CHLL Podcast

15. What We Have Learned

In the final episode of the CHLL podcast series 3: Intergenerational Dinner Reflections, Cally, Heather, Lois, and Louise reflect on the week they have just shared together in Utah.  They look back on the successful intergenerational dinner for 40 guests at the beginning of the week, their trip to the Aspen Pando in the middle of the week, and what they learned from the five guests that participated in the earlier episodes in this series. Lois shares that her big takeaway from the week was that it is really as simple as having conversations.  Vivek Murthy, Surgeon General has said that loneliness is a public health issue in this country, and that community is the solution.  Cally, Heather, Lois and Louise discuss what they think made the June 27 intergenerational dinner such a success for the 40 people that attended, and what they see as some next steps.   The CHLL podcast hosts are students of Margaret Wheatley who says that “whatever the problem, community is the solution.”  The group reflects on what may evolve of the rich learning experiences they and others had in Utah during this week in June of 2023.   Mistakes The group reflects on how important it is to be willing to make and admit to mistakes for real learning to take place.   Community can provide the conditions to have the courage to act, make mistakes and learn from them.  Cally shares about how the Native American curriculum initiative, developed with her team and partners at Brigham Young University, was founded on the guiding principle that individuals would have to accept that they would inevitably make mistakes, and that the importance of the initiative took precedence over individual ego.  She shares how the group learned to give each other the grace to teach each other and learn.   Leadership In this episode the CHLL hosts gain clarity that the role of leadership is to create the community necessary for people to do the hard work they need to do. Leadership is about creating the spaces where each and every person feels comfortable sharing and listening.  They reflect on their individual and shared responsibility to continue to invite people into well designed conversations, and to encourage others to do the same.  The stakes are too high to simply lament the divisions among individuals and groups.  It is the role of leadership to understand that we need each other, we need community, we need conversation, we need understanding, we need a collective purpose, and leadership must bring people together to create the community that will serve the collective purpose.   Learning From Nature The day following the intergenerational dinner, Cally Heather, Lois and Louise traveled to southern Oregon to visit the Aspen Pando.  The Aspen Pando is 106 acres of a single male Aspen tree that sends out underground stems from which trunks go up. The Pando is a single  organism that presents itself as 106 acres of individual aspen trees.  The Pando is the largest, and possibly the oldest living organism on the planet. Cally, Heather, Lois and Louise share what they learned from the Pando about the interdependence and connectedness of all living things. In this episode the group recommits to continuing intergenerational conversations to improve education, and to building spaces for communities to better prepare to manage together the very hard questions of our time.   Resources:  Aspen Pando [https://www.youtube.com/watch?v=V57LwkwYmTo]

14. Friendship Across Generations

In this episode Cally talks with two people, from different generations who attended the June 27, 2023 dinner in Heber Utah, who are both personal friends and mentors to Cally.  Cally, at 60 years old, is a baby boomer and she talks with Kay who, at 81 years, is from the silent generation and Heather who is a millennial at 32 years of age.  They share experiences, such as learning to cook, garden, do home repairs or sew clothes or costumes, that have, across the decades, instilled in them a sense of resourcefulness and self confidence.  They describe watching a parent can fruit, or repair an appliance as a kind of early mentoring experience, that they feel lucky to continue to practice in their current relationships: Cally to Heather, Heather to Cally, Cally to Kay and Kay to Cally.  The mentoring is by no means one way.  It is not necessarily older woman to younger woman, but rather reciprocal.  Cally instantly recognized Kay’s wisdom and experience, and Kay marveled at Cally’s ability to develop programs and networks which were made successful by Heather’s keen skills at project management and systems development. They wonder and reflect on whether well-intentioned risk management for children today, interferes with young people’s ability to develop the kind of self-reliance that these women are grateful for in their own lives.  They wonder about how social media, and social distancing, have impacted young people’s opportunities to meet and connect with others in ways that these women have benefited greatly from.   They discuss that too much emphasis is put on curriculum and assessment in education, and not enough emphasis on relationships and connection. Kay says, “There is real power that comes from helping your peers and sharing information. In the end, it's the connectedness that matters.  There are many kids that haven't had role models or the resources that we were lucky to grow up with.  But I have observed, and I have a sacred belief in, the resilience of human beings to find what they need and become the best they are. There are so many potential detours, but the resilience of human beings is always there.” Cally agrees.  “Yes, all learning happens within relationships.  It is the teacher that establishes that culture. And when that happens, the role of teaching can be from student to student, student to teacher, teacher to student, and everyone learns from each other.” They discuss how important mentoring for teachers is, and that too often the most important professional development is overlooked by practices that keep teachers isolated from each other.  They discuss how important it is to continue to work for improving public education because it is the one institution that will always be intergenerational.  At 81 years of age, Kay is in the process of creating a new women's organization that lifts up the experience of older women and connects it with the vitality and new ideas of younger women.  The group discusses how their various projects intersect and inform each other.

