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Photojournalist turning aerial art into climate archive

Rachel Sauer — Thu, 04 Dec 2025 14:30:00 +0000

Photojournalist turning aerial art into climate archive Rachel Sauer Thu, 12/04/2025 - 07:30

Cody DeBos

CU Boulder geography alumnus Katie Writer shares Alaska’s changing landscape from the skies

On a clear day high above south-central Alaska, you can find Katie Writer pulling open the window of her Super Cub airplane and leaning her camera out into the rushing wind. Below, the landscape doesn’t look like the same one she once hiked and skied. That’s exactly why she’s flying.

For Writer (Geog’91), flying offers a unique vantage point from which to witness the planet changing in real time.

“Climate change is something I saw coming all the way back in my CU days studying geography, and I knew it would be a big part of my life’s calling. I have a sense of duty as a photojournalist pilot and an advocate for the environment. Whenever there’s a chance for me to tell the story of the landscape or point emphasis to an area that needs some protection, I jump on it,” she says.

Geography alumnus Katie Writer has built a career at the intersection of science, storytelling and adventure. (Photo: Katie Writer)

From documenting glacier retreat to photographing generations of spruce trees withered by beetle kill, she’s built a career at the intersection of science, storytelling and adventure.

Skiing onto the page

Writer’s journey to the cockpit wasn’t traditional. At CU Boulder, she majored in geography and raced on the ski team, balancing course loads with weekend competitions. After graduating, she worked as an interpreter for the United States Olympic Committee at the 1992 Winter Olympics in France, and that lit a fire in her for world-class competition.

“I quickly moved up the ranks and placed 17th at the U.S. National Championships in 1994,” Writer recalls.

But when an injury derailed her career, she pivoted her skiing passion from competition to the page, becoming an aptly named writer of outdoor adventure articles for the likes of Couloir and Powder magazines. One story led her to Denali National Park.

“On that trip, I was inspired to become a pilot,” she says. “I’d also been on another ski trip where a Cessna 175 or 185 flew us into the wilderness in a ski plane, and it made me realize that these little planes give you some great access to the wilderness.”

After earning her pilot’s license with support from aviation scholarships, Writer settled in Alaska, where she has since filled her appetite for adventure and storytelling through the lens of her camera.

“Others were noticing my photography and really appreciating the bird’s eye view I was getting as an aerial photographer/pilot. It helped me realize that capturing these images was something I was really passionate about,” she says.

Seeing the story from above

When Writer takes her camera into the sky, the viewpoint of Alaska’s stunning landscapes brings awe, but also a sense of urgency. From her Super Cub, she observes patterns of change. Hillsides of dying spruce. Once thriving glaciers shrinking every year. Riverbanks collapsing after torrential storms. She has returned often to the same places, documenting changes that most people never get to see.

“There’s no doubt when you live in Alaska, you see the effects of the beetle kill. I realized this was an excellent way to present climate change with the visuals from an aerial perspective,” Writer says.

Warmer winters have allowed spruce beetles to survive year-round, leaving entire forests stained with rust-colored decay. Glaciers tell a parallel story of loss.

Aerial views of the changing Alaska landscape captured by Katie Writer from the open window of her Super Cub airplane. (Photos: Katie Writer)

“We spent a lot of time going back to the toe of the Ruth glacier, photographing the specific area year after year and seeing how dramatically the receding lines were, as well as observing the collapsing walls,” she adds.

She also tracks what happens downstream. After record rainfall from an atmospheric river in August 2025, she flew over the swollen Talkeetna River and saw entire stretches of bank washed away.

“These weather events with high levels of moisture, in my opinion, are another visual acceleration of erosion.”

These scenes are part of a photographic timeline Writer has spent years assembling. With each flight, she adds a new layer to the growing visual archive that captures the rapid reshaping of Alaska’s wilderness. For those of us on the ground, it’s a rare glimpse at what our world looks like from above.

Exploring a new medium

In time, the stories Writer wanted to tell outgrew both print and pictures. During the COVID-19 pandemic, she launched the All Cooped Up Alaska Podcast, a show born from isolation and the desire to connect. It’s since evolved into the Alaska Climate and Aviation Podcast, where she explores stories of weather, flying and environmental change.

“Being in the air and photographing the landscape feels like artistic movement and is a spiritual experience. The natural world is just stunning,” says Katie Writer. (Photo: Katie Writer)

“The benefit of producing your own podcast is that you get to be as creative as you want and can tell the stories you want to tell,” she says. “A lot of the stories I used to create for our local radio station would be edited down to three and a half minutes for airtime. I was always a little bit frustrated by that.”

Now, Writer brings on regular guests, including prominent Alaskan climatologists Rick Thoman and Brian Brettschneider, to discuss everything from wildfire smoke to Arctic feedback loops. She also covers major events like the Arctic Encounter Symposium in Anchorage.

“Arctic Encounter is attended by world leaders from all around Arctic countries, including Indigenous leaders, policymakers, scientists, villagers and Arctic dwellers,” she says. “It’s a very inspiring event with fascinating panels of people talking about the problems they’re having and solutions they envision.”

CU at altitude

Looking back, Writer credits her time at CU Boulder with helping to shape her worldview.

“One of the primary things that made a major influence on choosing geography as a major was an upper-division course that was in the Arctic Circle, learning field research techniques,” she says.

She also recalls the atmosphere of both Boulder’s scientific community and cultural diversity.

“As a sophomore, our house was across the street from the Hari Krishnas, where we ate a meal a week and enjoyed philosophizing on life and world religions. It was just a really neat place to be,” Writer says. “All of the beautiful architecture and even the Guggenheim building for Geography really held a special place in my heart for a place of learning.”

Her advice for today’s students? Write often.

“Writing is a really important skill that I’m noticing more and more being lost with the use of AI. Getting the pen flowing onto a piece of paper lets you tap into a whole different type of creativity,” she says.

“Realize that you may not know what your whole career is going to be, but don’t be afraid to explore and take a risk in opportunities you might get. When I look back at the journals that I had at that time in my life, I’m like, ‘Oh my gosh, I’m doing it,’” she adds.

Even now, after decades of flying and learning to balance the art with the business, Writer isn’t sure where her career will lead next.

“I always aspired to work for National Geographic as a photojournalist,” she says. “And I still haven’t met that goal — but who knows what could happen in the future.”

One thing is certain: Writer has no plans to stop flying over Alaska and documenting its changes.

“Being in the air and photographing the landscape feels like artistic movement and is a spiritual experience,” she says. “The natural world is just stunning.”

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CU Boulder geography alumnus Katie Writer shares Alaska’s changing landscape from the skies.

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Streaming killed the video star

Kylie Clarke — Wed, 03 Dec 2025 00:12:02 +0000

Streaming killed the video star Kylie Clarke Tue, 12/02/2025 - 17:12

Jared Bahir Browsh

Once a cultural phenomenon, MTV ends five music channels in the UK; viewership in the U.S. continues its downward slide

When MTV announced earlier this year that it would be shutting down music channels at the end of 2025, the reaction was nearly unanimous: MTV still plays music?

The digital networks—MTV Music, MTV 80s, MTV 90s, Club MTV and MTV Live— will shut down in the United Kingdom, Ireland and several other countries in Europe. In the United States, MTV’s secondary networks—MTV2, MTV Live, MTV Classic and MTVU—will continue operating for now despite declining viewership and being carried through cable.

The changes are evidence of both the global reach MTV had at its peak and the significant changes that have occurred in television, especially over the last decade as the rise of streaming and cord cutting has led to a dramatic decline in cable and linear viewing.

Music programming has been a part of television since the 1930s, when radio broadcasters transitioned to the visual medium and many of the early experimental broadcasts in the United States and Europe featured live musical performances. As television matured following World War II, music continued to be an integral part of its growth with variety programs like The Ed Sullivan Show, which debuted as Toast of the Town in 1948, and American Bandstand, which debuted as a local program in Philadelphia in 1952 featuring top musical acts.

These shows not only brought musical acts into people’s homes but were one of the few opportunities for African Americans to be seen on the quickly growing medium. The Ethel Waters Show, a variety special that aired on NBC in New York City in 1939, was the first television show to be hosted by an African American. Later, as television spread, Nat “King” Cole hosted his own show, which aired nationally beginning in 1956, but struggled to gain a permanent sponsor in its 13 months on air, causing Cole to comment “Madison Avenue is afraid of the dark.” In spite of this type of prejudice, Ed Sullivan and American Bandstand regularly featured Black artists in the 1940s and 1950s before Brown v. Board of Education overturned segregation in schools.

Musicals before videos

Short musical movies are as old as sound films, with series like Silly Symphonies debuting in 1929 and featuring animation produced around classical music. Warner Bros. followed Disney’s lead with Looney Tunes in 1930 and Merrie Melodies in 1931, featuring music from the Warner Bros. catalog. In 1929, RCA produced the short film Black and Tanwith Duke Ellington and His Orchestra, set in New York City during the Harlem Renaissance. In the 1930s, Paramount produced a series of short films featuring Cab Calloway and His Orchestra, offering visuals as a companion to his music.

In 1964, Top of the Pops debuted on the BBC, airing interviews, live performances and music news based on weekly record charts. The program also featured pre-taped music videos, then known as promotional films, when artists could not perform in the studio live. The Beatles’ film A Hard Day’s Night was also released in 1964, accompanied by the album of the same name and functioning as a promotional vehicle for the band and its music. Inspired by the Beatles’ film, “The Monkees” TV show debuted on NBC in 1966 with a made-for-TV band and their music at the center of the series. In animation, Saturday morning producers took a cue from the popularity of The Monkees with young viewers and made series like “The Archie Show” and “Josie and the Pussycats” following the same model. The fictional band The Archies even scored a No. 1 hit with “Sugar, Sugar.”

In the United States, Ed Sullivan ended his run on television in 1971 and the following year NBC’s “The Midnight Special” and ABC’s “In Concert" debuted, featuring filmed live performances and the occasional music video.

Queen’s Bohemian Rhapsody is often recognized as a turning point in music videos. Released on “Top of the Pops” in 1975, the video’s production value and popularity led to a new age of music video production and to music videos becoming a vital tool to promote singles.

