books. Executive Producer of Common Ground and its predecessor Kiss the Ground, which reached over 1 billion people and inspired the US Department of Agriculture (USDA) to put $20 billion toward soil health. The natural world and indigenous people are also the focus of Lennon’s other documentaries Whaledreamers, and Women of the White Buffalo. In 2007, Julian founded the global environmental and humanitarian organization The White Feather Foundation, whose key initiatives are education, health, conservation, and the protection of indigenous culture, causes he also advances through his photography, exhibited across the US and Europe. His latest album Jude spans a body of work created over the last 30 years. Julian was named a Peace Laureate by UNESCO in 2020.

THE CREATIVE PROCESS · ONE PLANET PODCAST

Congratulations on the documentary Common Ground of which you are an executive producer. I just saw it and it's an amazingly personal and informative film/series/movement now and with so many people involved being a voice for nature and speaking up for soil that sustains life on Earth. It blows my mind when I think about it, it's kind of magic that one teaspoon of fertile soil contains more living organisms than there are people on the planet! Tell us a little bit about the genesis and mission of the film Common Ground and how you were drawn to the story.

JULIAN LENNON

I thought, wow, how are they going to bring this across in a way that isn't shoving things down people's throats? It's presenting information in a way that is creative, but also in a way that drives your curiosity into understanding, number one, why are we in the position that we're in? And number two, how can we fix this? What can we do to change all of this?

And so, I initially got involved as an executive producer on Kiss the Ground, and I was blown away by how that film came out at the end. How well rounded it was, the flow of the film, the storytelling, and really feeding me information that I didn't even know previously. And so, and also watching that become a platform around the world was jaw-dropping. I mean, the fact that the belief and the understanding and the wisdom that came out of that project has touched so many hearts, minds, and souls around the world, that people are really single-handedly almost making change for the better around the world.

Now, when Common Ground was presented, I did love that concept because Kiss the Ground had been very much a broad approach and about America, for the majority, really, and Common Ground was a much more...I mean, we're still dealing with the same subject matter obviously, but I think it felt great to come from a more personal aspect.

With this film in particular tugging at people's hearts, regarding family. I mean, really trying to get the point across that this really affects all of us in every way, shape, or form, and that, you know, if we don't do anything...It seems to me that since the beginning of time almost, at least in the corporate world, there's always been walls put up for anything that's organic, positive, natural, and the list goes on. And I think that filters down in many fields. And so be part of something, a positive movement that continues to do such great work, I just keep my fingers crossed. And obviously, my job here as well is to support in any way, shape I can.

And of course, I believe in everything that's being told. It is the truth. These are the facts of our lives at the moment. And, if we don't look after Mother Earth, Gaia, she can't look after us. It's a shared experience. It's a balance between things, everything in life. You know, we need each other.

Everything affects everything else. So it's key that we all take part in trying to make this place a better world for everybody. And, you know, when you see the logic behind the fact that it is possible to feed the world. It really is. And it's possible to make so many positive changes. You know, I've always been an advocate for, of course, trying to protect indigenous peoples around the world because although their logic may seem simple, it works. It's real. It's respect, not only for one another, it's respect for the Earth that we live on and that can be the only way forward that this is all going to work out. I get frustrated at the fact that I don't see why so many people just don't understand this. It's key.

Gabe brown · Jason momoa · donald glover · Rosario dawson · Rebecca & Josh Tickell

THE CREATIVE PROCESS · ONE PLANET PODCAST

Well, I think that's what these films and your other films before - because you've been a filmmaker for a number of years, especially on these indigenous stories and environmental issues - put across so well. We see the health benefits, the difference between healthy soil from regenerative farming and dead soil from industrial farming. There's a spiritual sense in this, too. And we just have to relearn what we've forgotten or been brainwashed by the agrochemical lobby to forget. We have to stop killing the soil that feeds us. There are many positive statistics in the film but one that stayed with me was that if the whole planet adopted regenerative agriculture, we could sequester all the carbon that we're currently emitting.