13. Holding Space for Differences

Mark Borchelt, a boomer, and Christine Baird, a millennial, were both table hosts at the June 27 intergenerational dinner in Heber, Utah on June 27.  In the second episode in this series, they bring reflections on how the individuals representing the six generations interfaced with each other.  While both Mark and Christine shared that everyone enjoyed the opportunity to be in conversation with five to six other people from different generations, they also did not necessarily appreciate the generational designations or stereotypes.  This was specifically true for members of the so-called Silent Generation, who did not experience themselves, or their peers, as silent.  It was explained that the misnomer “silent” generation came from the fact that this generation experienced the McCarthy era: a time of communist baiting and persecution for political beliefs, when it was not safe to speak.  Many people lost their jobs, their livelihoods and their reputations as part of this oppressive era. Mark and Christine discuss with Lois how influential the logistics of the dinner were to its success.  The beautiful out of doors setting, the mountains in the backdrop, the delicious food, the luxurious timing, the thoughtful reflective conversation prompts, and the very fact that everyone needed to travel some little distance to be in Heber, getting away from it all, contributed to comfort and success of the evening. Mark said, “I love the fact that we had to drive to get to the Merrill's house, because it was like this coming together required various groups and ages to make an effort to arrive at this opportunity. It was like passing through a threshold to speak to one another. And it was great walking around and saying, Wow, they did a fantastic job of getting a nice cross section of ages. And there was this lovely representation of humanity, I guess is the best way I'd like to describe it. The facilitation of the conversation was incredibly easy for me, because people were not shy about speaking or sharing their experiences. The environment was outstanding, the food was delicious, and everything just congealed to allow people to feel comfortable in productive ways.” Christine concurred, “I didn't understand why we were driving all the way to Heber to do this dinner, which I think for everyone was a long drive. But once I arrived, and was in an environment that was very separate from the middle of a city, it absolutely helped us focus on what we were there for. I think one of my favorite parts about being a facilitator was that no one at the table knew each other and it was an absolute clean slate. It was this beautiful opportunity that I've never had before, to sit at a table where I purposefully was different from everyone else, and no one knew each other. We were there for a common purpose that was away from our normal lives created for listening. It was just the coolest that everyone got to answer the same question because there was time for everyone. We all were overjoyed to hear everyone's response to every question. I'm qualified, just because I have lived the amount of years I've been alive. So cool.”  Mark adds, “Yeah, I noticed some of that too, because I was trying to make sure everyone felt comfortable. Everyone was impacted by the example set by the person who spoke before them. It was unspoken, but very powerful. We were inspired by each other to open up. I had the sense that people immediately bonded at each table.  This was made possible, I think, by the opening mingling activity, and then I appreciated the movement activity at the conclusion that brought everyone back together as a larger group.” Christine learned new things.  “A member at our table of Generation X, shared that she was born in 1970 and thought it was the most idyllic time to have ever been born. She had the most wonderful childhood. Growing up in the 70s and the 80s was so cool. There was all this fun life and art and culture and socialization.” Christine had never heard that from someone her age, now in her 50s. She realized that she knew so little about growing up in the 70s and 80s. “I had mostly heard about the 70s and 80s being a kind of hot mess, and that everyone was freaking out and having an identity crisis. It made me so happy to hear what had happened from her perspective because it was before my time. I didn't get here till 1987.” Mark adds, “Our silent generation, our octogenarian, was talking about how you get to a certain age and you feel that you're being silenced.  People don't see you. She was talking about a recent health scare and people in the medical industry were looking at her and doing tests and she felt basically being cheated.  Their attitude seemed to be, ‘You've already had a great life.’ But this person felt, ‘Wait, I have a lot more living that I would like to do.’  She felt that she was being placed on a shelf and didn’t know where she fit in or how to interact. And the  millennial at our table said, ‘Oh my gosh, I'd never made that connection. I think my generation, especially in our 20s, that's exactly how we felt. I didn't have my voice yet.  It’s interesting to see that spiral, that it comes back around.’” And Christine continues, “That reminds me of one other of my favorite moments. When we were discussing whether individuals have friends who are 10, 20, 30 years older or younger than you, Karma, who is 91 years old said in the most beautiful, crystal clear, confident way, ‘If you were a friend, you were a friend.’ It had never occurred to her for a moment in her 91 years that there would be a qualification that you needed to be somewhere in the same age range to be a friend.  She had such a beautiful perspective on life.” Mark, Christine and Lois continue to share what they are realizing about the specific and special qualities unique to interacting with people from different generations.  Lois reflects on how so much in our culture is designed for us to stay in our own generational cohorts, and she wonders what we can do to make intergenerational interactions more possible. Christine offers some ideas and observes that arts experiences that are open to the community, whether they're ticketed or not, are some of the best ways to mix with multiple generations.  She suggests investing in our local communities and supporting music concerts, plays, art exhibitions and farmers markets as great places to naturally interact with young and old and in  between. The group recognized that they often felt more competitive with people their own age, and less of that kind of self judgment with people who are much older or younger.  The design of the dinner offered the opportunity to listen to someone else's experience from another generation that unlocked connections and self-processing, and opened up a space of possibility for talking across other identity differences such as gender, racial, faith and ideological differences.

12. How The Times Change Perspective and Culture

In the first episode of Season 3, titled, How the Times Change Perspective, Heather meets with Dan and Erik, Baby Boomers who both attended the Intergenerational Dinner hosted by the CHLL team in Heber, Utah on June 27, 2023.  They share their experiences as members of the Baby Boomer generation, their reflections on intergenerational families, and the generational experiences of Baby Boomers that have shaped and influenced their lives. Erik shares about growing up in an intergenerational jewish family in Los Angeles.  The group discusses how expectations for a linear life path of education, job and growing a family have  changed and shifted over decades. Dan reflects on social changes that occurred during the Baby Boomers formative years: “Divorce  became much more common in our generation because of the economic changes. It's   an incredible stress to think of surviving on your own even if it's a time of prosperity. But I think part of why divorce became more common is because the survival of the individual was no longer threatened as much, with the war and the depression over.” The group reflects on what they consider to be major generational shifts.  The so-called Silent Generation was the “we” generation.  Women went to work in the factories, while men went off to war in a fight against fascism.  Everyone was expected to pitch in. Baby Boomers were the “me” generation, enjoying an affluent period where individuals carved new social and moral norms, resisted the draft, and engaged in public protests.  They told their children, the millennials, that they could have anything they wanted and be whatever they wanted to be.  But the millennials have grown into a time of economic and environmental uncertainty, limiting the opportunities their parents enjoyed. Resources:  Generations Over Dinner [https://www.generationsoverdinner.com/]

11. Earth, Art and Life: Young Artists’ Perspectives

EARTH, ART AND LIFE: YOUNG ARTIST’S PERSPECTIVES So much of what has been shared and discussed in this series on classrooms and climate change, has been focused on what adults think, say, do or do not do.  In this final episode of the series, “Is Climate Change Changing Classrooms” the CHLL group (Cally, Heather, Lois and Louise) reflect on what young people have to say through their artistic expressions.  The Brigham Young University Arts Education Partnership hosts an annual art competition for all grade levels, in all art forms.  It’s part of an initiative called Arts for Life, Utah. The purpose is to highlight the impact of the arts on students' lives, particularly their social and emotional well being. The initiative is a collaboration between the BYU Arts Partnership where Cally and Heather work, and the four professional arts education organizations in Utah. The competition is called M(arts)ch Madness, and includes a bracket style competition inspired by the athletics March Madness. Students submit their work showing the impact of the arts in their life and their schooling experience. Usually the theme is Arts for Life. But this year students were asked to submit work on the theme of Earth, Arts and Life, in an effort to surface students' perspectives on the environment, as well.  Examples of the student artwork and their artist statements are here in the show notes.  The CHLL team reflected on what they noticed about the interface of the Earth, Arts and Life in student work, and what they could learn from student perspectives. Cally  I would love to start with one of the paintings that's very memorable for me. There's so many artworks that I love, but I want to start with one, a high school 11th grader. This is his artist statement, “The name of my art piece is progress. It depicts a crow looking up at the clouded sky, knowing that he is not able to fly high without harming himself.  