Throughout the 1970s, dedicated music video programs, including Australia’s “Countdown” and “Sounds,” aired more frequently. In the United States, cable television was quickly expanding and USA Network/Showtime’s Video Concert Hall, which debuted in 1978, featured music videos. In 1980, Pop Clips aired as a weekly show on Nickelodeon, produced by former Monkees member and music video pioneer Michael Nesmith.

Nickelodeon, the first children’s cable network, had been launched the previous year, in April 1979, by Warner Cable Communications; American Express purchased 50% of Warner Cable Corp. in September of that year. Soon after, Warner-Amex began to develop a network to attract the underserved teenage audience. Seeing music as a way to connect with the demographic, the company was originally going to purchase and expand Pop Clips, but instead developed its own Music Television network.

MTV launched on Aug. 1, 1981, and fittingly, The Buggles’ “Video Killed the Radio Star” was the first video played on the new network. The new network’s impact on the music industry was nearly immediate, as bands with little radio play like The Human League and Men at Work saw a significant uptick in record sales. It also kicked off the Second British Invasion, as the music video format was featured for years on British television. As U.S. acts scrambled to leverage the format, music videos imported from Britain by bands like The Police filled the MTV schedule.

In spite of the demonstrable cultural impact of MTV, the network still faced challenges from the limited proliferation of cable and the unwillingness of cable companies to carry the station due to concerns over the long-term viability of the network. After negotiations with cable operators resulted in little progress, MTV decided to go directly to the consumer. The “I want my MTV” campaign featured famous musical stars like Mick Jagger and David Bowie to promote the network and persuade television viewers to call their cable providers and pressure them to pick up MTV.

Controversial MTV

MTV’s rise in the early 1980s was not without controversy. Black artists were rarely seen on the channel, a fact Bowie raised in a 1983 interview on the network. Programmers for MTV said that the channel’s rock focus and fears of alienating fans in middle America prevented Black artists from being placed in heavy rotation. When Michael Jackson’s “Billie Jean” was rejected by MTV, the president of his label, CBS Records, threatened to pull all of the label’s artists from the network. MTV relented and the video debuted on March 10, 1983. Boosted by the music videos for “Billie Jean,” “Beat It,” and especially the title track “Thriller,” the album went on to become the highest selling record of all time. The popularity of Jackson’s videos helped him to become the “King of Pop.” The music video for the title track of Jackson’s next album, “Bad” premiered in primetime on CBS, and the premiere for the video for “Remember the Time” was simulcast on multiple networks including ABC, NBC and MTV.

The following year was a turning point for the network. On the business side, Warner spun off Nickelodeon and MTV into their own company, MTV Networks, later buying Amex’s stake in the company and then turning around and selling all of MTV Networks to Viacom, completing the deal in 1986. Several new programs and special events also debuted on the network in 1984, including the MTV Music Video Awards, the Top 20 Countdown and the WWE event The Brawl to End It All, the first live wrestling event on cable. Cyndi Lauper featured wrestler Captain Lou Albano in her 1983 video for “Girls Just Want to Have Fun,” leading to a WWE storyline featuring the pop star and cross-marketing that benefitted both MTV and the WWE.

MTV’s influence spread quickly throughout the 1980s, influencing other media while earning criticism for its effect on the music industry. Shows like Miami Vice introduced the aesthetics and music of MTV into scripted television. On the other hand, MTV was also criticized for leading the music industry to focus more on the visual appeal of artists than their music.

The Cable Communications Policy Act of 1984 helped remove regulations that were slowing cable’s growth, leading to further expansion of MTV and other cable networks into new markets. Throughout the 1980s, the network continued to expand its original programming, moving away from the radio-style format hosted by its video jockeys, or VJs. This included more genre-specific shows like Headbangers Ball, which featured heavy metal, and the alternative rock-focused 120 Minutes, along with Dial MTV, which allowed viewers to call in and vote for their favorite videos.

Even with the expansion of music played on MTV, there were still genres the network overlooked. With MTV playing very little country music, in 1983 both Country Music Television and The Nashville Network launched. The same year, Black Entertainment Television also grew from a programming block on the USA Network into an independent network, airing music videos from Black artists. In 1985, MTV’s sister network VH1 premiered, focused on an older audience with adult contemporary music. All of these networks are now owned by Paramount.

MTV also expanded beyond the United States when MTV Europe launched in 1987. One of the new network’s early shows, Yo!, featured hip-hop artists and became one of its most popular programs, Yo! MTV Raps, which debuted in the United States in 1988 and helped expand hip-hop’s visibility. The genre had been limited on the network to a few artists like Run-DMC and the Beastie Boys, both of which heavily sampled rock music. Also in 1987, This Week in Rock launched MTV News, which originally focused on music and pop culture news but expanded into politics during the 1992 election, focusing on issues impacting its younger audience.

MTV continued to expand their programming in the late 1980s and early 1990s, airing the game show Remote Control and giving young comedians Ben Stiller and Jon Stewart their own shows. In 1992, MTV Sports debuted focusing on extreme sports, helping to bring skateboarding, BMX, and other alternative sports to the mainstream leading to the X Games in 1995. The same year modern reality TV was launched with The Real World. This also marked the beginning of the shift away from music videos as more reality shows and docuseries, like Road Rules and True Life, filled more of the schedule throughout the 1990s.

The last gasp for the music in Music Television was Total Request Live (TRL), which debuted in 1998. Driven by the popularity of boy bands, “pop princesses,” hip-hop, and pop rock, the show aired in the afternoon as teenagers were getting home from school. The program revitalized the role of the VJ and launched the careers of Carson Daly, Hilarie Burton, La La Anthony, and Vanessa Lachey. By the time TRL ended its original 10 year run, most of the music videos on the network were airing in late night.

As MTV moved into other programming, the internet became the primary platform for music videos. The non-linear format offered by early MTV with a playlist of very different videos played back to back forecasted our relationship with YouTube, TikTok, and other social media sites. MTV motivated the evolution of the music industry and the explosion of music videos that continue today, even as Paramount moves away from the M in MTV.

Once a cultural phenomenon, MTV ends five music channels in the UK; viewership in the U.S. continues its downward slide.

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Sanctuary brims with happy tales (and tails)

Rachel Sauer — Tue, 02 Dec 2025 14:30:00 +0000

Sanctuary brims with happy tales (and tails) Rachel Sauer Tue, 12/02/2025 - 07:30

Clint Talbott

Tails of Two Cities Sanctuary, founded and run by CU Boulder alumna Jess Osborne and her husband, CU Boulder Professor Myles Osborne, gives unwanted or neglected animals a safe, comfortable forever home

Why did this chicken cross the road? No one knew. And this was no joke.

Late last month, the chicken was strutting on Magnolia Road in the mountains near Nederland—a place inhabited by coyotes, fox and other canines. Three passersby stopped to help, and, together, they captured the bird by wrapping it in a shirt, whereupon one good Samaritan drove the bird to Tails of Two Cities Sanctuary.

Friends of the sanctuary posted the news to the local Facebook group, called Nedheads, hoping to find the chicken’s owner. No one claimed the bird.

Myles (left) and Jess Osborn founded Tails of Two Cities Sanctuary to rescue "unwanted and discarded animals and provide them with high-quality food and medical care to live out their natural lives.” (Photos: Clint Talbott)

It’s possible that the chicken wandered away from its home, through the forest, to this road. It’s also possible that the bird, which appears to be a rooster, was dumped on the side of the road because it won’t produce eggs. (Discarding roosters is common.)

Jess and Myles Osborne, who founded the sanctuary, have adopted the rooster and named it Chamonix, after the resort town in France. Like his namesake, Chamonix is striking, but why name a bird after a town? Thereby hangs a tale.

Tails of Two Cities Sanctuary is a 501(c)(3) nonprofit launched in 2021 by Jess, who graduated in 2005 from the �Թ�� of Colorado Boulder with degrees in communication and fine arts, and Myles, CU Boulder associate professor of history.

The sanctuary, just south of Magnolia Road west of Boulder, aims to rescue “unwanted and discarded animals and provide them with high-quality food and medical care to live out their natural lives.”

On the sanctuary’s 23-acre parcel, more than two-dozen animals—horses, pigs, goats, ducks, dogs, plus a cat, yak, donkey, turkey and, now, chicken—enjoy lives they otherwise would not have had.

And an oink-oink here…

Consider the pigs, named Bolton and Berlin, which a friend of the Osbornes noticed wandering on another roadside near Nederland. The pigs had broken out of their home because they were starving and didn’t have water, and their owner gave the OK to take the pigs. Bolton and Berlin now sleep, snort and snuffle, in the sanctuary’s loving embrace.

Each animal has a backstory.

Wilbur, a dog named for Wilbur, Washington, came to the sanctuary after his foster family refused to put him down, against the advice of three veterinarians, to join his biological brother, Ziggy, named after Zagazig, Egypt.

Chamonix the (suspected) rooster came to Tails of Two Cities Sanctuary in October after being found strutting alone on Magnolia Road near Nederland; attempts to find an owner were unsuccessful.

The brothers were both born with the same neurological disorder. Wilbur also has a dog version of Wilson’s disease, which makes him retain excessive amounts of copper. He takes medicine to remove copper from his blood.

Wilbur was in a wheelchair but now can walk, though unsteadily. Ziggy suffers from spells resembling seizures that prevented him from walking or standing at least 30 times a day. He often had to be carried.

Wilbur and Ziggy are clearly happy, though, and Jess dubs them the “wiggle brothers.”

Talkeetna (Alaska), a yak usually called “Tallie,” was born prematurely and was unlikely to survive. She was donated to the sanctuary, which took her to Colorado State �Թ�� and gave her a shot at survival. These days, Tallie is hale and hearty and hangs around with the goats. She seems to enjoy gently headbutting people who walk by.

London and Brooklyn are mini horses who had been awfully neglected. Both had severely overgrown hooves when they were rescued from a kill pen at auction. Brooklyn had suffered some kind of trauma when she was younger, and her left eye has been removed once at Tails to give her the same standard of care as humans and dogs.

Both mini horses love being taken for walks and chomping as much roadside grass as possible in the broad meadow that sits under a stunning vista featuring James Peak, South and North Arapahoe Peaks.

A herd of elk often gathers nearby, drawing curious glances from many of the animals, perhaps none more than Rio, a 2,000-pound draft horse whose head is higher than the eaves of the sanctuary.

