Joe Skinner (Narration): To get ready for this week’s interview. I began where a lot of great research starts – on TikTok.
Clips from Jewel’s TikTok account.
Joe Skinner (Narration): I just thought that was such a fun side of you that I didn’t quite get from some of my other research.
Jewel: Yeah, I really love TikTok, it’s really allowed me to interface and share a side of my personality that doesn’t get a chance to be known, unless we’re friends and you get a chance to spend more time around me.
Clips from Jewel’s TikTok account.
Jewel: I broke on the internet at the beginning of the internet. But I really was able to use it to my advantage because I was an outlier, I guess, as people like to say nowadays. The gatekeepers were not interested in any way, shape or form in my type of music. And so it was really building a connection to online communities, to let people know who I was and what I stood for and why I care about it. It let me have direct relationship without having to go through media and how the media would interpret me, which in the ‘90s was rough. I think it’d be so fun to be an artist starting now. I like being here now too, but it can give a lot of power to the creator to let themselves be known and have that direct relationship.
Joe Skinner (Narration): Jewel has long tried to have a direct relationship to her audience. She’s had a community of fans built through an email list called The Everyday Angels. In fact, in 1996, she put on a special concert in New Jersey just for the subscribers called Jewelstock.
Jewelstock archival: Hey everybody, welcome to two more days of peace love and music, that is Jewelstock!
Joe Skinner (Narration): Jewel was one of the biggest names in the 1990s alternative and folk-pop singer-songwriter movement, which had a mass cultural moment with the Lilith Fair in 1997. Artists like Jewel, Fiona Apple, Tracy Chapman, Sheryl Crow and Sarah McLachlan took to the main stage of this music festival, which McLachlan started as a reaction to her frustration that concert promoters and radio deejays refused to feature two female musicians in a row. Of course, much like her peers, Jewel had her own challenges with the music industry. You can see it in her earliest song, “Who Will Save Your Soul” was not just packed with personal storytelling, but it also included an indictment of 1990s media culture.
Clip from “Who Will Save Your Soul”: People living their lives for you on T.V. They say they’re better than you and you agree.
Joe Skinner (Narration): You can even hear her media critiques eight years later in 2003 with her Billboard Top 20 hit, “Intuition.”
Clip from “Intuition”: You look at me, but you’re not quite sure Am I it or could you get more? You learn cool from magazines You learned love from Charlie Sheen.
Joe Skinner: I do feel like, in some of your early work, there was this skepticism of the industry and sort of how people are expected to shape and mold themselves around that idea of celebrity. Right?
Jewel: Yeah, yeah. You know, I was very lucky that a lot of my literary heroes, why I respected them, why I loved them, where they were incredibly honest. They didn’t use art as propaganda to make themselves seem more perfect. It was warts and all. You know, it was Bukowski’s journals, horrifying truths, but beautiful courage and humanity all mixed into one. And I wanted my writing to be honest and authentic, and I was able to have that, I think, in large part because of the internet and being able to talk directly to people and luckily my label never tried to like, make me be anything or dress me a certain way.
Joe Skinner (Narration): Jewel got her start yodeling in bars and honkytonks with her dad in rural Alaska. You can even hear her do yodeling with songs like “Chime Bells,” which she would play live to support her debut album.
Clip of “Chime Bells.”
Joe Skinner (Narration): Most of her debut album contained raw acoustic folk music with intimate lyrics. I can almost guarantee you’ve heard it before.
Clip from “You Were Meant For Me.”
Joe Skinner (Narration): But you might be surprised to learn that “Pieces of You” didn’t actually chart in its first two years of release. It wasn’t till 1997 that Bob Dylan invited her to tour with him as an opening act. The album caught fire. By 2006 it was certified 12 times platinum. That means over 12 million copies sold, but Jewel loved to reinvent and be in control of her own image. In 2003, she tried out electronic dance pop with her album “0304.”
Clip from “Intuition.”
Joe Skinner (Narration): Then it was country music with 2008’s “Perfectly Clear.”
Clip from “Perfectly Clear.”
Joe Skinner (Narration): She even released her own independently produced album of lullabies, aptly titled, well, “Lullaby.”
Clip from “Brahm’s Lullaby.”
Joe Skinner: You shifted around in a lot of genres in your career as a musician, and I feel like you seem to really lean into trying new things and trying to learn new things, especially.