I created my own paint out of smoke, which allowed me to paint the piece purely with smoke paint. I decided to use a crow, as crows are black and highly intelligent, which allowed for the use of monochrome colors. The piece is titled ‘Progress’.  It shows an industrialized city filled with factories and buildings shooting pollution up into the air. I use smoke to represent how we as humans are affecting the Earth. …The crow is representing a human perspective looking down this long road at the pollution.”  The student has used perspective to draw our attention to the factory that's releasing the smoke into the air. And the crow seems reflective. Gazing, watching, and wondering how this impacts him. I really liked the contrast of nature, and the concrete breaks and the strong lines of the image around it. I thought this was a powerful piece, and showed a lot of commitment to the theme. He chose smoke to do this monochromatic piece with shades, everything from white to very dark blacks, and mostly shades of gray. DEVELOP CRAFT AND TECHNIQUE Lois  I think one of the things that interests me is the way this kid used material. One of the Studio Habits of Mind is to develop craft, and he really used the technique of perspective. It's like that crow is on the line of the perspective aiming right for the smokestacks. This crow is in the foreground and is dark and is facing away. It's really interesting how this kid was able to use technique to express something very personal. I think a really powerful thing about the arts is that, however much technique the kids have, students can use it to say what they want to say. Some students don't have very much technique yet, but still the expression is very, very rich.  Louise In this series we've been talking a lot about curriculum development, and how who decides and who decides what is being taught and learned.  In this one piece, it seems to me, there's so much curriculum opportunity on the topic of progress.  What is progress? When I was a child, General Electric had a logo, ‘Progress is our Business”. It's a real question, what is progress as we are going forward? When we have exhibitions of student work, often it is a culminating event. But it's also the beginning.  That’s the case with Lois’s Sea Rise Mural event at Umana elementary school in Boston to celebrate the completed mural. These events are opportunities to ask young people about the impact of artmaking and art viewing on their lives going forward. It is an opportunity for curriculum development because there are so many generative next places to go. SUPPORTING STUDENTS’ WHERE THEY TRULY NEED ADULT SUPPORT Lois  There's this one piece, by a 10th grader in Timpanogos High School, of a cherry tree on a little island reflected in the water. The artist says, “You know, cherry blossoms connect me with me by reminding me that there's always a chance to start over and do better than the last time.” This makes me sad, because I do think that that's true, and that's something we really want kids to know. It's a very important piece about making art. At the same time, there is a chance that if we don't pay attention to what's going on with climate change, if we don't get this conversation out there and get everybody talking about it, that we may be, for the first time at a place where human beings don't have a chance to start over and do better.  And there's a piece by an anonymous student in eighth grade. This is one where the technique is crude.  It's gradations of color, pinks, and purples and reds in the top, and the bottom is sort of a greenish yellow. It's called ‘Gold Sand Sunset’. The artist writes, “The beauty of the sand and loneliness, the world coming undone. The beauty of acceptance and broken things. I know what it's like to be broken. So do you. If you don't, you will soon because that's life. You can love and laugh too.” I look at these kids trying to make sense, and trying to live their lives trying to move through adolescence in the way that they need to. I'm reading a book by Elena Ferrante called The Lying Lives of Adults. It's from the perspective of an adolescent. Her family is a mess. They're really trying, and she's really trying to make sense of who she's going to become in the midst of all this broken stuff. I think we shy away sometimes from letting kids talk about the hard stuff because we want them to be beautiful and wise and there's a lot of hard stuff.  I think we have to be courageous about meeting young people where they are and sometimes they are in very deep, dark, hard places. Cally  We want them to be unburdened. The children are burdened with the task of growing up, and the emotional lessons are hard and family relationships are hard, and friends are hard, and all those things you have to learn are hard. Some people have supportive environments and others have more challenging environments. I wonder how we choose which burdens are for their growth and what we want to unburden them with. So often, we protect young people from things that that they don't need protection from, while they are dealing with things that they definitely need protection from.  That idea of burdened and unburdened, I find interesting. Lois  Trena talked about going to the kids and asking them where they are, what they know, what they think, what they care about.  