Tails of Two Cities Sanctuary provides a loving home and high-quality care to animals in need and creates a welcoming place for humans to experience the love, joy and healing of connecting with animals.

When Tails adopted her from a rescue in Montana, Rio had a crooked foot and still needed extensive veterinary care to make sure she was comfortable and could walk comfortably. Now, she’s playful and mischievous, sometimes inadvertently crushing pieces of the aluminum fencing around the horses’ area.

Animals soothe the human psyche

Jess Osborne has always loved animals. As a kid in Gunbarrel, she collected the critters her mother could afford (and their home could accommodate): frogs, geckos, chickens and dogs.

Animals helped her feel better, much better. She has grappled with ADHD and anxiety since childhood. As she speaks, her focus can drift into several sometimes-related topics.

Jess Osborne with Tallie the yak (left) and Darwin the dog.

But focusing on animals is no problem. “Even though I can’t remember history or make it through any of Myles’ books without falling asleep, when it comes to medicines and animal care and stuff like that, I go down the hyper-focusing tunnel,” she told The Colorado Sun.

And the animals helped other people, too, Jess noticed. Nine years ago, when she was working at a nursing and memory-care facility in Boulder, Jess brought her dogs Dublin and Brisbane. The residents loved the dogs.

After adopting Brisbane and Dublin, who died in 2023, Jess and Myles adopted a bunny and, later, the mini horses.

This was the seed of an idea: Elderly people often can’t care for (or aren’t allowed to have) pets. Unwanted and abused animals need forever homes where they can live their best lives. And rescued animals can bring comfort and joy to people who—for many reasons—don’t have animals in their lives.

This was true for Jess’ grandmother, whom Jess and Myles took care of and who died in 2021. It was also true for a neighbor’s boy, who was on the autism spectrum.

He rode and brushed the horses to build core strength and fine motor skills. Occupational and physical therapists have shown that movement and interaction with horses can improve physical, cognitive and emotional well-being in people with varying conditions.

In the career world, Jess had not found her place, but launching an animal sanctuary was her calling. She and Myles bought the sanctuary’s current home, which is large enough to allow the sanctuary to help more animals and humans. There, they have room for large horses and the rest of the menagerie.

But what to call the sanctuary? Happy Tails wasn’t quite right. Given Myles’ extensive travel and his English background, Tails of Two Cities Sanctuary seemed to fit, even though the place is not Dickensian.

The name reflects the fact that both Jess and Myles love to read and travel.

Of course, the place, which had been a regular home with a two-car garage and a large deck, had to be converted to serve its primary residents, the animals. The garage was turned into a barn, and an additional shelter for the goats was built adjacent to the newly fashioned barn.

Myles Osborne with several of the eight goats, who often lounge on the sunny deck and fall asleep, snoring.

A sunny enclosure next to the deck serves as a warm spot for the pigs and sometimes the eight goats, who often lounge on the sunny deck and fall asleep, snoring.

Below the deck, the chicken, Chamonix, the newest feathered child, and ducks (Louise, Abe and Albie, after Lake Louise and Lake Abraham, Canada, and Lake Albert, Uganda) have their own petite house called the Duck Tails Saloon, which resembles an Old West bar, next to a small fenced area.

Jess, Myles and sanctuary volunteers build and mend fences, string electric fencing (which keeps big horses in and bears out), fashion goat playgrounds, and spend their days raking muck, preparing special food for two-dozen different palates and attending to the animals’ medical needs.

Being as bold as your dreams

It’s a lot of work and, no doubt, a fair amount of stress. As he talks about this, however, Myles’ demeanor remains steady and calm, just as it does when he discusses the history of colonialism in Africa, the necessary steps to refashion a horse fence or his attempted climb of Mount Everest, which he abandoned in the “death zone” to save a man’s life.

Myles suggests that the decision to start a sanctuary was a no-brainer:

“If you have a dream and something that you are excited about, you have to lean into it. And if you are in your early 40s and financially secure, if you're not gonna do it, then when are you gonna do it?”

He observes: “I do think that generally when people are brave and people lean into things that seem intimidating, it works itself out. … And why not be brave? Why not go for it? And it clearly is Jess’ passion in life. It's what she was put on the earth to do, very clearly. So it wasn't that tough of a decision.

“Now, keeping the numbers reasonable is a bit more of an ongoing conversation,” he adds. There are bills for veterinarians, racks of hay, tons of animal feed, walls of sawdust (for sleeping and padding) and more. The operation is 40% self-funded (down from 70% self-funded last year).

But it’s worth it, they say.

The couple still visit elder-care facilities in which there will be 25 or 30 people in wheelchairs in a circle. “And we just release 2,000 pounds of goats and yak and the dogs. And they all know exactly how to behave, how careful they need to be. And (the animals) will walk around the circle, they will greet everybody, everyone pets them.”

Tallie the yak was born prematurely and given scant odds of survival, but these days she is hale and hearty and hangs around with the goats. She seems to enjoy gently headbutting people who walk by.

Myles also relates a story about a blind woman who came to the sanctuary and walked onto the deck. Goats quickly crowded around her. The woman petted them and marveled aloud that four goats were pressing into her.

Myles told her there were actually six goats. Goats (seeking treats) can become pushy around fully able-bodied people, but they took it easy on this visitor.

“And then we said to her that there has actually been a 500-pound yak who has been two yards away from you for the past 15 minutes, who clearly understands that you have some issue that she's not familiar with and she's holding back and she's waiting.”

The animals, he adds, “understand instinctively when people are old or disabled or young or blind or something, they get it.” And for the woman, the experience was “profound.”

The next horizon

Tails of Two Cities Sanctuary has more its leaders hope to do. Chief among them is to build a “proper” barn that has more room for the animals, whose design facilitates feeding, cleaning, visitors’ experiences and volunteers’ work.

While that’s on the horizon, more immediate tasks remain. On a recent evening, Myles and three volunteers worked to rearrange and refashion the fence that keeps the horses from wandering away and separates the minis from the large horses and Murphy, the donkey.

As Myles worked here and there, tools usually in hand, Stanley, the turkey (named for Istanbul), followed Myles around.

Stanley came from a backyard homestead whose owners didn’t have the heart to slaughter him. And no wonder. Jess describes him as “the friendliest turkey on Earth.”

Stanley’s gobble, a cheerful trilling song, often punctuates the background sounds of barks, whinnies, bleats, clucks and snorts. Stanley tends to follow people around the sanctuary.

With Myles in the horse pen, Stanley performed some “turkey dances,” with Myles’ gentle encouragement and praise.

So there they were, human and animal, working and strutting, talking and gobbling. Two tales as one.

Learn more about Tails of Two Cities Sanctuary at this link.

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Wally the Wollemi finds a new home

Rachel Sauer — Mon, 01 Dec 2025 14:30:00 +0000

Wally the Wollemi finds a new home Rachel Sauer Mon, 12/01/2025 - 07:30

Rachel Sauer

CU Boulder alumni Judy and Rod McKeever donate a tree once considered extinct to the EBIO greenhouse, giving students a living example of modern conservation

Wally probably doesn’t know he’s a dinosaur.

He’s just living his best life in a bright spot—but not directly sunny, he doesn’t like that—in the Department of Ecology and Evolutionary Biology greenhouse on 30th Street.

This guy! Talk about charisma. People have certain stereotypes and expectations for what he should be, and he defies them. For starters, he’s here and not, after all, extinct.

Yes, Wally the Wollemi is something special—a Cretaceous Period pine tree thought to have gone extinct 2 million years ago, rediscovered in a secluded Australian canyon in 1994 and, with a few steps in between, recently donated to the greenhouse.

. “Where we are right now with climate change, we’re losing plants and animal species and insect diversity at an extremely rapid rate, so as scientists and horticulturists and curators it’s our job to maintain the diversity of the world in collections, and Wally is an important part of that," says Malinda Barberio, EBIO greenhouse manager.

“The Wollemi pine is an interesting story about paleobotany as well as conservation,” explains Malinda Barberio, greenhouse manager. “Where we are right now with climate change, we’re losing plants and animal species and insect diversity at an extremely rapid rate, so as scientists and horticulturists and curators it’s our job to maintain the diversity of the world in collections, and Wally is an important part of that.”

Back from extinction

How Wally came to live in a quiet spot in the 30th Street greenhouse is a story that started in the Cretaceous. Scientists theorized that herbivorous dinosaurs living then dined on Wollemi pines, which belong to a 200-million-year-old plant family and are abundantly represented in the fossil record dating as far back as 91 million years.

Where they weren’t abundantly represented was in the living world. They were theorized to have gone extinct, living only in stone impressions.

However, in 1994, New South Wales (Australia) National Parks ranger David Noble was rappelling in a remote canyon about five hours west of Sydney when he happened upon a stand of pine trees unlike anything he’d seen before. They had fern-like foliage, distinctive bumpy bark and a dense, rounded crown. They towered over other trees in the canyon.

“Typically, you think of pines as Christmas tree-shaped, fairly triangular, so that dense top crown that’s very rounded is a little odd for pines,” Barberio says. “And you typically expect large, fluffy branches, but the Wollemi’s branches are covered in thicker, flat needles that are in two rows parallel to each other along the sides of branches, which is really distinctive.”

Intense scientific investigation followed Noble’s discovery, including comparison to the fossil record, until it was agreed: This was the Wollemi pine—back from extinction.

Follow Wally and his friends in the greenhouse at @CUBoulderEBIOGreenhouse on Instagram.

The ongoing threat of extinction loomed large, though, because there were fewer than 100 trees in that canyon, whose location remains a closely guarded secret. So, in 2006, and in an unusual partnership between the National Geographic Society, the Floragem plant wholesalers, conservationists, botanists and scientists, 10-inch Wollemi pines were offered for sale in National Geographic’s holiday catalog.

“You are now the owner of a tree that is a survivor from the age of the dinosaurs, a miraculous time traveler and one of the greatest living fossils discovered in the twentieth century,” began the catalog description of the 10-inch saplings selling for $99.95.

That’s what caught Judy McKeever’s attention.