JULIAN LENNON

We're polluting the seas and the waters. We're polluting the soil. We're polluting every aspect of our lives. So there's no getting away from it. That's absolutely sure. And yes, there is absolutely a way forward to make change. And yes, it is a question of relearning so much, without question. I mean, part of the reason that not only did I start the White Feather Foundation with indigenous tribes in mind back then. And then, one of the key ways forward for me was education, of course. I think that's been part of our problem worldwide. People just haven't known how serious or taken it seriously enough before. And there's so much propaganda that's misinformation that's pushed out into the world. You see in the film as well how the truth gets pushed away and shoved aside by money and greed and corporations. And that's a really difficult one to get over, but, you know, writing the children's books was a way to get in the same theme. Again, not shoving it down their throats, but presenting the situation as is and getting children to say...Reading and asking and reminding their parents, and relearning as well. Why is there plastic in the water? Why don't they have any water over there? Why, do you know, why? And there are answers for all of this, and the parents need to pick up on that too.

But this should be made, you know, these two films and many more should be mandatory. I mean, you want to talk about Clockwork Orange...I don't mean pinning their eyes back, you know, forcing them to watch the film, but certainly, this really should become part of the curriculum in many ways.

I hate to use the word logic all the time, but if you're not ignorant and you have an understanding about the world around you, then you know how you can help it. You can know how to make changes and how to move forward. And this is exactly what these films do.

So, may that Josh and Rebecca and everybody who supports them continue moving forward and making more films because until things change, which they are changing, thankfully. I think it's a real credit to Josh and Rebecca, how many lives they've changed and how many eyes and ears they've opened through the course of their filmmaking.

Kogi Tribe/Colombia #4, 2014, Julian Lennon (Copy) (Copy)

THE CREATIVE PROCESS · ONE PLANET PODCAST

Speaking about your environmentalism and your children's books, which have been all about the Earth - Touch the Earth, Heal the Earth, Love the Earth, which could be seen as like an entryway into the adult audience for Common Ground and your other films. You point to something being wrong with our global Capitalist system. And you've spent so much time in your documentary work and your photography, visiting Indigenous peoples. You know, colonialization just didn't take over the lands, but language was lost. And with that Indigenous intergenerational knowledge. I know that you made the film Women of the White Buffalo, which is about the Lakota people. And I always remember something Tiokasin Ghosthorse said. It's quite powerful. When you think about the Lakota language being a language of verbs and not nouns and ownership. "Dogma and domination have no relationship with the Earth. It's taken us away from the language of the Earth, we have to remember how to speak the language of the Earth."

JULIAN LENNON

This is why protecting the Indigenous around the world has been an important cause for me because of that history, because of their knowledge, and the potential of losing it forever. I know that around the world that there are groups that are striving and doing the best that they can to maintain and hold onto those languages, doing as much research and capturing as much of that knowledge as possible. You know, fortunately, there are some incredible, dare I say, youngsters these days who are learning, who have such respect for their elders and their history and their past. They are learning the language and holding onto it as best as they can. As I said, I think the fact that it's all being recorded now and put down, and hopefully nothing further bad happens. I think it's key because we've learned so much from the Indigenous. You know, we're part of that history. It's just we've lost our way. They still know where they're going. It's just the rest of us that have been misguided, I would say, in the bigger scheme of things. The other thing was we, you know, for many, I mean we didn't know any better. That's no excuse, but, you know, we all rode on that bandwagon too of enjoying life to the extremes before we knew, really what that meant, how that abused not only people but the Earth. And the situation that we live in, as you see in the film also, I think we're only just seeing the tip of the surface really about the quantity of illness that is coming from the past 50 years of the way things have been done. I mean, the general public didn't know about so, so many of the bad things that were happening. The poisoning, the chemicals in our food, in all of our products, whether it's from, deodorants to hairsprays to makeup. It's really only in the past few years that there's been a decent should I say shift in that world and that finally some companies are taking responsibility for their actions and their positions, and they're trying to change things too. So little by little, little by little, but, but it's working.