I think that's the answer. We don't have to unburden them, we just have to go and be present to them where they are. SOCIAL AND EMOTIONAL RESILIENCE AND WELL BEING Heather  Cally and I attended an instructional leadership conference last week and one of the speakers spoke about the importance of adults in helping children with social emotional resilience and well being. The speaker encouraged adults to model the way that we sometimes have to express emotions and sometimes we have to tame them. Both are important. The role of adults in helping model that coregulation is so important. One of the entries in this competition was submitted by one of my dear friends who has been that adult for her son his entire life.  I saw her post something on social media and I said, you have to share this with the world. It is so beautiful. In her post, she said they knew her son was different from a young age.  He has needed support at school for various learning struggles. He has known he's not like the other students. They gave him the lead role of Horton, the elephant, in Seussical, the musical. His mother recorded him sitting on the box on stage singing Horton's song, which is so beautiful. It's all about being alone in the universe, and how Horton feels so alone and so different. This child probably really, really feels that way. But you would have no idea the struggles that this child has endured by the beautiful musical performance that he gives. He didn't submit it himself. His mom submitted it, and his mom is honoring and sharing his work. She's out there making sure everybody's voting for him today. I would probably say this about so many of the contributing artists. But it's so amazing the way his mother and his father and his family and his teachers have been there for this boy. They really know him. They know where he shines when singing; he's alone in the universe, but he is the star of the stage. Lois  Beautiful.  What does adding earth to the competition title bring out? I don't know what proportion of the kids just still did the impact of the arts in their lives. For many it was still straight social emotional learning. I found that I really wanted to look at the ones about earth. There were some that were about earth like, “I like to fish and so I made a fish.”  There were some that were really digging into like the centipede one.  So this is by an 11th grader at the Cedar Valley School. It's a vertical canvas with this statement by the artist: ”The world is screaming and we don't even hear it. I created this painting as a way to make people open their eyes and see the world burning and life dying right in front of us. The meaning behind this artwork is a centipede symbolizing the world, earth, nature etc. As you can see, it is being stitched together with pins on the legs taped down, symbolizing how more and more buildings are being put on top of the earth and eventually the earth is covered in concrete, one building after another, to the point where we have fake grass. How do I use my art to make the earth a better place? Well, there's a difference between telling a person and showing them.  Showing a person through art gives it a very emotional point of view, and is different from telling a person that the world's dying. My process of creating this work was by starting to gesso my board and let that dry. Then I started sketching my design with the centipede pin cushion sewing needles. Next, I taped down the areas I didn't want to paint on, so it would be easier to paint on. Then I spray painted, trying to make it look like a spray painted table.  Then I started throwing paint on: mixing, blending and shading, etc.  I finished it with a layer of blue glitter on just the centipede, and then made some rearrangement, adding a few things here and there.” Wow. This statement of how that kid was using art to make an impact with his personal feelings, knowledge, and intention was pretty stunning. LEARNING FROM EACH OTHER Louise I’m not sure it matters how many children artists are making works about the earth, when everyone has the opportunity to benefit from what individuals choose to make work about: the earth, art, or life. I think a beautiful thing about this exhibition is that it isn't a performance just for the purpose of culminating your project, but it is seeing all of the children's interests and concerns in deeper ways.  This exhibition is building community knowledge and understanding. It's individual social and emotional learning and it's community, social and emotional learning as well. Lois  The inclusion is what's so easy to do with the arts if you allow it, like this one by Ruben Weeks. He is a second grader who says, “I drew this for my cousin Madeline's birthday.  She's turning 12. She loves bunnies.  Through my pictures I can show that I know her and love her. And it's a bunny with all of this scrawled green around it. That is the grass that the bunny lives in.” This is Ruben’s true heart and deep thinking. It's about love. IT’S ABOUT LOVE BETWEEN EACH OTHER AND THE LOVE OF NATURE Heather That's his wisdom for sure. Let’s summarize what we've learned in this series. Something that I see in this competition, that I've seen through all of our conversations in this series, is this need to help students and children connect with nature.  I think the challenge that we've addressed in this series is how do we help children maintain their love for the earth as they go into adulthood.  