Jewel: Learning makes me enjoy waking up every single day. If learning could be an art, that’s the art I want to practice. It’s also why you see my art shift and change so much, because it’s a byproduct of my curiosity and me wanting to learn new things. It was so painful and music to go from one medium to the next. You would have thought I murdered babies when I made pop music. Like people were so upset. Which is so funny to me because it’s so authentic to me. I grew up listening to all of this music. I write this music. And so when I came into the visual art world, I’m like, I’m going to start off doing all the things I can think of so that I just come out of the gate and that’s just accepted that this is what I do. I’m going to work in multiple mediums.
Joe Skinner (Narration): I’m Joe Skinner and this is American Masters: Creative Spark. We bring you the story of how artists bring their creative work to life. This week I spoke with Jewel about her latest project, and I think it’s the perfect way to understand who she is as an artist and as a person. Jewel’s latest career shift is into the world of visual arts. It’s called “The Portal,” and it’s an art experience that took place over the past two and a half months at the world renowned Crystal Bridges Museum of American Art in Arkansas. With it, Jewel has combined her interests in mental health, visual art and music into an experience that features original sculptural work, a hologram, a curated selection of art, and a drone show. But more on that later. First, to really understand the work Jewel’s engaged in today, you need to know how she got here. Even before she was a singer-songwriter. It wasn’t easy growing up near Homer, Alaska, when Jewel was a kid. They used an outhouse. She grew up eating what the family killed or canned or harvested. She’d carry water up from the stream to water the family garden. It was homesteading life. And then when she was eight years old, her mom left the house and she was raised by her dad.
Jewel: You know, my dad had such a traumatic childhood that when he went away to Vietnam, it was the first time he ever relaxed. Then, of course, he picked up more trauma. And then when my mom left, he became a single dad. And he started today what we would call trauma triggering. But none of us knew that language then. But he started to drink to try and help medicate that. And that went rather predictably, and he became physically abusive around the same time.
Joe Skinner (Narration): By the time she was 15, Jewel left the family homestead and moved into her own cabin. It’s here that she relied on odd jobs around town. She gave horse rides to tourists, clean buildings, often shoplifted to survive. She knew she needed a change.
Jewel: So I moved out at 15, and I knew that that wasn’t smart. I knew it wasn’t statistically likely that that would work out well for me. And so when I looked at what was I up against, I realized that as much as I had a physical inheritance, I also had a predisposition to addiction and abuse and anger and conflict avoidance. All of these things were passed on generationally. And I didn’t want to be a statistic. I wanted to be different. When we’re neglected by our parents, we can’t help but make a lot of assumptions about our worth and our value. We do it at such a young age we don’t even know we’re making those assumptions. And it really hit me one day when I was peeling an orange and it suddenly hit me, this image of like, wait a minute. The peel of the orange is a protective barrier to protect what’s inside the fruit from the outside environment. And it’s rough and it’s bumpy and it’s hard to get into and it’s bitter. But it isn’t the orange. It’s just part of the orange. The orange is inside. The orange is nourishing. It’s what I eat. What is my peel and what is me? And I realized all I ever did was relate to the peel. I never, ever once thought about the inside of me. What am I in here? Underneath my suspicion and my mistrust and all of my coping mechanisms. And so I began to try and develop exercises that would help me do what I call “go down and in.” I don’t think what’s in me is actually breakable. Whatever a soul is, which I don’t really know what it is. I don’t think it’s like a teacup. I don’t think it can break. I just felt like I had taken on board so much trauma, hurt, abuse, neglect, whatever, betrayal, that I needed to do a very loving archeological dig back to what I think remains constant in me all the time, and I needed to strengthen and build my relationship with that. I call it the observer. You know, Descartes said, I think, therefore I am. But I think it’s I observe what I think, therefore I am. If I’m sad I’m something other than sad, I’m the observer of it. And that gap is really where we create change. A trauma does change us, but we do get to choose how it changes us. And so for me, realizing that I could notice a thought, like maybe wanting to go into a panic attack or maybe the urge to steal for me, I was shoplifting a long time, and then can I create a pause between that urge and this very intense physical sensation I’m having and pause. Can I calm down in that pause? Can I think about it? And saying, instead of having a knee jerk reaction where I might steal or lose my temper or whatever, can I form a thoughtful response that isn’t based on this knee jerk reaction? And that’s where I really began to make leaps and bounds of change for myself. What am I? Who am I, who am I if I am not my name, who am I if I’m not the girl who got be abused, who am I if I’m not my story? What is constant about me? And my writing helped me go down in and try and find much more permanent things that helped me have a relationship to something different about myself.