A tree named Wally

“My husband (Rod) does bonsai and loves his bonsai garden, so when I saw the advertisement for National Geographic selling these trees, and it was a love story about finding a dinosaur in an Australian canyon, I thought it would be the perfect addition to his collection,” recalls McKeever (A&S’76). “But he never got bonsaied or really trimmed at all, and just kind of grew out of control.”

The couple named him Wally because it sounds like Wollemi, and he lived in a sheltered, south-facing spot on their Boulder deck in the summer and under a grow light in their basement in the winter. Between seasons, they toted him up and down the stairs—and every year he was bigger.

CU Boulder alumni Judy and Rod McKeever donated Wally the Wollemi pine tree to the EBIO greenhouse in October.

“We didn’t really do anything special, just treated him like every other plant we have,” McKeever says. “He lived a sheltered little life, occasionally got fertilized, and he was very happy. We just let him do whatever he wanted to do; he’s an Australian free spirit.

“We just loved Wally, but he grew a few inches every year and with the soil and pot, he just got to be too heavy to take down to the basement every winter.”

In early autumn, McKeever began looking for places that might be interested in adopting Wally and found the EBIO greenhouse. There was an element of homecoming since both Judy and Rod are 1976 CU Boulder graduates (Rod in chemical engineering); Wally would be staying in the family.

“We are very happy to bring Wally into our collection,” Barberio says. “For the university to have a Wollemi pine is a really special privilege. It allows students to have an example of conservation efforts that are modern and recent in history and shows them that they have the opportunity to participate in these efforts as well.”

Plus, she adds, Wally is a great opportunity for public outreach: People can schedule time to visit him in the greenhouse and see science, conservation and worldwide partnerships at work. And students in future paleobotany classes will be able to see just how close scientists and artists got in visually rendering the Wollemi pine from fossil evidence.

“It’s surprisingly accurate how well they were able to reproduce (Wollemi pines) in theory,” Barberio says. “We have all of these animals and plants that are extinct, and having this living example is a really cool way to show how close we got it.”

A part in plant diversity

As for the care and feeding of Wally, who actually isn’t only male since pines produce both male and female cones, he likes acidic soil and bright but not direct light, given that he’s prone to sunburn. He likes regular watering and doesn’t like his soil to completely dry out, but he also dislikes “wet feet,” or for the bottom layer of soil to be damp.

Because his very few wild relatives live in a protected canyon, it may be implied that Wollemi pines prefer protection from rapid temperature changes, Barberio says, adding that so far, he’s shown no signs of producing cones.

“We would love to have Wally produce cones in the future,” she says, “and of course we would try to plant and grow them.”

Until that time, Wally the Wollemi pine will be a signature plant in the greenhouse collection and an example, Barberio says, “that we can play a part in maintaining the diversity of the plant world.”

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CU Boulder alumni Judy and Rod McKeever donate a tree once considered extinct to the EBIO greenhouse, giving students a living example of modern conservation.

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All the world’s a stage for William Shakespeare

Kylie Clarke — Wed, 26 Nov 2025 21:32:57 +0000

All the world’s a stage for William Shakespeare Kylie Clarke Wed, 11/26/2025 - 14:32

Alexandra Phelps

With the Nov. 26 cinematic release of Hamnet, CU Boulder scholars consider what we actually know about the famed playwright and why we’re still reading him four centuries later

Act One: Setting the scene

“Friends, Romans, countrymen, lend me your ears.” The legacy and legend of William Shakespeare has expanded well beyond the open-air theaters of Renaissance London. Embedded in classrooms, films and novels, his plays and poetry have become universally known and loved. Before he inspired generations of artists, however, he was inspired by the art around him. Adapting the stories and dramas he observed and experienced, his storytelling has entertained viewers and readers for four centuries.

However, his dramas are mostly what we have left of him.

“The wealth of beautiful and deep feeling poetry and drama that Shakespeare left, contrasted with the poverty of documents that give us a sense of who he is as a person, is very intriguing” explains Dianne Mitchell, a �Թ�� of Colorado Boulder assistant professor of English and Renaissance literature scholar. This poverty has led scholars and writers, including bestselling author Maggie O’Farrell, to imagine what the lives of Shakespeare and his family may have been like.

In her 2020 novel Hamnet, a film adaptation of which will be released in theaters today (Nov. 26), O’Farrell weaves a plot following Shakespeare and his wife – referred to in the novel and film as Agnes – and their children, twins Judith and Hamnet and their older sister Susanna, creating a domestic view of their lives in Stratford. Based on the sparse information about Shakespeare available through legal documents, O’Farrell spins a fictional tale of loss, love and the family of one of the world’s most influential playwrights.

Paul Mescal as William Shakespeare in Hamnet. Image provided by Focus Features

Meet the Shakespeare scholars

Scene One: Finding a love

Enter Dianne Mitchell, Katherine Eggert, Kevin Rich, Heidi Schmidt, & Amanda Giguere

At CU Boulder, Shakespeare’s work is integral both in English classrooms and on stages. Scholars of literature and theater, as well as organizers of the Colorado Shakespeare Festival (CSF), found a love for Shakespeare’s work which now guides their professional careers.

Katherine Eggert

Katherine Eggert, a professor of English and vice chancellor and senior vice provost for academic planning and assessment, remembers, “I was going to study Victorian literature in graduate school, but then I took a class from Stephen Greenblatt, who is one of the world’s most famous Shakespeare scholars, and I knew that I could not leave the Renaissance behind.”

Eggert, drawing on her work on Renaissance epistemology – understanding how it is possible we know things and not others – and Renaissance history, explains, “We know a great deal about Shakespeare’s dealings in property, his legal involvements, we know whether he paid his taxes. We know the kinds of records that get kept in life. We do not have his diaries; we do not have his private remarks about what he thought about any given subject. What we do have is his literary work.”

Dianne Mitchell

For Dianne Mitchell, literary work and poetry of the Renaissance in particular spoke to her. “I had some great teachers when I was an undergraduate who really brought the 16th and 17th century literary world to life, especially poetry. I hadn’t realized how sensual and how deep the poetry felt.” Mitchell, among the other classes she teaches, developed an upper-level English course that is cross-listed with women and gender studies called Sex in Shakespeare’s Time. She reflects that students are “often surprised how up front both real women and imaginary women can be about what it is that they can and don’t desire.”

Kevin Rich

The stage is another way people find new ways to look at texts and themselves. For Kevin Rich, associate professor of theater and director of the Applied Shakespeare graduate certificate, theater offered him a place to conquer his fear of speaking. He remembers, “I was at a summer camp junior year of high school and they said do something that scares you, and I said acting scares me. I always wanted to be a teacher and once I found acting, I knew what I wanted to teach.”

Later, he saw a six-person production of Shakespeare’s As You Like It on a basketball court in New York City’s lower east side and “it was magical. It was awesome. Kids who were coming to play basketball saw that a play was happening and sat on their basketballs and watched it,” he recalls.

Heidi Schmidt

For Heidi Schmidt, a director and teacher with the Colorado Shakespeare Festival, it was the connections she made rather than the setting of a theater that drew her in. “I really liked theater people. When I started hanging around theater people there was this relief that I could just be more of myself than I was in the rest of my life.” Now involved in every aspect of the theater, she works alongside Rich and Amanda Giguere, CSF director of outreach, to develop the CSF school program.

Amanda Giguere

Amanda Giguere found theater at a young age at a Shakespeare camp: “It planted the seed and now this is my life’s work.” When she was choosing a graduate school, “I applied to one school, CU Boulder, sight unseen … because of its connection to the Colorado Shakespeare Festival. Twenty-one years later, I’m still here.” Her book, Shakespeare & Violence Prevention: A Practical Handbook for Educators, allows teachers all over the country to use CSF’s teaching and practices in their classrooms.

In the five years since its publication and adaptation to film, the novel has grown a wider audience interested in imagining who Shakespeare could have been. Although scholars often try – to varying degrees of success – to explain Shakespeare the person, it is often novelists and playwrights like Shakespeare who bring him most to life. Through his plays, Shakespeare has touched audiences by interpreting the world he experienced through his writing.

Many �Թ�� of Colorado Boulder Shakespeare scholars and Colorado Shakespeare Festival (CSF) drama researchers are excited for the film adaptation of Hamnet. This film offers another insight into what Shakespeare could have been, beyond the dramas he created.

Act Two: Teaching Shakespeare

Enter CU Boulder’s Dianne Mitchell, Katherine Eggert, Kevin Rich, Heidi Schmidt and Amanda Giguere

“Shakespeare’s plays can be a way to think through questions that students themselves are asking, and we don’t only need Shakespeare to help us answer these questions. But it’s funny how much he is wondering about some of the same issues many of my students are wondering about or exploring some of the same problems that beset them,” says Mitchell.

Part of Shakespeare’s brilliance is his ability to reach people at any age. Kevin Rich, an associate professor of Theatre at CU Boulder, remembers seeing “a 4-year-old perform a Cleopatra monologue (from Antony and Cleopatra). You would think that’s too hard, but at that age, they’re not afraid of words yet – all words are new. This language was not intimidating and she killed it. She was so brave and let the words be as big as they were. That’s when I realized no age is too young to be introduced to these plays, and you’ll always learn more as you get older.”

Eggert emphasizes the importance of reading the text aloud in English courses: “I do ask students to read in class. I think it’s really important to hear Shakespeare and to hear the language coming out of your mouth and not just as a professional. When you read Renaissance literature – not just Shakespeare – and literature of any kind aloud, you understand it in your ear, even if you don’t understand every word on the page.”

Act Three: Favorite plays

Everybody reads Shakespeare differently, allowing for individuals to connect with his works in different ways.

Schmidt, for example, recalls a time at a camp where she was directing Measure for Measure. The play is about a duke who lets the affairs of state slide and instead of handling them, claims he’s going on sabbatical. However, he doesn’t and sticks around in disguise, observing as people get manipulated by his deputy.

“I said, ‘OK, let’s just agree as a group that tricking someone into having sex with someone they don’t want to is bad. Period, the end,’” Schmidt says. “The youngest kid in the class, 13, puts her hand in the air and shouts, ‘Consent is sexy!’ It was one of my proudest teaching moments.”

