She is known as the voice of a generation. The Queen of Folk. A legend. An icon, the one who sang “We Shall Overcome” alongside Martin Luther King Jr. at the 1963 March on Washington. As much as anyone, Joan Baez embodied the spirit of that decade of soaring dreams and songs and dramas set in motion that echo through this world of ours. Meanwhile, her love affair with a young Minnesota singer-songwriter calling himself Bob Dylan, whose career she pivotally helped launch, is also reentering the public imagination with a big new movie. And her classic heartbreak hit about him, “Diamonds and Rust,” is topping global charts anew.

But Joan Baez at 83 is so much more intriguing than her projection as a legend. She grew up the daughter of a Mexican physicist father and a Scottish mother in a seemingly idyllic family. But even at the height of her fame, she was struggling mightily with mysterious interior demons. She and her beloved sisters finally reckoned in midlife with a truth of abuse they had buried, even in memory, at great cost. She has reckoned with fracture inside herself and been on an odyssey of wholeness. She is frank and funny, irreverent and wise. Among other gifts, she offers a refreshing way in to what it means to sing and live the reality of “overcoming,” personal and civilizational.

Krista spoke with Joan on stage at the 2024 Chicago Humanities Festival.

Joan Baez published her first (wonderful) book of poetry at the age of 83: When You See My Mother, Ask Her to Dance. She was one of the leading artists of the 1960s folk revival, and brought her voice to the Civil Rights and anti-war movements of that decade. She performed for over 60 years, releasing more than 30 albums. She has won scores of awards and was inducted into the Rock & Roll Hall of Fame in 2017. In addition to her poetry, she has published a book of drawings, Am I Pretty When I Fly?: An Album of Upside Down Drawings, and painted a series of portraits called Mischief Makers. You can find the links for her books here.

Find the transcript for this show at onbeing.org.

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The wonderful civil rights elder Vincent Harding liked to look around the world for what he called "live human signposts" — human beings who embody ways of seeing and becoming and who point the way forward to the world we want to inhabit. And adrienne maree brown, who has inspired worlds of social creativity with her notions of "pleasure activism" and "emergent strategy," is surely one of these.

We're listening with new ears as she brings together so many of the threads that have recurred in this season of On Being: on looking the harsh complexity of this world full in the face while dancing with joy as life force and fuel, and on keeping clear eyes on the reasons for ecological despair while giving oneself over to a loving apprenticeship with the natural world as teacher and guide. A love of visionary science fiction also finds a robust place in her work and this conversation. She altogether shines a light on an emerging ecosystem in our world over and against the drumbeat of what is fractured and breaking — the cultivation of old and new ways of seeing, towards a transformative wholeness of living.

adrienne maree brown’s influential books include Emergent Strategy, We Will Not Cancel Us, and Pleasure Activism. More recently, she has published Maroons, a work of speculative fiction, and she co-edited the anthology Octavia’s Brood: Science Fiction from Social Justice Movements. She also co-hosts the podcast How to Survive the End of the World. And, a special heads up: in late summer 2024, adrienne maree brown will publish a phenomenal new book — Loving Corrections.

Find the transcript for this show at onbeing.org.

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An impassioned plea, a yearning for connection — the poem U.S. Poet Laureate Ada Limón wrote when she says all language failed her. Take in Ada's reading of her piece, “The End of Poetry” — and hear her read more of her work in the On Being episode, “To Be Made Whole.”

Ada Limón is the 24th Poet Laureate of the United States. She’s written six books of poetry, including The Carrying, which won the National Book Critics Circle Award for Poetry, and Bright Dead Things, which was a finalist for the National Book Award. Her most recent volume is The Hurting Kind. As poet laureate, she edited the collection You Are Here, part of her signature project focusing on how poetry can connect us to the natural world. She is a 2023 MacArthur Fellow, a former host of the poetry podcast The Slowdown, and an instructor in the MFA program at Queens University of Charlotte, in North Carolina.

We are strange creatures. It is hard for us to speak about, or let in, the reality of frailty and death — the elemental fact of mortality itself. In this century, western medicine has gradually moved away from its understanding of death as a failure — where care stops with a terminal diagnosis. Hospice has moved, from something rare to something expected. And yet advances in technology have made it ever harder for physicians and patients to make a call to stop fighting death — often at the expense of the quality of this last time of life. Meanwhile, there is a new longevity industry which resists the very notion of decline, much less finitude.

Fascinatingly, the simple question which transformed the surgeon Atul Gawande’s life and practice of medicine is this: What does a good day look like? As he has come to see, standing reverently before our mortality is an exercise in more intricately inhabiting why we want to be alive. This conversation evokes both grief and hope, sadness at so many deaths — including our species-level losses to Covid — that have not allowed for this measure of care. Yet it also includes very actionable encouragement towards the agency that is there to claim in our mortal odysseys ahead.