Horizon 2014, Julian Lennon (Copy) (Copy)

Haven 2014, Julian Lennon (Copy) (Copy)

THE CREATIVE PROCESS · ONE PLANET PODCAST

Your environmentalism, of course, goes way back. We hear in your songs like “Saltwater”. Tell me a little bit about founding the White Feather Foundation. I believe its name has a deeply personal significant meaning.

JULIAN LENNON

The song "Saltwater" was number one in Australia and top 10 around most of the world, except for America, where the label I was working with did diddly squat, so nobody really heard it there, but I was number 1 in Australia. We're touring in Australia and in Adelaide, I was called down by the hotel management saying we have an indigenous tribe down here with a couple of international camera crews with a bunch of people. I don't know, 30 people maybe, and they want to talk to you. And I'm going, what about? Because, you know, I was just on the road, and I thought that perhaps, as people do on the road, they play gags on each other, you know. It's a common thing on the road. So I thought it was a joke that there was a group of Aboriginals downstairs.

Anyway, the management calls up, I go down, and lo and behold, there's a semicircle group of Indigenous peoples called the Mirning people. And it was on a small step-up platform, and I walked towards them and the elder, Iris, who's a female, walked up to me with a male swan's white feather, which is about yay big. And I'm thinking, What is this? What's going on? And she says to me, "Can you help us? You have a voice." And what hit me was that many, many, many years ago, Dad had said to me when we were together, that if something were to happen to him, that the way he would let me know that either he was going to be alright, or that we were all going to be alright, would be in the form of a white feather. So when, you know, I'm given this white feather by one of the oldest peoples on the planet, to me that was undeniable. Goosebumps. I just thought, if that's not a sign, I don't know what is, you know? If that's really not a sign. I don't know what it is. So I just said, "Okay, I'll do what I can for the children."

And so I spent on and off, 5, 10 years making a documentary called Whaledreamers about not only the Mirning tribe, but it tied into another film project that the director and I were working on called The Gathering, which is where we brought together 80 elders from around the world, from all the indigenous, as many as we could get in from around the world to meet together around a fireplace and to, you know, talk about their woes and the problems that they have had, and they were all the same. They were all the same. Used and abused, murdered, you know, thrown off their land. The list goes on. And so, it was difficult making the documentary because it was the birth of the Internet. And so the part of the team, the editor was in Byron Bay in Australia, and I was here in Europe. So editing took forever. Anyway, once the film was finished, we were lucky to get a small screening in Cannes, but we won about, not that this is important, but we won about eight independent film awards. And I just thought, Okay, well, you know, if the film makes some money, I really want the money to go back to the Indigenous tribes.

And one thing led to another and I started getting emails saying can you help us with this project? And can you help us with this project? And then I thought, well, maybe I'm in a position where I can continue this. Maybe I can do some further work and good. And so I just thought about the things that were most important to me, looking after indigenous people, cultures, and their land was really important. Clean water, absolutely essential. Obviously, health and education was a massive one. All of that, a lot of that came out of the travels between South America with the Kogi, going to Ethiopia, and the different processes - actually with an organization called Charity Water with Scott Harrison who took me out there to see the wells. The before, during, and after the water wells had been brought to life. And in Kenya, going to schools and health clinics, and being there with the kids. And it was the UN Millennium Villages Project that we were tied in with. That's where it all came from. What touched me the most were those particular subjects. And so, we're, we're a small foundation, and I don't want to be a big foundation. We tend to capture the people and the causes that fall through the cracks, you know. It's all the little projects that nobody seems to get around to, and we live on donations from the public. I mean, that's predominantly how we survive, and how we help people around the world. I mean, all over the world. So it's been a blessing in disguise being able to be fortunate enough to help people out around the world and work on the White Feather Foundation and be part of projects like this, too. So it's a meaningful life.