Giguere recognizes the power in drawing connections between historical events and the situations Shakespeare portrays in his stories.” Tyrant by Stephen Greenblatt is about the tyrants in Shakespeare’s plays. I’m on the section on Richard III, and I’m thinking about how it shows what happens when hate is allowed to grow and fester. It’s crazy that Richard III became king, that’s sort of baffling.”

Rich sees great power in how Shakespeare can capture human conditions in social and emotional situations, recalling, “I’ve had an inmate say to me, ‘Shakespeare had to have done time,’ because he cannot have written the prison scene in Richard II without having spent time in a cell himself. I’ve had veterans say he had to have been in war, because he cannot have possibly written about war like he does without having experienced it. So, maybe that’s true or maybe he was just that empathetic, that able to imagine perspectives other than his own.”

Mitchell reflects, “I’ve started teaching one of Shakespeare’s late plays — by which I mean a play that he wrote at the end of his dramatic career — both at the undergraduate and graduate level. It’s a play called Cymbeline. One of the reasons [I like teaching it] is that students have no expectations about the play and its characters when they come into my class. I like teaching it because you really see a Shakespeare at the end of his career who is so confident in his dramatic abilities that he starts breaking all the rules. It’s really fun to watch him discard habits that he practices in some of his more canonical plays.”

Eggert finds that familiarity can generate new insights. She says, “The play I most like to teach, that’s Hamlet. It’s infinitely rich and even if students have already read it before, there is so much to discover on the second, third and 20th reading.” Whether a student is completely new to a play or reading it again, there are so many meaningful ways for them to interact with the text.

Act Four: Hamnet as a novel and a stage play

Giguere and Schmidt both saw the first stage adaptation of Hamnet at the Swan Theatre in Stratford-upon-Avon. Prior to seeing it, Giguere read the novel and was pleased that even though the novel takes a lot of liberties with who Shakespeare’s wife was, they are “beautiful liberties.”

O’Farrell’s novel, despite being about Shakespeare, leans more deeply into the lives of Agnes and his children than other novelists and scholars have. Often villainized in history, Agnes in the novel is shown in a new light. There is much speculation about the circumstances around her and William Shakespeare’s marriage, Eggert disputes some scholars’ insinuations that since she was older than he and was pregnant, she trapped him in a marriage that he didn’t want. This has led to a fictional narrative in which the two lived separate lives, and Shakespeare moved to London to escape her.

Eggert emphasizes that there is no evidence that supports this theory. In fact, she says, “just a few months ago, a scholar made a good case that a letter found in an old book that had been owned by an acquaintance of Shakespeare’s, used as part of the binding of this book, was written to Shakespeare’s wife, and the letter was to her in London. While this letter doesn’t indicate the entirety of their relationship dynamic, it displays that their lives weren’t as separate as some scholars would want them to be.”

Mitchell describes the importance of centering a story around women, especially beside a character as large as Shakespeare. Instead of imagining Agnes’ life as small in comparison to Shakespeare’s, “One of the things that I liked about the novel was that it’s not about Shakespeare and his rise to fame and success, but rather about the domestic life of the intelligent and deep-feeling woman he married. We don’t have diaries or letters, so fiction is doing the work (of defining) that (Agnes) wasn’t some small person who wasn’t cared for and who was just kind of caught up in the Shakespeare industry. She has her own important life.”

Mitchell explains that the villainization of Agnes’ character could possibly stem from a thoughtful act William Shakespeare and his wife did. Many scholars use the fact that the couple didn’t get married in the local parish church to diminish her character since this act was violating the religious conventions at the time. However, at the time they got married, Shakespeare’s father, John – a cruel character in the novel – was being pursued for his debts. Instead of getting married in the church, where people would have seen him and tried to collect, William and Agnes married elsewhere as a kindness to William’s father.

Act Five: Hamnet as a film

There are many films that have captured, or attempted to capture, the plays and fictionalized life of Shakespeare. Movies such as Shakespeare in Love offer viewers a way to enter his life, even if it’s heavily fictionalized. Films are often one of the most important tools used by professors, including Eggert. Films about Shakespeare or his plays allow viewers to better understand the content, through observing the choices actors and directors make.

“I show clips from films and theater adaptations; there are resources through the [�Թ�� of Colorado Boulder’s] libraries where you can see how if something is performed slightly differently, it emphasizes an entirely different meaning to the text,” Eggert says.

Although there are fictionalized elements, the stage adaptation of Hamnet was another way for viewers to understand Shakespeare and England at the time. The stage adaptation included people of various ethnic and racial backgrounds, something Schmidt notes was a larger part of Shakespeare’s London than people often consider.

Colorado Shakespeare Festival remains popular

The Colorado Shakespeare Festival program has reached more than 140,000 Colorado students and continues to be an integral part of English courses in college. For this school cycle, Rich has adapted Hamlet into a digestible 30-minute and 45-minute play, depending on the student audience. Giguere and Schmidt’s work allows for teachers to prep their students on the plots, background and characters in the plays. Similarly to Rich’s opinion that anyone can interact with the material, Giguere states, “I don’t think you need to be a professional actor or violence prevention expert to use Shakespeare’s plays to think about patterns of violence. I think the plays unlock a lot about our own world and help us understand what it means to be human and what it means to live in a society.

“There is a lot of research that exists about how London, in particular, is a lot more diverse than we like to think it was – it was not all white. There were a lot of different people coming from all over the world and living in London and making their lives in London. I think [an all-white version of London] is an outdated and disproven illusion of what life looked like,” Schmidt says.

Rich adds that the landscape in theatre for interpreting Shakespeare has moved beyond a binary system of comedy and tragedy. “When I was first starting out as an actor, auditioning for companies, they would ask for two contrasting monologues – one comedic, one tragic. It seems that many have moved away from that because that creates a two dimensional view of his plays, which in reality are more than just two genres of comedies and tragedies. He finds levity in serious moments and he finds gravity in the funny moments.”

The film version of Hamnet continues to break down these binaries and established structures through its storytelling. The mysticism that Rich sees in Shakespeare’s work is what Giguere recognizes in O’Farrell’s novel. Some film viewers may recognize the mysticism of the novel while also seeing the humanity of Shakespeare and his family.

Some 400 years later, Shakespeare can connect with individuals on a number of levels. Hamnet’s release in theaters offers viewers a fictionalized way to see him as a person and one version of the life he could have led. However, the concrete things people know about Shakespeare’s storytelling and genius are found in his works. Giguere emphasizes that people should read “all of them. Truly, every Shakespeare play collides with you in different ways depending on where you are in life or what the world is doing. I say this in a tongue-and-cheek way, read all of them, watch all of them. Because that’s what baffles me about these works, is that sometimes you’ll collide with a play and it just hits you in the right way where, ‘Oh my goodness, this sheds light on this other aspect of my life.’”

They Exit (the movie theater)

With the Nov. 26 cinematic release of Hamnet, CU Boulder scholars consider what we actually know about the famed playwright and why we’re still reading him four centuries later.

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Image provided by Focus Features

Students nurture a heart to give back

Rachel Sauer — Fri, 21 Nov 2025 14:30:00 +0000

Students nurture a heart to give back Rachel Sauer Fri, 11/21/2025 - 07:30

Rachel Sauer

Undergraduate students Josiah Gordon and Miles Woods formed a nonprofit to provide scholarships for students at their former high school, determined to make positive change in their community

Josiah Gordon and Miles Woods have been friends since kindergarten. They know each other’s families, have been in and out of each other’s Denver homes and can communicate in a shorthand that comes only with knowing someone that long.

They played on some of the same basketball and Arapaho Youth League football teams, had many of the same teachers at Highline Academy and moved on to Thomas Jefferson High School with similar attitudes toward education: Eh, it’s fine.

“I understood (education) was really important because my parents harped on it, but I couldn’t really say I enjoyed it,” Woods says.

Josiah Gordon (left) and Miles Woods (right) are CU Boulder pre-med students majoring in integrative physiology and participating in the Miramontes Arts and Sciences Program. Last year, they decided to raise money for scholarships for students at their alma mater high school.

“For me,” Gordon adds, “when I was younger it was not stressed. I come from a low-income family, but as Miles and I were growing up and our moms were getting to know each other, I was picking up a little bit on that emphasis on education.”

The COVID year changed everything. It was a reset button for both of them, helping them connect with their faith, giving them a bigger-picture perspective on what they want their lives to be and making them realize they really needed to get serious about school.

Fast forward several years, and they’re both pre-med students majoring in integrative physiology at the �Թ�� of Colorado Boulder. Both are also part of the Miramontes Arts and Sciences Program and both focused on goals that are big enough to motivate hard work but not so big that they’re out of reach.

They also know, however, that the future can’t happen without everything that came before it, so last year they hatched an idea to help students at their former high school who see the value of higher education but aren’t sure how to pay for it.

In 2024, the two undergraduates with no previous experience doing anything like this started the Hem of Hope Foundation—originally called Manum Dare, which means “to lend a hand” in Latin—to fundraise and award scholarships to students at Thomas Jefferson High School.

“Senior year, I think I applied to something like 26 different scholarships—everything I could find,” Gordon says. “For me, that was the start of this—just going to school with our peers, a lot of individuals who wanted to go to college and worked hard but just couldn’t make it happen financially. I think we just have a heart to give back and do what we can to help.”

Learning to love learning

Both will admit, though, that the path to this point has been winding, and they didn’t always care this much about education. Woods had the example of his mother, who was the first in her family to go to graduate school—she’s an attorney—and his father, who was the first in his family to go to college. They emphasized education to Woods and his sister, who recently graduated the �Թ�� of California at Berkeley, and to Gordon when he visited the Woods’ home. The message took a little while to sink in.

“I wouldn’t say I was a bad kid by any means,” Gordon recalls, “but I was definitely not a teacher’s pet. I gave my teachers a little trouble growing up, and that’s common in young boys. I just didn’t like school. I would say it wasn’t until I got to high school that I started to take things a little bit more seriously. Plus, I had little more autonomy with choice for classes, and that made a difference.”

They took a human anatomy class together, which planted a seed: “It was like, wow, this stuff is pretty cool,” Gordon says, so he tucked the thought away for future reference.

