Joy Harjo

But I think it's not just for me the poet, but I think that's something useful for anyone that you can sit and, you know, you might do it through painting or the song or writing because we all have things we say we regret or people who go we can't talk to. And you can do it. You can sit and write it and talk to them. Thank you for that. The book is beautiful. Do we have more cards? Yes, Joy!

But I think it's not just for me the poet, but I think that's something useful for anyone that you can sit and, you know, you might do it through painting or the song or writing because we all have things we say we regret or people who go we can't talk to. And you can do it. You can sit and write it and talk to them. Thank you for that. The book is beautiful. Do we have more cards? Yes, Joy!

But I think it's not just for me the poet, but I think that's something useful for anyone that you can sit and, you know, you might do it through painting or the song or writing because we all have things we say we regret or people who go we can't talk to. And you can do it. You can sit and write it and talk to them. Thank you for that. The book is beautiful. Do we have more cards? Yes, Joy!

Do we have more cards? More cards.

Do we have more cards? More cards.

Do we have more cards? More cards.

Three. We'll do three.

Three. We'll do three.

Three. We'll do three.

What's the biggest risk you've ever taken? Recently... I sat in. To me, this is the biggest risk. I sat in at the Blue Note in New York.

What's the biggest risk you've ever taken? Recently... I sat in. To me, this is the biggest risk. I sat in at the Blue Note in New York.

What's the biggest risk you've ever taken? Recently... I sat in. To me, this is the biggest risk. I sat in at the Blue Note in New York.

I played a song. I played a song. So we need the context of this.

I played a song. I played a song. So we need the context of this.

I played a song. I played a song. So we need the context of this.

I did. I'm friends with Esperanza Spalding, and she was doing a two-week run at the Blue Note. She sold out, I think, every show. Yeah, she's incredible. She's incredible, and she's real. I mean, that's the thing about it. I think what maybe is that she's absolutely who she is. She's very generous and very humble. And as a mute, she's in that space. And I'd played with her.

I did. I'm friends with Esperanza Spalding, and she was doing a two-week run at the Blue Note. She sold out, I think, every show. Yeah, she's incredible. She's incredible, and she's real. I mean, that's the thing about it. I think what maybe is that she's absolutely who she is. She's very generous and very humble. And as a mute, she's in that space. And I'd played with her.

I did. I'm friends with Esperanza Spalding, and she was doing a two-week run at the Blue Note. She sold out, I think, every show. Yeah, she's incredible. She's incredible, and she's real. I mean, that's the thing about it. I think what maybe is that she's absolutely who she is. She's very generous and very humble. And as a mute, she's in that space. And I'd played with her.

We just, you know, improv. We're friends. Yeah. But this is different. Yeah. I mean, she said, oh, why don't you sit and do a song, you know, do a piece with, you know, with a guitar player who, you know, and the drummer. And so I couldn't say no. I mean, I thought about it. Of course not. No, I thought about it. I mean, I thought about saying no. Well, what would I feel like if I said no?

We just, you know, improv. We're friends. Yeah. But this is different. Yeah. I mean, she said, oh, why don't you sit and do a song, you know, do a piece with, you know, with a guitar player who, you know, and the drummer. And so I couldn't say no. I mean, I thought about it. Of course not. No, I thought about it. I mean, I thought about saying no. Well, what would I feel like if I said no?