Joe Skinner (Narration): While working in and around Anchorage, Jewel was referred to Interlochen Arts Academy in Interlochen, Michigan. Local businesses helped to fundraise the trip for her, and by ‘93 she was a graduate and on her way to San Diego to forge a path as a musician.
Jewel: I was always curious to keep going. Curious to see what was around the next corner. I think being raised, you know, in a house where there was also a lot of good, you know, my poor dad gets a bad rap. “Alcoholic. Abusive.” is always the headline. But this man was a real human with a lot of incredible things to offer and was incredibly creative. And I grew up in a pioneer family. That meant you figured stuff out. You did hard things. You were expected to solve problems. So coming from a background where that was just… whether I was a girl or not, I had to figure things out. That was a tremendous advantage. It was always because that was very ingrained in me of like, I will find a way, I will find a way forward. And that was a gift.
Joe Skinner (Narration): She really started to find her way with the local scene in Southern California. Coffee shops like Inner Change and Java Joe’s in San Diego became her home base. She worked all kinds of jobs: at a coffee shop, as a phone operator, at a computer warehouse. At a low point, she turned down unwelcome sexual advances from one of her bosses. She was fired, left broke and homeless after her car was stolen.
Jewel: When I was homeless, I was very lonely. And I realized I deserved to be lonely because I never told anybody who I was. I just hid in plain sight. Nobody knew I was homeless, which is fine. That keeps you safe. You know, you want to tell people what street corner you’re on. But I also never told people I was hurting. I never told anybody I was stealing. Nobody knew who I was. So there was a moment when I decided to tell the truth. The way I was trying to keep myself safe was limiting me from being able to connect to humans. And that suffocates you. And so I started writing very, very honest songs. And I made a commitment to stand on stage and sing them.
Clip from a live performance at Inner Change Coffee House in 1994.
Joe Skinner (Narration): This audio is from one of a few rare tapes that are passed around, but captured this time in Jewel’s life. This one’s from Inner Change in 1994.
Jewel: My first show was for two surfers that probably came because they thought I was cute when I handed out a flier, and I sang a five hour show for these poor two surfers, and I just unloaded and they cried for five hours and I cried for five hours. Afterwards, we all felt really bonded. We had a real experience, and they said, I didn’t know anybody else felt this way. And I said I didn’t either, and I wasn’t rejected. It made us closer. And these were two strangers. And so that time of being homeless and building up my audience was built on such an authentic acceptance of who I was. And I was so flawed and these people still came. I have chill bumps talking about it. It was life changing, and when I got discovered, I knew I would never use my art as propaganda to try and be more perfect or healthy or pretty than I was. I would be exactly who I was at the time and always tell the truth and lead with my flaws.
One of the times I really saw a song work was before I got popular. I started traveling a little bit. I started changing shows in San Diego, and I created a little voicemail so that people could call this voicemail and I would say, hey, I’ll be at whatever coffee shop on Friday, and you could leave messages and I would check the messages and I had a song. I have a song called “Amen.”
Clip from Inner Change in 1994: This is a new song. It’s called “Amen.”
Jewel: It’s on my first album. It talks about the pain of being in your own body when you don’t like yourself, when you don’t like your body, it really is talking about drug use. I wasn’t a drug addict, but we must have just lost somebody, I think, in pop culture to heroin. And so I wrote this song called “Amen.”
Clip from Inner Change in 1994 of “Amen.”
Jewel: And I checked my voicemail and somebody left me a message and said, “hi, my name is X. I locked myself in my bedroom. I’m cutting heroin, cold turkey. I want to leave this room so badly. I’m rocking back and forth and I just keep repeating your lyric, ‘my flesh is in hell, my flesh is in hell, my flesh is in hell.’”
Clip from Inner Change in 1994 of “Amen”: Pieces of you die every day, as though you’re flesh were hell.