Miles Woods (second from left) and Josiah Gordon (right) with the two Thomas Jefferson High School students to whom they gave scholarships for which they fundraised. (Photo: Josiah Gordon)

“We were learning about the body in a way that’s really applicable,” Woods adds. “Sometimes I’d be sitting in class like, why am I learning this? Sitting in algebra or whatever, it could get kind of boring. But in that class, it was really interesting, really immersive, and it got me thinking about the body and thinking ‘Oh, that’s how that works.’ I remember one day (the teacher) was teaching us about tattoos and why they are permanent and how they stay in the body, and thinking that was so interesting.”

Both young men were also chasing dreams of playing college basketball, but things worked out how they were supposed to work out, Woods says. He originally committed to play basketball at another Colorado school, but the arrangement fell through a few weeks before the deadline to accept his admission to CU Boulder.

Meanwhile, Gordon broke his foot during his senior year, but because he’d applied for so many scholarships, he was able to pursue an academics-based path rather than a basketball-based one.

“We’d been planning to go our separate ways and chase the hoop dream, but then here we both were at Boulder,” Woods says. Gordon declared pre-med from the beginning, but it took Woods a semester of studying business to know for sure that medicine was his path.

‘Let’s just try’

In Summer 2024, Gordon and Woods participated in Startup Summer through the CU Law School, a 16-week program that supports students in entering the world of startups, innovation and emerging companies. The program helps students come up with business ideas, work on pitches, partner with mentors in the business world and, at the end of the program, pitch a business proposal to a room of investors.

They had some business ideas and even developed one as far as the pitch stage, but their thoughts kept returning to the idea they’d had in high school, from which they were only a year removed.

“We kept thinking about our close friends who couldn’t make it to college because they couldn’t afford it,” Gordon explains, so they thought: What if, instead of a business, they started a nonprofit?

It was an audacious thought for people still in their teens, but they’d spent the summer in rooms with great business minds, people who’d started incredibly successful companies, and they’d soaked up the lessons.

“We thought, why not do it now?” Gordon says. “Let’s just try to raise a little bit of money and give it to someone at our alma mater.”

Josiah Gordon (striped shirt) reads to children at an elementary school in the neighborhood where he grew up. He and Miles Woods (not pictured) are active community volunteers in addition to scholarship fundraisers. (Photo: Josiah Gordon)

Their initial goal was to raise $1,000, so they established a GoFundMe, promoted what they were doing on social media and harnessed the power of word of mouth. A day and a half after they started, they’d raised $2,000. Not long after, a web developer who’d seen what they were doing offered to build them a website. Other Thomas Jefferson alumni contacted them and offered support, including former NFL player Derrick Martin, who gave them a shout-out on social media.

They figured they should get serious about the nonprofit, so Brad Bernthal, then-director of the Startup Summer and an associate professor of law, put them in touch with law students who helped them create a 501(c)(3) as Manum Dare, later renamed Hem of Hope.

They established scholarship criteria—a 3.25 GPA and involvement in extracurricular activities among them—and developed an application on their website, which included an essay. Gordon’s mother helped them read the essays, and in the spring they selected two $1,000 scholarship recipients.

“It’s definitely kind of rough knowing you can’t help everybody how you want to, but I think you can find solace in the fact you’re helping somebody, and the little bit you can do right now for someone is better than not doing anything,” Woods says. “I think that’s the stance you have to take.”

Bring positive change

Since awarding the first two scholarships, they have renamed the foundation Hem of Hope to reflect their faith, established a board, brought on CU School of Medicine student Sandra Appiah as a community impact ambassador and are exploring opportunities for mentorship and community collaboration. They’re also discussing fundraising strategies for next year’s scholarships.

“We’ve been thinking of bake sales, maybe a 5K,” Woods says. “Now that we have a 501(c)(3), we’re hoping to find businesses to partner with on grants.”

Gordon adds that they’ve talked with representatives from other nonprofits, who have given them advice on grant writing, fundraising and community outreach.

They balance this with being third-year students in a demanding major, volunteering as practice players for the CU women’s basketball team and planning for MCATs, medical school applications and graduation.

“Just being on the pre-med track itself is tough, but I think the way we grew up and some of our values definitely pay off,” Gordon says. “We don’t party; we don’t go out to the Hill or anything like that, so that gives us extra time. The analogy that pops in my brain is a see-saw: You’re not ever really going to be perfectly balanced, but I think that act of teetering is a kind of balance itself, kind of learning and establishing a good routine.

“And it’s important to us. You make time for the things that are important to you, and we want to bring positive change to our community.”

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Undergraduate students Josiah Gordon and Miles Woods formed a nonprofit to provide scholarships for students at their former high school, determined to make positive change in their community.

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Top image: Miles Woods (left) and Josiah Gordon (right) at the spring scholarship presentation. (Photo: Josiah Gordon)

Why Skinner Myers isn’t chasing Hollywood glory

Rachel Sauer — Wed, 19 Nov 2025 14:30:00 +0000

Why Skinner Myers isn’t chasing Hollywood glory Rachel Sauer Wed, 11/19/2025 - 07:30

Cody DeBos

The CU Boulder Cinema Studies and Moving Image Arts assistant professor is finding success as an independent filmmaker

When Skinner Myers shoots a movie, he doesn’t need a Hollywood backlot, a multi-million-dollar budget or even a month-long shooting schedule. For Myers, a career in film isn’t about glitz and glam. It’s an opportunity to tell stories he’s passionate about while adhering to a moral code.

That dedication to his craft has carried him on a lengthy path full of unexpected twists to who he is today: an award-winning filmmaker and recipient of the prestigious Amplifier Fellowship.

“I submitted an original pilot and I got selected. It’s really opened up my network to individuals that I probably could reach as … an indie filmmaker professor,” Myers says of the opportunity. “So, it’s been good. The timing has been really good.”

Skinner Myers, a CU Boulder assistant professor of cinema studies and moving image arts, recently received an Amplifier Fellowship from Film Independent.

He’s currently in the middle of two projects, including Tragic Boogie, a pro-wrestling crime drama, and a feature film called Mood Swing Whiskey.

“We shot the latter in March of this year in Los Angeles during CU’s spring break. It’s a slow-cinema, avant-garde horror thriller shot on black-and-white Super 16 film,” he says.

Earlier this year, another of Myers’ films premiered at the Berlin Critics Week film festival and was quickly picked up by a distributor, with a release planned for 2026.

But for Myers, an assistant professor of cinema studies and moving image arts at the �Թ�� of Colorado Boulder, these are more than artistic milestones. He sees each one as proof that it’s still possible to make bold, personal work outside the traditional Hollywood system.

Rewriting his own script

Myers didn’t originally set out to be a filmmaker. In fact, he spent much of his early career pursuing gigs on the other side of the camera.

“I was originally an actor, starting at the age of 18,” he says.

He moved to New York City to study acting, performed in off-Broadway plays and started a band. After 9/11, he relocated to Los Angeles in search of commercial work but found the industry disheartening.

“I got quickly disillusioned with the idea of making it as an actor,” Myers recalls.

Rather than ending the story there, Myers decided to pick up the camera for himself. He began experimenting with documentaries, including a self-financed trip to Uganda to shoot a vérité-style doc in the slums of Kampala.

“After that, I applied to film school, which was a big change for me, because this entire time I was an actor, I didn’t know much about filming,” he says.

“I remember one of the teachers who had seen my feature doc during the admissions process asked me, ‘Why do you want to come to film school? You’re already making films.’ At the time I didn’t really understand the question, which I do now, but I wanted connections, so I went anyway,” he adds.

After stints in graduate school, work on the TV series True Detective, and a job teaching film to middle and high schoolers, Myers began producing short films on the side. Eventually, he landed a full-time role at Loyola Marymount �Թ��, which allowed him to finance his first feature, The Sleeping Negro, shot in just six days and on a $40,000 budget.

The film went on to play at Slamdance in 2021, receive coverage in the Los Angeles Times, and score a 100% rating on Rotten Tomatoes after being screened in 20 countries.

Filmmaker Skinner Myers shot his film The Sleeping Negro in just six days and on a $40,000 budget. It went on to play at Slamdance in 2021, receive coverage in the Los Angeles Times and score a 100% rating on Rotten Tomatoes after being screened in 20 countries. (Photo: Josiah Myers)

“It won lots of awards, and that was when I started to apply for tenure-track positions outside of LA, just because LA was really expensive for my growing family,” Myers said.

His momentum carried him to Boulder and gave him the confidence to keep shooting films.

A radical approach to independent cinema

Myers is committed to a filmmaking approach he describes as deeply personal, politically intentional and structurally independent.

“One of the things that makes my approach unique is the lack of resources I’ve had,” he says. “I’ve never had more than six days to make a feature.”

Efficiency—often forced by that lack of resources—is reflected in his poignant, narrative-driving scripts and his low shooting ratio. One thing he splurges on is shooting exclusively on film. These decisions are as much logistical as they are part of his larger philosophy on telling a meaningful story, Myers says.

“I’m also a huge fan of the Black radical cinematic traditions that come before me,” he says, citing the influence of Oscar Micheaux, Haile Gerima and Charles Burnett.

“I want to create films that connect the traditions from the ’30s, ’40s, ’50s, ’60s and ’70s to today, because I feel like that bridge has not been connected,” he adds. “These are the things I think about as I’m writing, as I’m thinking through visuals, as I’m thinking about characters, making something that is not only equitable to the crew and cast financially, but is unique in its own way.”

His latest project, Tragic Boogie, is a crime thriller set in the world of professional wrestling.

“We just finished the script on that one. I’m really stoked on it because I think it’s something that, for pro wrestling fans, they’ll totally attach to, but it’s still me and still the type of film I want to make,” Myers says.

Thematically, the film explores how bodies, especially those of Black athletes, are commodified and discarded in entertainment industries.

Myers also sees it as a community project.

“Really, my goal is to make the film here in Denver and really try to bring the local community together and have everyone involved, and even have some students involved,” he says.

Amplifying voices from screen to classroom

Earlier this year, Myers received an Amplifier Fellowship from Film Independent, a nonprofit arts organization that supports emerging filmmakers. The program, sponsored by Netflix, is designed to elevate underrepresented voices in film.

“I try to use my work to show students that, ‘Hey, this is totally doable.’ I try to bring in these real-world experiences as they’re happening to me. And I’m very candid and open with my students."

“It’s been great,” Myers says. “Materialistically, I got financial support. But more importantly, I’ve gotten some new mentors in my life who really understand what I’m trying to do.”