THE CREATIVE PROCESS · ONE PLANET PODCAST

I've been enjoying also your recent album Jude, and your music throughout your career. I wonder with all your travels and what we see in your photography, what your future collaborations in music might be?

JULIAN LENNON

I don't honestly know entirely where I'm headed musically. I still have a lot of songs that I haven't finished that are relatively recent and some that go back to 40 years ago, if not more. You know, projects like this last album Jude, partially songs that never had a home, you know, that didn't quite fit on an album or another project. And so, I mean, strangely enough, what I've been doing personally for the end of this year has been going through trying to get all the admin out the way, so to speak. For instance, in the last six months to a year, but intensely so in the last few weeks, I've been archiving over 100,000 photographs of mine so that I can put more collections together, so I know where things are, et cetera, to get on with the creativity of photography next year and hopefully get around to a few more charity trips. Same thing with the music, getting that under wraps on the admin side. I don't want to do work with another label again, I think. I prefer to be in a position, where things organically happen, creatively speaking. So, the idea is to be in a position next year where if I write, record, and produce a song in a few days or a week, that within a week or two or a few weeks, I can press a button and release it out to the world. That's my plan for the future. Probably no albums, probably. EPs and singles, as they come. That's the idea for the future. And to just be as happy and present and as creative as possible next year. And help the projects and people that need help. That's my goal for the future. That's how I am. Because, again, if I'm not in a position of focus and in a position of love, then, you know, I can't help anybody else. So that's my goal is to be fully in that headspace next year.

THE CREATIVE PROCESS · ONE PLANET PODCAST

The film Common Ground begins and ends with a letter for the future, for the children of the next generation. I believe you also may be working on a memoir. So as you reflect on your life and your art, what would you like young people to know, preserve, and remember?

JULIAN LENNON

I think one of the key things that I've certainly earned is that you have to follow your instinct. You have to follow your gut. If it feels bad, walk away from it. You know, I think it's self-preservation. And again, it's the old adage that you can't help, you can't love other people if you don't love yourself. And it's akin to that. For me, it's about love and respect, and respecting differences, too. It's all about the fact that we are all different in every way, shape, or form, but you can still love someone for being different. We don't need to be the same to love each other. And nor do we have to have the same opinions. But certainly, I think it's wise to work together for the common good of not only our Earth but our lives and the lives of all creatures on this fair planet of ours. It's a magical world that we live on. It's unique, again, as far as we know, we're the only ones running around like mad people. And I think we should try and enjoy it as best as we can, and we should try and love as best as we can. And we should try and help each other as best as we can because, in the end, we're all connected in every way, shape, and form. And that is the be-all and end-all of it. We are one. We're all in this together.

This interview was conducted by Mia Funk with the participation of collaborating universities and students. Associate Interviews Producers on this episode were Sophie Garnier and Halia Reingold.

The Creative Process is produced by Mia Funk. Additional production support by Katie Foster. Mia Funk is an artist, interviewer and founder of The Creative Process & One Planet Podcast (Conversations about Climate Change & Environmental Solutions).

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Award-winning Author & Filmmaker
According to Her · Solfatara · Segratario

I wondered who could be a better narrator of the story of Jesus than his own Jewish mother? When I was young, as a European Greco-Christian, I was aware of some of my Jewish history, but writing According to Her, I tried to imagine the story of someone considered to be a Messiah or prophet by some Jewish followers. What could be the genuine story of something that really happened or was told? This led me to write a realistic novel about how it could have been.