Jewel: And again chill bumps. I just thought, oh my gosh, music. And I don’t take it personally. It’s not like I have this power. It’s that art is something divine. And it doesn’t have to do with the artist. I don’t think it has to do with me. I do get to participate in letting things move through me, and it’s a beautiful thing to get to be a part of. I call it being the vase, not the flowers. I try to be a very good vase. I try to be a crystal clear vessel. But I’m just a vase. I am not the flowers. Art is the flowers. And there is a sacred contract between the art and the participant. And if I do my job right, I don’t get in the way. And that art and you get to have a direct relationship.
Joe Skinner (Narration): After the break, we’ll talk more about how Jewel would come to bring these hard life experiences together on her newest project.
Joe Skinner (Narration): I grew up in the 1990s, and I can vividly remember one of my first sleepovers at a friend’s house in Michigan. Everyone was asleep and it was just me and the TV glowing at three in the morning. In those days, MTV ran music videos all through the night. I’m sure there was some Spice Girls, probably some Marilyn Manson mixed in, but then a stripped-down black and white video came on; Jewel in medium close-up with a guitar, mostly singing to camera for her first single, “Who Will Save Your Soul?” I was transfixed.
Clip from “Who Will Save Your Soul.”
Joe Skinner (Narration): I had no idea that it was the first song she’d ever written – while riding the rails from Michigan to San Diego. I had no idea what she’d been through to that point. I had no idea what she was about to go through, and neither did she. I also had no idea Jewel had training as a visual artist. Interlochen Arts Academy in Michigan defined itself as a true artist’s retreat. It’s a place for students in grades 3 to 12 to pursue an arts education. Before she’d ever come to write “Who Will Save Your Soul,” Jewel entered the program as a classical voice major. But she left as the first double major, double minor student in Interlochen history. Sure enough, it turns out her double major was in voice and visual arts.
Jewel: I needed a job to earn book and food money, and so I started modeling for the sculpting class. And the teacher was so incredible. She was, she just piqued my curiosity. I couldn’t help but ask questions from the podium. And after about six months of being probably the worst model there was in the world, she said, why don’t you come join the class? And so I got to start studying marble carving and clay and sculpture, and it really changed my life. I began writing songs at the same time, and I remember at first wondering, like, how do you make a melody? How do you craft a melody that doesn’t just seem fuzzy and mushy? And sculpture really helped me do what I was doing. Abstract sculpture at the time, and working with pure shape is like talking to the subconscious. I think shape was the first language before we had speech and before we wrote languages down. Shape meant something to us. A circle was the sun and the moon and it was concentric circles. When you dropped a stone in the water. There was a relationship between these things that is really hard to articulate, but the relationship between them is important. And that made me realize as I looked at songs, they were all very simple geometric shapes. The most memorable songs were these simple geometric patterns in a melody, and I was like, oh, they’re just sculpting sound. They’re making shapes out of sound. And I could kind of wrap my head around that in a different way, and it really helped me, and I was very smitten with the sculpture.
Joe Skinner (Narration): Jewel always seems to identify the interdependent nature of the world around her, so it’s really not surprising that her new exhibit at Crystal Bridges works to connect her interests in behavioral health, music, and art into kind of a unifying personal philosophy.
Jewel: I wanted to merge together the three areas of my life that I’ve focused on music, which everybody knows, behavioral health, which quite a few people know, and then visual art, which nobody knows I’ve ever done that. And I wanted to try and put them all together. And so I decided to do it around a personal philosophy of mine that I call the three spheres or the three planes. It’s the idea that we each travel through these three realms of existence every single day, often without realizing it, and that I believe mental health is a side effect of these three planes working in coordination, in harmony with one another. And we suffer when they are not working well together. So the inner realm is thoughts and feelings. How are my thoughts and feelings doing? Is it organized? Is it chaotic? Is it anxious? Being able to ask yourself questions so that you can have a better experience internally. And then can I articulate my thoughts and feelings into my physical environment? That’s the seen realm. The seen realm is all the physical world. It’s finances, jobs, families, nature, cities. The unseen realm is the “other.” It’s the mysterious realm we’ve all been trying to define since the dawn of time. For some people, it’s a very set religion or theology. For other people, they just know that they get chill bumps when they see the James Webb Telescope images. It’s anything that gives you a sense of awe and inspiration and even makes you feel small in a good way. The experience at the museum was designed to help curate an experience through asking questions, to help people understand what these realms mean to them.