“They have a lot more experience than I do. They’re a lot older. And that’s been really nice, getting some of that wisdom and guidance,” he adds.

The fellowship also has given him precious time. It’s a gift he’s using to write, to collaborate and to think about what kind of artist and educator he wants to be as his career continues to develop.

At CU Boulder, Myers sees filmmaking and teaching as two parts of a whole. He makes a point to include students in real productions and to demystify the business side of the industry by sharing real stories from his own work and that of his colleagues.

“I try to use my work to show students that, ‘Hey, this is totally doable,’” he says. “I try to bring in these real-world experiences as they’re happening to me. And I’m very candid and open with my students.

“I’ve made three features at this point. I’ve gone through the distribution process (and) the festival process,” he says. “That way, they can see, all right, there’s a way to balance some type of life where you make money and your artistic life.”

Staying true to the story

As for what’s next, Myers is passionate about continuing to create projects that don’t always fit into a press kit.

“I’m not trying to make a Hollywood film; that doesn’t interest me,” he says.

He also encourages young filmmakers to choose their medium with purpose and not to be afraid of change.

“There are a lot of artistic mediums out there other than film,” he says. “So, really know why you need to use that medium to say what you want to say and not something else.”

And if that calling ever changes?

“It’s OK to not do this forever,” he says. “Maybe you say what you want to say in five films. It’s OK to say, ‘OK, I’m going to do something else in my life.’ That’s totally OK.”

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The CU Boulder Cinema Studies and Moving Image Arts assistant professor is finding success as an independent filmmaker.

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Top image: Skinner Myers in his film The Sleeping Negro (Photo: Josiah Myers)

CU Boulder launches research initiative with Israeli and German partners

Rachel Sauer — Tue, 18 Nov 2025 23:13:49 +0000

CU Boulder launches research initiative with Israeli and German partners Rachel Sauer Tue, 11/18/2025 - 16:13

Collaboration between the Department of History, Open �Թ�� of Israel and Berlin’s Center for Research on Antisemitism brings scholars and graduate students together in joint research

Scholars in the �Թ�� of Colorado Boulder Department of History recently launched a first-of-its-kind international research initiative to bring U.S., Israeli and German graduate students and scholars together to partner on collaborative research.

The partnership is between CU Boulder, the Open �Թ�� of Israel (OUI) and the Center for Research on Antisemitism (ZfA) at the Technical �Թ�� Berlin (TU Berlin), and this semester the three institutions launched a tri-university graduate course on modern German-Jewish ego-documents, or autobiographical writings, team-taught by faculty across all campuses.

The course, which is currently underway, brings together students and professors from the United States, Israel and Germany in a hybrid format that blends synchronous Zoom meetings and asynchronous Canvas Networks coursework with an intensive, eight-day in-person seminar in Berlin that ended last week.

Thomas Pegelow Kaplan (standing, wearing glasses) and students from CU Boulder, Open �Թ�� of Israel and the TU Berlin work with ego-documents at the archives of the Jewish Museum Berlin last week. (Photo: Thomas Pegelow Kaplan)

The initiative originated in spring 2024 discussions between Thomas Pegelow Kaplan, professor and Louis P. Singer Endowed Chair in Jewish History, and Guy Miron, OUI vice president for academic affairs and faculty member in the Department of History, Philosophy and Judaic Studies. They envisioned creating a research program that would connect U.S. and Israeli students and scholars through collaborative, cross-cultural study, Pegelow Kaplan says.

He adds that OUI, which was founded in 1974 with an open admissions model and a distance-learning structure intended to democratize access to higher education, is an ideal research partner because it serves one of Israel’s most diverse student populations, ranging from ultra-Orthodox Jewish communities to Druze and Israeli Arabs. In the wake of the upheavals following October 7, 2023, he says, this diversity made OUI an especially compelling partner for a project aimed not only at academic cooperation but also at fostering understanding among students from different backgrounds.

The CU Boulder Graduate School and Department of History were early champions of the partnership, Pegelow Kaplan says, and discussions soon expanded a dual partnership between CU Boulder and OUI to include the ZfA at TU Berlin. Established in 1982 and rooted in a university founded in 1770, the ZfA is one of the world’s leading centers for the study of antisemitism. Its recent launch of an interdisciplinary MA program added further momentum to the emerging partnership, Pegelow Kaplan says.

Expanding a research network

A key piece of the initiative is the recently completed in-person seminar in Berlin, which is home to Germany’s largest Jewish community and is a global center for Jewish and Holocaust studies and served “as a living classroom,” Pegelow Kaplan says. Participants worked directly with archives and institutions, including the Jewish Museum Berlin and the New Synagogue Berlin–Centrum Judaicum. Students met with leading scholars, archivists, memory activists, city officials and Jewish community representatives for learning and broad-ranging discussion.

The seminar coincided with Germany’s annual commemoration of the November 1938 anti-Jewish pogroms, also known as Kristallnacht —events that marked a turning point in the Nazi regime’s persecution of Jews. Students served as “participatory observers,” analyzing contemporary memory practices during the commemorations as part of their research.

The CU Boulder Department of History, Graduate School, Research and Innovation Office and Benson Center, as well as several new donors who joined the trip as auditors, contributed to student travel costs for the Berlin seminar.

Pegelow Kaplan emphasizes that the Berlin seminar was the first step of many. Plans are already underway for future course offerings, an international conference in Berlin in June 2026, expanded research trips—including, once conditions allow, to Jerusalem—and broader disciplinary participation extending beyond the humanities and social sciences into fields such as engineering.

The initiative also aims to establish exchange pathways to bring Israeli and German students and faculty to Boulder and to send CU affiliates abroad for both short- and long-term stays. More ambitious possibilities, including joint degree programs, are being explored, Pegelow Kaplan says.

Throughout its development, the project has remained closely aligned with CU Boulder’s mission, he says, to be “a global research and education leader intent on transforming individuals, communities and the entire human experience.”

As this international partnership grows, Pegelow Kaplan says he and his colleagues in Israel and Germany are aiming to make it not only a model of collaborative scholarship but also an avenue for fostering meaningful connections among students navigating a rapidly changing world.

Professor G. Miron (left, gray jacket) of Open �Թ��/Yad Vashem introduces students to the most pertinent debates at the House of the Wannsee Conference Memorial in Berlin. (Photo: Thomas Pegelow Kaplan)

Program participants at the Gleis 17 Memorial in Berlin, which commemorates the 50,000 Berlin Jews deported to their death in the East. (Photo: Thomas Pegelow Kaplan)

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Collaboration between the Department of History, Open �Թ�� of Israel and Berlin’s Center for Research on Antisemitism brings scholars and graduate students together in joint research.

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Top image: CU Boulder MA students working with archival collections at the Centrum Judaicum in Berlin. (Photo: Thomas Pegelow Kaplan)

Eat, pray, learn

Rachel Sauer — Tue, 18 Nov 2025 03:13:10 +0000

Eat, pray, learn Rachel Sauer Mon, 11/17/2025 - 20:13

Rachel Sauer

Bali Global Seminar in Sustainability and Social Entrepreneurship helps students see real-world work to balance tourism with environmental and cultural preservation

Tourists certainly visited Bali before Elizabeth Gilbert’s 2006 memoir Eat, Pray, Love, but they came in droves after it became an international bestseller. And when the film based on Gilbert’s memoir and starring Julia Roberts was released in 2010, some frustrated residents began hanging “Eat, Pray, Leave” signs.

Bali, like many heavily touristed—some might say over-touristed—spots around the globe, exists in an uneasy détente between the tourism that represents 80% of its economy and the growing recognition that with tremendous tourism comes previously unseen environmental, economic and cultural impacts.

Students who participated in the Summer 2025 Bali Global Seminar in Sustainability and Social Entrepreneurship not only learn first-hand how Bali’s residents and leaders are grappling with previously unseen environmental, economic and cultural impacts related to tourism. (Photo: Laura DeLuca)

Participants in the three-week Bali Global Seminar in Sustainability and Social Entrepreneurship not only learn first-hand how Bali’s residents and leaders are grappling with these issues for which there aren’t many roadmaps, but how they’re creating innovative, sustainable solutions for dealing with these environmental and socioeconomic challenges.

“It’s a very hands-on course,” explains seminar director Laura DeLuca, a �Թ�� of Colorado Boulder assistant teaching professor of anthropology and faculty member in the Stories and Societies Residential Academic Program. “Students are seeing first-hand these social innovations that are designed to improve human and ecosystem viability in ways that are effective, efficient, long-term and just.

“These innovations also serve as models that can be adapted to other cultural and socioeconomic contexts beyond Bali. The application of these approaches is driving the emergence of new and creative ‘solutionary’ paradigms that address the concerns of people, animals and the environment.”

Potential benefits, potential impacts

The Bali Global Seminar in Sustainability and Social Entrepreneurship first took place in Summer 2024 and was led by Caroline Conzelman, an anthropology teaching professor in the College of Arts and Sciences Residential Academic Programs (RAPs).

The seminar had its genesis in “this idea of decolonizing the study abroad experience and challenging some of these notions of extractive tourism or ‘voluntourism,’” Conzelman explains. “Sometimes we don’t really examine our positions of privilege and power when we are just regular tourists, even with study abroad, so I always bring this into the conversation with students: What are we doing here, what are potential benefits, what are potential impacts?”

Conzelman and DeLuca, who were in graduate school at CU Boulder together, both brought a passion for sustainability to their respective areas of anthropological study—Conzelman in Bolivia and DeLuca in Tanzania—and together developed a 1000-level course on sustainability, social responsibility and entrepreneurship that they taught in several RAPs.

Apply by Dec. 1

Applications for the three-credit Summer 2026 Bali Global Seminar in Sustainability and Social Entrepreneurship close Dec. 1. Students from all majors are invited to participate.

For more information, contact Scott Funk, Education Abroad program manager for the Bali Global Seminar in Sustainability and Social Entrepreneuriship.

Learn more

Though neither had previously studied or done research in Bali, “I’m on a listserv for environmental anthropology, which has always been my focus, and I kept seeing information about the Bali Institute,” Conzelman says. “On Oct. 13, 2021, I had my first Zoom meeting with the director of the Bali Institute, and we talked for an hour and a half. We were on the same level in terms of being extremely aware of differentials of power and privilege that exist in study abroad and other sorts of programs like that.