Comics, Music, Ethics & AI

Eisner Award-nominated Comic Book Author KYLE HIGGINS
Emmy-nominated Producer KARINA MANASHIL & KID CUDI on the Making of Moon Man

So, as we started talking and going through what this could look like. What a new black superhero in 2024 could look like? What would the threats be? What the world might look like if it's maybe not even five minutes in the future? I would argue it's like two and a half minutes in the future. And then what kind of really complex, emotionally layered journey we could put this character through?

Reshaping Our World

Climate Change, Education, Mental Health & Advocacy for Nature

Climate change gives us a chance to re-imagine the world in a way that every single human being can participate in. And so whether you're in a remote part of the United States or some other country, when you learn about climate change, it shouldn't just be the science. It should be the opportunity. –Kathleen Rogers, President of EarthDay·ORG

Songs of Nature

Musicians, Writers, Ecologists & Philosophers on the Mysteries of the Natural World

The natural world has its own sonic language. Its own fingerprints. And that's one of the beautiful things about being out here. There is another acoustic environment, another sort of sonic fingerprint, and it is always changing. Every day is a sort of a different sound picture. I walk out the door and you do hear it changing over time. The leaves are coming in now, different kinds of bird song. The wind sounds different. It's a wonderful thing to be around and experience.
—Max Richter

TARA ISABELLA BURTON

Author of Here in Avalon · Social Creature · Strange Rites: New Religions for a Godless World
Self-Made: Curating Our Image from Da Vinci to the Kardashians
So this idea that we can present ourselves as works of art, that we can create ourselves has always had a particular sort of aristocratic coding, historically associated with monarchs, who create their public image and their public persona, including through fashion. Today, if we don't self-promote, self-create, and self-brand, will we find the right partner? Get into the right college? Even secure the best job?

BRYCE COON

Director of Education · EarthDay.ORG

If you talk to a young person about the climate crisis, they tend to have one of two responses. They either feel like we're not doing enough, and they're advocating for more. The other response is that students would just shut down and wouldn't want to talk about it. I believe introducing climate education is key to addressing that climate anxiety and providing students with climate optimism, hope and solutions.

KATHLEEN ROGERS

President of EarthDay.ORG

The world recognizes that plastics have imperiled our future. Many environmentalists, myself included, view plastics as on par with, if not worse than, climate change because we do see a little light at the end of the tunnel on climate change. Babies vs. Plastics is a collection of studies, and we particularly focused on children and babies because their bodies and brains are more impacted than adults by the 30, 000 chemicals that assault us every day.

The Unseen Invasion of Microplastics in Our Lives

Interview with KATHLEEN ROGERS
President of EarthDay·org

Microplastics and nanoplastic pollution are currently blanketing the planet. They are in the air we breathe, the food we eat, and the water we drink, infiltrating our bodies and even brains and human embryos. Coca-Cola alone sells 100 billion+ single-use plastic bottles each year, ending up in landfills and the ocean. Earth’s population will reach 9.8 billion people by 2050. Two-thirds of humans will become city dwellers. Our waste will drive a mounting worldwide crisis.

POORVA JOSHIPURA

PETA U.K. · Senior Vice President
Author of Survival at Stake: How Our Treatment of Animals is Key to Human Existence

I wrote Survival at Stake because I've been working in animal rights for nearly the past 25 years. Throughout that time, one common question has been asked: Well, shouldn't we deal with human issues first. But animal rights are human rights. Animal rights is environmentalism. These things are not distinct. And that's the point I was really trying to make in my book. I was inspired to write it because of the COVID-19 crisis. It just brings us back to the point of why it is so important to teach people, young people, and young men the importance of being kind to everyone, animals included. If you teach them that, I think the other lessons start to much more automatically transfer over.