Atul Gawande's writing for The New Yorker and his books have been read by millions, most famously Being Mortal: Medicine and What Matters in the End. He currently serves as Assistant Administrator for Global Health at the U.S. Agency for International Development. He previously practiced general and endocrine surgery at Brigham and Women’s Hospital in Boston and was a professor at both Harvard Medical School and the Harvard T.H. Chan School of Public Health.

Find the transcript for this show at onbeing.org.

This show originally aired in October 2017.

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Today, a poem with a poignant question to live: “...and are we not of interest to each other?” Carry Elizabeth Alexander’s reading of her poem “Ars Poetica #100: I Believe” with you — and hear Elizabeth read more of her poetry in the On Being episode, “Words That Shimmer.”

Elizabeth Alexander is a poet, author, and educator. Since 2018, she has served as president of The Andrew W. Mellon Foundation. She was inducted into the American Academy of Arts and Sciences in 2019 and is Chancellor Emeritus of the Academy of American Poets. Her books include American Sublime, a 2006 finalist for the Pulitzer Prize in Poetry and the memoir, The Light of the World, a 2016 finalist for the Pulitzer Prize in Biography. Her most recent book is The Trayvon Generation.

We humans have this drive to erect barriers between ourselves and others, Luis Alberto Urrea says, and yet this makes us a little crazy. He is an exuberant, wise, and refreshing companion into the deep meaning and the problem of borders — what they are really about, what we do with them, and what they do to us.

The Mexican-American border was as close and personal to him as it could be when he was growing up — an apt expression of his parents’ turbulent Mexican-American divorce. In his writing and in this conversation, he complicates every dehumanizing stereotype of Mexicans, "migrants" — and border guards. A deep truth of our time, Luis insists, is that “we miss each other.” He offers a vision of the larger possibility of our time beyond the terrible tangles of today: that we might evolve the old illusion of the melting pot into a 21st-century richness of “us." And he delightfully models that messiness and humor will be required.

Luis Alberto Urrea is a distinguished professor of creative writing at the University of Illinois Chicago. His books of poetry, fiction, and nonfiction include Into the Beautiful North, The Devil’s Highway, The Hummingbird’s Daughter, and Goodnight, Irene.

Find the transcript for this show at onbeing.org.

This show originally aired in July 2018.

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In our world of so much suffering, it can feel hard or wrong to invoke the word "joy." Yet joy has been one of the most insistent, recurrent rallying cries in almost every life-giving conversation that Krista has had across recent months and years, even and especially with people on the front lines of humanity's struggles.

Ross Gay helps illuminate this paradox and turn it into a muscle.

We are good at fighting, as he puts it, and not as good at holding in our imaginations what is to be adored and preserved and exalted — advocating for what we love, for what we find beautiful and necessary. But without this, he says, we cannot speak meaningfully even about our longings for a more just world, a more whole existence for all. To understand that we are all suffering — and so to practice tenderness and mercy — is a quality of what Ross calls “adult joy." Starting with his cherished essay collection The Book of Delights, he began to accompany many in an everyday spiritual discipline of practicing delight and cultivating joy.

Ross Gay is a poet, essayist, teacher, and passionate community gardener. He lives in Bloomington, Indiana, where he’s a professor of English at Indiana University. His books include The Book of Delights, The Book of (More) Delights, and Inciting Joy, as well as the poetry collections Catalog of Unabashed Gratitude and Be Holding.

Find the transcript for this show at onbeing.org.

This show originally aired in July 2019.

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In this all-new episode, Krista engages biomimicry pioneer Janine Benyus in a second, urgent conversation, alongside creative biomimicry practitioner Azita Ardakani Walton. Together they trace precise guidance and applied wisdom from the natural world for the civilizational callings before us now.

What does nature have to teach us about healing from trauma? And how might those of us aspiring to good and generative lives start to function like an ecosystem rather than a collection of separate, siloed projects? We are in kinship. How to make that real — and in making it real, make it more of an offering to the whole wide world?

Krista, Azita, and Janine spoke at the January 2024 gathering of visionaries, activists, and creatives where Krista also drew out Lyndsey Stonebridge and Lucas Johnson for the recent episode on Hannah Arendt. We're excited to bring you back into that room.

Janine Benyus's classic work is Biomimicry: Innovation Inspired by Nature. She is the co-founder of the non-profit Biomimicry Institute. She also co-founded Biomimicry 3.8, a consulting and training company.

Azita Ardakani Walton is a philanthropist and social entrepreneur. She has pursued her work through nature’s principles as a means to inform economics, social organizations, and design. She was the founder of the creative impact agency Lovesocial, and is currently in the pursuit of the relationship between inner life and outer ecology to meet the challenges of these times.

Find the transcript for this show at onbeing.org.

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Sign up for The Pause — a Saturday morning companion newsletter to the On Being podcast season, and our mailing list for news and invitations all year round. Be the first to know as tickets go on sale for the On Being 2025 live national conversation tour.