“We talked about upending the status quo of voluntourism, we talked about creating a viable business model for longer-term engagement in terms of Balinese people inviting foreigners into their own communities and guiding them in this cultural exploration.”

Tri Hita Karana

Working with the Education Abroad office and with the Bali Institute as a local partner, Conzelman began developing a three-week summer program that would allow students to study community-led coral restoration and regenerative rice farming projects, spend time with social entrepreneurs and learn about local traditions in medicine, food and religion, as well as strategic efforts to make tourism more sustainable.

The Balinese practice of Tri Hita Karana is woven throughout all the lessons, DeLuca says, which is the “three causes of wellbeing” or the “three causes of prosperity and happiness”: harmony with the divine, harmony among people and harmony with nature and the environment.

“The principle of Tri Hita Karana guides many aspects of life on the island and is seen as a strong pillar for maintaining the residents’ sustainability and quality of life,” DeLuca explains.

Clementine Clyker, a senior majoring in environmental studies, first participated in the seminar as a student in 2025 and then as a teaching assistant (TA) in 2025. As a student, she says, “some of my most memorable experiences were getting to know the Balinese people, especially our guides. I still remain in contact with most of them. They have shown me different ways of life that put my own into perspective. Additionally, I met many loving individuals who work hard to promote social equity and equal opportunities for marginalized groups such as women.”

Because of her experiences in Bali as both a student and a TA, she adds, “I have also started to prioritize community more. Bali is a warm and welcoming place that is deeply rooted in community, something I feel we lack in the States. Getting to see the lives of Balinese locals has made me realize how important it is to have that community and to nurture it.”

For Cal Curtis, a sophomore majoring in biology with a leadership minor, participating in the Summer 2025 Bali Global Seminar "opened my eyes to a new community and ecosystem. I learned about the devastating impact of overfishing on our oceans, which sparked my passion for conservation.”

"Bali taught me so much about empathy, the importance of community and the impact that our actions directly have on the environment," adds Summer 2025 participant Skylar Armstrong, a sophomore majoring integrative physiology.

DeLuca notes that Bali is at the frontlines of addressing the exploitative overtourism also seen in places like Barcelona, Cairo and Venice, “which, basically, takes more than it gives,” she says, and has led to crises of pollution, reef destruction, affordable housing, access to health care and maintaining private places to worship.

“Because of the partnerships we have with people who live there, Bali is a living classroom for our students,” DeLuca says. “It’s a place that’s really romanticized and that I think a lot of people dream of visiting, but it’s also a place where the people who live there are trying to figure out how they can sustainably undo some of the damage that’s being done by this industry that represents the majority of their economy. And we have these deep connections and relationships with people there who are willing to teach our students about this work.”

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Bali Global Seminar in Sustainability and Social Entrepreneurship helps students see real-world work to balance tourism with environmental and cultural preservation.

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Top image: Guillaume Marques/Unsplash

Meet the scientist who stumbled into the cold—and stayed

Rachel Sauer — Mon, 17 Nov 2025 14:30:00 +0000

Meet the scientist who stumbled into the cold—and stayed Rachel Sauer Mon, 11/17/2025 - 07:30

Clint Talbott

John Cassano, professor of atmospheric and oceanic sciences at CU Boulder, lead scientist at the National Snow and Ice Data Center and fellow at CIRES, recently returned from his 15th research trip to Antarctica

The first time John Cassano flew to Antarctica, he found the 12-hour commercial flight from Los Angeles to Auckland, New Zealand, uncomfortable. Then he boarded a C-130 cargo plane bound for Antarctica.

“Put me on a commercial plane in a middle seat for 12 hours,” he says, chuckling. “I’ll take that over being in a cargo plane any day.”

John Cassano, a CU Boulder professor of atmospheric and oceanic sciences and self-described "weather weenie," has been pursuing research in Antarctica since 1994.

That was January 1994. Cassano was 25 and a graduate student who had agreed to work on a project installing weather stations in Greenland and Antarctica. He figured he’d go once, check Antarctica off his list and move on with life. Thirty years later, he’s still going back.

Cassano did not plan to be a polar researcher. Growing up in New York, he imagined a career in architecture—something tangible, predictable. But a freshman weather class at Montana State �Թ�� changed everything. “I decided architecture wasn’t for me.”

Meteorology seemed a better fit. Montana State didn’t offer meteorology, so Cassano earned an earth science degree and headed to graduate school at the �Թ�� of Wisconsin–Madison, intending to study storms. Then came an invitation from Charles Stearns, professor of atmospheric and oceanic sciences, asking if Cassano would be interested in working on a project in Antarctica.

“I had no real interest in the polar regions,” Cassano admits. “But I wasn’t going to pass up the chance to go to Antarctica once.”

That “once” became a career. After two field seasons with Stearns, Cassano pursued a PhD at the �Թ�� of Wyoming, focusing on Antarctic meteorology. Today, as a professor in the �Թ�� of Colorado Boulder’s Department of Atmospheric and Oceanic Sciences, he has lived about a year in Antarctica over the course of 15 trips there.

Cassano is also lead scientist at the National Snow and Ice Data Center and a fellow at CU Boulder’s Cooperative Institute for Research in Environmental Sciences.

'A weather weenie at heart'

The science keeps him coming back. Cassano’s work explores how the atmosphere behaves in Earth’s most extreme environments—knowledge that underpins climate models and weather forecasts worldwide.

The adventure is also alluring. “I’m a weather weenie at heart,” he says. “I like experiencing extremes—strong winds, big snowstorms, really cold temperatures. Antarctica gives me that.”

He recalls standing in minus 56°F air, frostbite nipping his fingers as he launched drones. “I enjoy experiencing those conditions,” he says. “I wouldn’t want to camp in a tent for months like the early explorers, but I like the challenge.”

John Cassano (right) and then-fellow graduate student Mark Seefeldt (left), now a research scientist in Cassano's group at CIRES, on their first trip to Antarctica in 1994. (Photo: John Cassano)

Cassano’s contributions have helped reshape polar science. In 2009, he led the first U.S.-funded drone research campaign in Antarctica, opening new ways to measure the atmosphere where traditional instruments fall short.

“Drones let us probe the boundary layer—the part of the atmosphere that exchanges heat and moisture with the surface,” he explains. “That’s critical for understanding climate.”

Earlier, as a postdoctoral researcher at Ohio State �Թ��, Cassano helped modernize Antarctic weather forecasting. The Antarctic Mesoscale Prediction System, launched in 2001, transformed flight safety.

“When I started going down in the ’90s, forecasters were confident about eight hours out,” he says. “Now it’s five days. That’s huge.”

That’s a big change for several reasons, not the least of which is that an eight-hour forecast could change from the time a plane left Christchurch, New Zealand, and got closer to Antarctica. Planes often had to turn around mid-flight back then, Cassano recalls.

Witnessing dramatic changes

Cassano has witnessed dramatic changes in three decades of research.

Arctic sea ice has declined about 40 percent in recent decades. Antarctic sea ice, once at record highs, now hovers at record lows. Ice shelves are collapsing.

“These changes matter,” he says. “They alter the temperature gradient between the tropics and poles, which drives global weather. Even if you never go to the polar regions, it affects the storms you experience.”

Meanwhile, fieldwork isn’t all adventure. “Emotionally, it’s hard,” Cassano says. “When I was single, I didn’t mind being gone for months. Now, being away from my wife and daughter is tough.”

Comforts are few: shared dorm rooms, institutional food and the knowledge that if something happens at home, he can’t leave. “Once you’re there in August, you’re stuck until October.”

But Cassano treasures the Antarctic community—a self-selecting group of scientists and support staff who thrive in isolation. “You don’t wind up in Antarctica by mistake,” he says.

“Everyone wants to be there. Contractors work six-month stints and spend the rest of the year traveling. It’s like living in a travelogue.”

Kara Hartig (left), CIRES visiting fellow postdoc, and John Cassano (right), in Antarctica during the 2025 research season. (Photo: John Cassano)

He loves the stories: a mechanic who spent his off-season trekking through South America, a cook who had just returned from hiking in Nepal. “You hear all these amazing experiences,” Cassano says. “It’s like living inside a travel magazine.”

Behind every scientific breakthrough lies a vast support system. “I can focus on science because others make sure I have food, water, transportation and a warm place to sleep,” Cassano says. “That infrastructure is critical.”

Cassano worries about the cost of fieldwork and the ripple effects of recent disruptions. “Field projects are expensive,” he says. “COVID and a major McMurdo Station rebuild created a backlog. My project was supposed to be in the field in 2021—we went in 2025. NSF is still catching up.”

Federal priorities are a concern in the current political climate, but Cassano suggests that Antarctic research might be less vulnerable than other kinds of federally sponsored science.

“Antarctic research has always had a geopolitical dimension,” Cassano notes. “The Antarctic Treaty encourages nations to maintain scientific programs. It’s how you keep a seat at the table.”

Constant curiosity

For Cassano, mentoring is particularly rewarding. “I love bringing new people down,” he says. “Seeing Antarctica through their eyes makes me excited again.” On his latest trip, he watched a young researcher, Kara Hartig, CIRES visiting fellow postdoc, as she experienced the ice for the first time. “Her enthusiasm reminded me why I do this.”

That excitement ripples outward. After Cassano shared photos in class, a former student emailed, saying, “I’m on my way to Antarctica to work as a chef at McMurdo,” the largest research station on the continent.

“He just wanted to experience it,” Cassano says. “I think that’s awesome.”

Cassano’s curiosity remains undiminished. On his latest trip, when drones failed to arrive, he improvised with van-mounted sensors, uncovering puzzling temperature swings across the ice shelf.

What might we learn from the data? “It hints at important processes,” he says. “Now we need to go back and figure out why.”

After three decades, Cassano still marvels at the complexity of the atmosphere—and the urgency of understanding it. “Increasing our knowledge is broadly beneficial,” he says. “And for me, it’s just fascinating.”

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Top image: Sunset over the Royal Society Range (background), sea ice in McMurdo Sound (mid-ground) and McMurdo Station from John Cassano's 2025 Antarctic trip. (Photo: John Cassano)

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