LEWIS DARTNELL

Astrobiologist · Science Communicator
Author of Origins: How the Earth Made Us · Being Human: How Our Biology Shaped World History

The challenges facing our society at the moment effectively are the unintended consequence of a solution we found in the late 1700s when society was running out of energy, we had no more timber, and we realized we could dig underground for ancient fossilized woodland, which is basically what coal is from about 300 million years ago. The consequence of burning all that coal and then oil was a release of carbon dioxide, changing our atmosphere and warming the planet. So, it's a problem born out of our ingenuity and resourcefulness, but I'm confident that we will find the solution out of our ingenuity and resourcefulness.

SASHA LUCCIONI

Founding Member of Climate Change AI
AI Researcher & Climate Lead · Hugging Face

My work is really about figuring out how, right now, AI is using resources like energy and emitting greenhouse gases and how it's using our data without our consent. I feel that if we develop AI systems that are more respectful, ethical, and sustainable, we can help future generations so that AI will be less of a risk to society. The way I got into this field was working on the environmentally beneficial applications of AI, and I do believe that that's an impactful way of using AI techniques because there's so much data about the climate, satellite data, and sensor data, and the way to go about this is to work with domain experts. AI is never going to solve the problem on its own, but it can be a tool. So I think that there's a lot of promise there.

DR. SHIV SOMESHWAR

Fmr. European Chair for Sustainable Development & Climate Transition · Sciences Po
Development Clinician focused on Cities & Nation States

How do you have economic growth that is socially equitable and environmentally sustainable? It's not just that you have ecological sustainability; hence, that is sustainable development. Because lots of examples of economic, ecological, and ecologically sensitive growth need not be socially equitable. That's why this whole emphasis on just transition is not just about climate, but it's also about justice. It's about social equity in economic growth. Unlike in Europe, where there is now the call for degrowth or a circular economy, most parts of the world would look at you blankly if you talked about degrowth because they are hungry for growth. And so sustainable development is about managing these trade-offs.

From Ancient Wisdom to the Language of the Earth

Scientists, Artists, Psychologists & Spiritual Leaders Share their Stories and insights on the importance of connecting with nature, preserving the environment, embracing diversity, and finding harmony in the world.

JAY JORDAN & ISABELLE FRÉMEAUX

Artists, Activists & Anarchists Seize Wetlands from the French Republic
Authors of We are ‘Nature’ Defending Itself: Entangling Art, Activism and Autonomous Zones
the story of a 40-year struggle to preserve 4,000 acres of wetlands from being destroyed to make way for an airport

DOUG LARSON

Award-winning Scientist · Ecologist · Professor Emeritus · University of Guelph
Author of Cliff Ecology · The Urban Cliff Revolution · The Dogma At My Homework

I think one thing I learned from looking at the ancient trees is that there is no great benefit to anything of growing quickly and accumulating vast resources. Growing slowly and patiently and with fewer demands on the environment in which you live is just as healthy and perhaps more healthy than the endless hunger for more and more and more, which we see as a characteristic of our species.

THOMAS CROWTHER

Ecologist · Founder of Restor
Co-chair of the Board for the UN Decade on Ecosystem Restoration

Global restoration really means finding and empowering the millions of local communities, indigenous populations, and farmers who are promoting biodiversity. Restor is a digital platform, sort of like Google Maps, but for restoration. So rather than seeing coffee shops and supermarkets, you will see conservation projects and Indigenous-led restoration initiatives. And that means you can find a currently on Restor - I think we have around 140, 000 - so you can go on there for free right now and find thousands and thousands of these amazing heroes of nature. And you can zoom in and you can see every single tree on the ground. You can see every bush and you can fund them or you can buy their coffee or you can go visit their projects and do ecotourism. There's a myriad of ways that we can all support their efforts by also improving our own lives.

We need to be cutting our emissions so that we can allow nature to thrive and help us along the way. For far too long people have been squabbling about emissions. We should do this or we should do that. Climate change is way too big for us to be squabbling about things. We need to do everything now. When we grow the same crops every year, the soil gets more depleted and all the nutrients are lost. I've heard quotes that if we cannot find agricultural systems that rejuvenate the soil instead of depleting it, we are signing our death warrant. It's like we need to be promoting healthy soils if we're going to have any agriculture in the future.

