Randall

Another aspect of this story is when we think of wildlife politics today, we often imagine rural residents and urban dwellers.

And it's sort of a social issue.

But you introduce here the role of just...

institutional inertia and government agencies in sort of steering the course of history right with the bureau of biological survey needing something to hold on to as as a sort of organizing mission or organizing principle and yeah and it's coyote eradication predator eradication more broadly but um

The role of the government in this story is striking, just in terms of government intervening in the natural world in a way that's unimaginable to us today.

And one final question, speaking of surprises, I'm usually never surprised when I learn something new about Richard Nixon in environmental politics, but his statement about the use of poisons for coyote control was fantastic.

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.