Joe Skinner: So what was the moment where you realized that you wanted to give this kind of shape to those ideas at the museum?
Jewel: It had started with drones. I wanted to do drones as sculpture. I wanted to create a brand new, like ten-minute piece of music, a style that I’ve never done before. And it started to turn into, can we make this an entire experience at the museum? If I was to do kind of a museum takeover every night, how would I create an hour and a half experience? I found that so interesting. My job as a musician and why I don’t do set lists is because I have to see where people come to me. Sometimes they’re tired, sometimes they’re snobby, sometimes they just want to laugh. And I have to figure out how to get, let’s say there’s 2000 people in the room, I have to figure out how to get 2000 people to forget their day and to lock into me, so now I can take them on a journey, hopefully with some vulnerability and really thinking about some new things in a new way. And so that ended up being a really neat thing, thinking about the timing and the pacing and the breadth of the hour and a half experience of when would people be asked to do something heavy, hard, you know, introspect? When would I lighten it up again so it didn’t get too heavy, pacing the evening, basically creating a concert that I wasn’t there for.
Joe Skinner (Narration): The portal is described as a meditative art walk, where Jewel’s not only curated artwork by some of her favorite artists in the museum’s collection, but she’s also produced two of her own pieces for the show, including a portrait of her son Kase, and a 30-inch translucent sculpture called Chill, which is a figure in a meditative pose filled with pills.
Jewel: The types of medication that were in it were very intentional, and it’s really about a discussion about how do we relax? It’s about longevity of life versus quality of life. It’s been really interesting to hear the discussions that that sculpture provokes.
Joe Skinner (Narration): You can learn more about the artwork through a link in the show notes. While you can’t fly to Arkansas to see the show anymore, Jewel explains what it was like to walk through it.
Jewel: So you come into the museum at night, just at dusk, right around sunset, and you’re met by a hologram image of me where I perform a piece called “Listen.” It’s about a 2.5 minute spoken word where I got to have a real raven, which was a long time bucket list item of mine. It talks about the three spheres and invites people to listen. The idea that maybe something from the unseen realm is wanting to speak to them, and to attune yourself into a different way to see if you can hear. And then you’re brought into the contemporary wing of the museum, where they have one of the world’s best collections of fine art. It’s incredible, beautiful art. I curated ten pieces, three pieces for each realm.
Joe Skinner (Narration): The art that she’s curated from the museum is really cool. It takes you through the museum’s contemporary wing, featuring paintings by artists like Ruth Asawa, Mickalene Thomas, and Genesis Tramaine.
Jewel: Next to each piece is a video of me talking about my interpretation, of a Tramaine painting, there’s these oversized heads with all of this chaotic motion in them. And so I said, for me, this painting represents the inner realm. It often is what my head feels like -chaotic and overly enlarged. What does your inner life feel like to you? And so there’s a journal everybody’s given. And people write down the answers in their journal. And so you visit each of these nine pieces where you’re asked a question about each of these realms and how they relate to you. Finally, you’re brought to an Eversley sculpture.
Joe Skinner (Narration): That’s Fred Eversley, the American artist who casts large plastic sculptures that play with light, color and perception. The piece featured here is called Big Red Lens.
Jewel: It’s a round disc that is red, which for me represents emotional. It’s see-through, which to me represents the unseen realm. And then it’s physical. It’s very heavy material, and that represents the physical. And it’s the idea that all these three realms are merging together. And then I introduce and ask people to name one thing that causes their three realms to come into conflict. And one thing that helps them come into harmony. And then they fill in the blank on a sentence that I think is a magical formula. It has changed my life. The sentence is I sacrifice my attachment to X and I dedicate it to Y. So for me personally, I sacrifice my attachment to perfectionism and I dedicate it to actively noticing what’s going right. For other people they say, you know, they’re going to sacrifice their attachment to anger and learn to attach it to compassion. Some people wanted to give up Netflix and dedicate it to getting better rest, and so it was very different for everybody. Then people are brought outside and given headphones.
Joe Skinner (Narration): This is where we see the drone show. It’s a 200-piece light show that happens above the pond outside the museum.
Jewel: A two minute meditation happens.
Clip from The Portal: (Heartbeat sounds) Close your eyes. Unlock your jaw. I want you to take a deep breath. Slow. And breathe out.