PETER D. DITLEVSEN

Professor of Physics, Ice, Climate & Earth at the Niels Bohr Institute

What happens if we lose the Greenland ice sheet and pass the tipping points and Earth systems shut down?

If that shuts down, roughly speaking, the climate of Northern Europe would be like the climate of Alaska. So, climate models that actually simulate what happens when it's shut down, would say that England becomes like Northern Norway, which means that food security and things like that will be threatened because you cannot grow many crops in Northern Norway. And other models say precipitation changes, so places that are wet might become dry, and so on. So, these are of course severe consequences for Europe, but in some sense, this is going in the opposite direction of global warming. We're all talking about we're getting into a warmer world, but I'm talking about a cooling here. But the warm water that does not then flow from the tropics into the North Atlantic will stay in the tropics. And there, you're not contra-balancing global warming. There you will have the heating on top of the global warming. And that I see as maybe the largest problem we have is that the tropics become even warmer. And we have to realize if you live in a place where mean temperatures are maybe late thirties Celsius and or rise to the forties livelihood becomes very difficult.

DR. BARRY SCHWARTZ

Psychologist · Author of Why We Work
The Paradox of Choice: Why More Is Less

In 2004, the internet was just getting started in a major league way, and already the choice overload was a problem. I would say that from the modern perspective, 2004 seems like the 18th century, and as near as I can tell, all of these changes, every single one of them has made the problem substantially worse. The idea that you can get information to help guide you through - well, yeah, but what information do you believe? What's trustworthy? What's being motivated by an opportunity to sell you something? So there is a haze, there is this fog that we're operating in. And I think we just sort of give up in resignation and look at recommendations and hope that they're legitimate because how else do you get through the day?

KOHEI SAITO

Author of Slow Down! How Degrowth Communism Can Save the World
Marx in the Anthropocene: Towards the Idea of Degrowth Communism

The Green New Deal presents itself as a kind of radical policy. If you look at the content, it's just simply the continuation of what capitalism wants to do. It's a massive investment in new, allegedly green industries, with the creation of more jobs with higher wages, but these are not the things that socialists or any environmentalists should be actually seeking because we recognize that capitalism is basically the root cause of the climate crisis and the misery of the workers. If so, I think it is high time to imagine something radically very different from business-as-usual capitalism.

The Long Tradition of American Jewish Critiques of Israel & Their Suppression

American Jews were interested and involved in Palestinian rights all the way back to 1948. There's this idea that it came about just now or in the 1970s, but actually as long as there's been a Nakba. As long as there's been Palestinian refugees, there’s been American Jews concerned with that, too. I would say that a lot of times these American Jews were very well informed and spent time in the region, and they came to these conclusions often not in the United States, but over there where they were talking to the Israeli left and meeting Palestinians and seeing a situation that they don't feel is ethical or sustainable.

BEN FRANTA

Founding Head of the Climate Litigation Lab
Senior Research Fellow at University of Oxford’s Sustainable Law Programme

For 40 years, the American Petroleum Institute has hired economists to argue it would be too expensive to try and control fossil fuels and that climate change wasn't that bad. The same go-to consultancy firm has been involved in every major climate policy fight from the very beginning and hired by the fossil fuel industry, but what are the courts going to do? It's not just the historical deception. It's an ongoing deception.

MICHAEL STICKA

President/CEO of the GRAMMY Museum

It's actually right in our mission statement that “we celebrate the music of yesterday and today to inspire the music of tomorrow.” And we do it through our exhibits. We have 35,000 square feet of galleries. We travel exhibits, really, all over the world over the world for the past 15 years. And through our education programs, we really focus on the next generation of music's creators and leaders. We do that through really specific curricula that is designed to educate particularly young people, K-12, about the business of music, especially for those who want to go into the industry.

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