Randall

That was a new one for me.

I mean, I feel like I'm ready for the unexpected when it comes to Nixon.

But yeah, I mean, it's an interesting moment in environmental politics at the federal level.

Well, Dan, thanks again.

Dan, I think one of the first things that stood out to me in this, in this episode is the idea that these photographs from, uh, Curtis are sepia toned.

Yeah.

And we wouldn't really, I don't think very many Americans would be familiar with that prior to the age of Instagram, but in, in telling this story, you sort of peel back what's behind the image, which

Up until recently, you know, with digital manipulation, it was more obscure to the viewer, right, or to the audience.

Yeah, and I think at least when it comes to this style of art, right, portraits of Native people.

Yeah.

I always have, I guess, conflicting thoughts or emotions when it comes to it because there's

there's this question of authenticity, you know, is this objectifying native people?

Is this, or is this like a, a, a celebratory representation?

Yeah.

Um, in this case, you have two artists who, you know, some, there's some commercial motivation, obviously.

Um, but they do seem to have sort of an authentic, uh, calling to do this.

And they have, um,

good pure motivations, for lack of a better term.

But yeah, to historicize Native people in that way, it's problematic for a lot of reasons.

And I wonder if you can just sort of talk about some of the conversations around that.