So many of us are sitting at desks, working in business, working in education, working in any discipline, and it often requires keeping us from nature.  Some jobs really get us  into nature, and that’s great. But how do we help children continue to want to make connections to art and the earth because they love it so much into adulthood? Lois  These children are so lucky because they live in Utah, which is some of the most beautiful country in the entire world. They can walk out their door and be in a heavenly environment. There are a lot of kids who are not anywhere near a heavenly environment. They are in urban jungles. There's still nature there, but you really have to look for it. It's not as easy as going out and wandering through the grass to find the animals and the beautiful natural world. Louise  Yes. I think one of the things that I've been learning from this series is something that the IDEAL facilitators and the Our Changing Planet project eloquently spoke to. Begin wherever you are, with whatever you have. Remember that they talked about when COVID hit, and everyone had to work online and be in their homes?  They thought their professional development was doomed. But then they discovered that when teachers were in their living room, they could look out their window. Children’s bodies are part of nature.  There are many ways to connect children to what they have, and what they don't have. Also, we're lucky to have the space of the internet and videos, where we can connect children to each other and to the world.  Lois Yes, and we're unlucky because we have this barrier, which is that many schools are using scripted curriculum and minimizing the teacher and the student relationship. How does the teacher go to where a student is when they're mandated to be on page 11, paragraph three, today, and tomorrow, they're mandated to be on page 12, paragraph four?  The barriers of schooling are really huge, and the behemoth of this system of schooling and how it has coalesced around tightening down with rules and steps and limitations and constraints is daunting. Let the people be people. Let them be who they are. Let them come together and find what they're curious about and start figuring that out. It's a human made problem that made the schools like this, and we can remake them.  HOW DO WE ACT TOGETHER? THE TIME IS NOW Louise As we're wrapping this up, I’m thinking about the episode about Our Changing Planet. We were all remarking on how important that project is and how it really seems to be working well, and we were asking, “What is it that makes this so special?”  I've been thinking about it and I think it really is that idea of frameworks. Lois, you brought those frameworks to us in Alameda County that have resulted in the IDEAL and Our Changing Planet project, that you've brought to people all over the world. Those frameworks are a foundation base. Those frameworks are learning from the experience of teachers who are really doing a good job of meeting young people where they are, using experts, using disciplinary resources, and making it relevant to children who are either in nature rich places or in concrete jungles. I think that that's such an important thing. The other thing that really stands out to me is Paul Hawken's book, Regeneration, Ending the Climate Crisis in One Generation.  It is a hope and a challenge that  has a lot of wisdom in it.  I think its greatest wisdom is that this is about everybody. This isn't about just teachers, this isn't just about politicians, this isn't just about administrators. It's about everyone. It's about every career. When young people grow up, and they go into jobs, where they are tied to desks… every single position needs to be asking themselves, “How is what I'm doing every day, in school, in my job, either contributing to the current suicidal path that we're on with our environment, or really rethinking and contributing to how we need to do things differently?” To me, those are the two biggest things. I think educators need those frameworks.  I think we need to accept that this is everybody's issue. We need everyone, the indigenous wisdom, the experts, the children's new knowledge, all of it! Lois  And we, as examples, just need to keep talking about it. We need to talk about it to everybody. It needs to be a pyramid scheme. It needs to be a cascade.The only way to get everybody involved is to keep the conversation going.  I do think that art does that. Figuring out how to keep everybody in the conversation, regardless of where they're starting from. Cally One of our ninth grade artists in the contest summarized it this way,  “I painted an hourglass, with trash in the top and the earth in the bottom. I wondered, how can the arts heal the earth? I think that the arts heal the earth by spreading awareness to others about what is happening and what can be done to save our planet. People always say it is a problem for the next generation, but the truth is that the time is now.” Heather Beautiful. Lois There’s some child wisdom. LINKS AND RESOURCES MENTIONED:  * Arts for Life Utah M’art’ch Madness Student Art Competition: Earth, Art, Life [https://www.artsforlifeutah.com/about-4] FOLLOW US: * CHLLpodcast.com [https://www.chllpodcast.com/] * CHLL on Instagram [https://www.instagram.com/chllpodcast/] * CHLL on Facebook [https://www.facebook.com/profile.php?id=100083942116472] Subscribe on apple, spotify, pandora, amazon, google