Jewel: I actually used a human heartbeat, because there’s a lot of science that when we hear a heartbeat at a slightly lower rate than ours, our heartbeat will slow. I can synchronize peoples’ nervous systems. I can help them get off of fight or flight sympathetic nervous system into a parasympathetic nervous system because of music, because of the pacing of the music and of the spoken word and of the visuals.
Clip from The Portal: I want you to take another breath in slow. Now hold it.
Jewel: That was the point of that piece. That’s why I made that piece. Then a huge portal opens in the sky, white, which represents the unseen realm, and you hear knocking. Whatever’s on the other side is wanting to come through and give a message. But what comes through isn’t this serene, angelic message we maybe thought it was. It ends up being our own anxiety. And what comes into the physical world is actually giving voice to a lot of the anxiety that we carry in our inner world. And then it starts to take you on a journey of asking you, who are you without your name? Who are you without being a mom or dad or a sister or a brother? Can you set all those things down and just be here? And then it takes you on a journey.
Clip from The Portal: Nothing needs to be done. Just breathe.
Joe Skinner (Narration): It’s a ten-minute program with tall shifting helix shapes, circles, squares, and finally a giant red heart. And under it a song Jewel wrote and release, which is equal parts new age, ambient, spoken word and dance pop.
Jewel: For streaming platforms, you do have to say what genre. And I was like… I don’t know! I don’t know what to call that one. And probably it’ll suffer for it, but that’s fine.
More music from “The Portal.”
Joe Skinner (Narration): The show brings everyone out into the courtyard to stare up at the sky as if they’re catching an eclipse. It’s a communal moment that Jewel’s engineered with purpose. For her, it brings her back to a key moment in Alaska, back in fifth grade.
Jewel: I was very sad. I was in Alaska. I laid out, there was a meadow out in front of our house, and I laid down on the meadow, and I had a very transcendent experience. I think I just learned in fifth grade science class that if you put like blue dye in water and you put a white daisy in the water, the daisy turns blue. I’m laying on the meadow. And I imagine. What would it be like if the sky turned purple right now? And then I realize the trees would breathe in and then turn purple. And then they would breathe out and I would breathe in, and I would turn purple, and then it would go into the… the ocean would turn purple. Everything would ultimately be purple. And it made me realize how interconnected we all were. It brings me to tears still. The realization was so profound for me that loneliness was a profound and absurd misconception. I was deeply connected to all things, and I felt deeply loved. As odd as that sounds, for a girl whose mom left and dad was abusive at the time. I had a real experience of being loved, and I had it from a meadow in Alaska, and it changed the nature of my life forever. I wanted people to have an experience that felt connected and felt inspiring. That might leave them feeling changed. And so I wanted to end with something that created awe. And it’s hard to get adults to, in time together, have a sense of awe. And that’s why I went to the drone show, because there is a posture and it’s looking up. And I wanted to create that experience and that posture. Now people go back out into their lives, hopefully feeling inspired and energized and, yeah, it was fun. Art is always how I have understood the world. Every poem or short story or painting or sculpture or song is a little tincture that I needed in my life and one of the great gifts of my life when I was young, especially, was realizing that this thing I made for myself helps other people, that they hurt too, that they struggle, and that these things help them find sweetness – or it’s a balm.
Joe Skinner (Narration): That’s the show for this week. Even though “The Portal” is over, you can follow the link in the show notes to read more about it. Jewel’s also on tour with Melissa Etheridge through October 5th. You can learn more about that on her website. And don’t forget, if you like what you heard, please rate and review the show, it really helps and tell your friends to listen to American Masters: Creative Spark on the iHeart app, Spotify, Apple Podcasts, and wherever else you listen. You can also listen on our site at pbs.org/americanmasters.
American Masters: Creative Spark is a production of the WNET Group, media made possible by all of you. This episode was produced by me, Joe Skinner, with additional production support from Diana Chan. Our executive producer is Michael Kantor. Original music is composed by Hannis Brown. This episode was mixed and mastered by Josh Broome.
Funding for American Masters: Creative Spark was provided by the Rosalind P. Walter Foundation, Thea Petschek Iervolino Foundation, the Anderson Family Fund, the Marc Haas Foundation, Sue and Edgar Wachenheim III, The Charina Endowment Fund, the Ambrose Monell Foundation, and the Kate W. Cassidy Foundation.
