EOT 426: When Art Connects Us

This week’s episode of Eye on the Triangle focuses on connection through creativity. From international voices in the Tunisia 88 Alumni Choir to insights from NCMA curator Caroline Roocheleau, we examine how art, music, and history shape communities and preserve stories that transcend borders.

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Creators and Guests

Host

Shradha Bhatia

Public Affairs Director (2025-2026)

Producer

Evie Dallmann

Content Creator

Producer

Nick Ward

Content Creator

What is Eye on the Triangle?

Eye on the Triangle is WKNC 88.1 FM HD-1/HD-2’s weekly public affairs programming with news, interviews, opinion, weather, sports, arts, music, events and issues that matter to NC State, Raleigh and the Triangle.

Meeting created at: 12th Feb, 2026 - 2:06 PM1
Shradha: You are listening to Eye of the Triangle, WKNC's weekly public affairs program from the campus of North Carolina State University in Raleigh.

Shradha: Any views and opinions expressed during Eye of the Triangle do not represent NC State or student media.

Kimball: Foreign.

Shradha: Hello everyone.

Shradha: This is Shradha Bhatia and I'm the Public Affairs Director here at wknc.

Shradha: Welcome back to this episode.

Shradha: This week we're exploring two stories that in very different ways, highlight the power of art to connect us across waters, across generations, and across time.

Shradha: First, we'll hear from Nicholas, who brings us the story of Tunisia 88 alumni Choir AS they embark on their first tour of the United States.

Shradha: Music has long been a force that brings people together, and there's no better example of that than this choir.

Shradha: Nicholas interviews Kimball Gallagher, the choir's leader, along with the members Amani and Iman to explore how music can build lasting change within communities and create connections that go beyond national boundaries.

Shradha: Their story is a reminder that harmony isn't just something we hear, it's something we create together.

Nicholas: Kimball Gallagher is a Juilliard trained concert pianist who in 2015 founded 88 International to educate young people on music, often in areas where music education had not existed.

Nicholas: Since its inception, the organization has grown larger than most people could ever imagine.

Nicholas: It has reached over 200,000 students and is running youth endowment programs around the world.

Nicholas: Its biggest success story has been in Tunisia.

Nicholas: And now the Tunisia 88 Alumni Choir is embarking on their first tour of the U.S. kimball Gallagher and two members of the choir, Amani and Amon, joins me now.

Nicholas: Mr. Gallagher, thank you for coming on the program.

Nicholas: What inspired you originally to create 88 International?

Kimball: Well, it all started back when I was in school and I graduated from Juilliard and I did not have a piano.

Kimball: And one of my mentors suggested that I could ask 88 people to each sponsor one key of the piano because there's 88 keys on the piano.

Kimball: And that was a bit of a turning point for me because I saw music as something that could build community, not just for performance.

Kimball: And that one piano that I got at that time, which is more than 20 years ago now, that became the seed for almost everything that's going on now with 88 International.

Nicholas: It's such an incredible story.

Nicholas: I've been doing a lot of research into your group these past few days, and one thing that I have seen is how it's through music that has brought everybody together.

Nicholas: I think it's interesting that was the same thing for you this Experiment that you started was especially prevalent in the wake of the 2011 revolution, which kick started the Arab Spring.

Nicholas: And I think the spring.

Nicholas: The thing that sprung out to me the most from my research was that Tunisia 88 was founded in 2016, five years after the revolution.

Nicholas: And I know you first visited Tunisia in 2007, so I wanted to speak about that first.

Nicholas: What initially led to you to go to Tunisia?

Kimball: The very original reason was Invited actually by another American NGO to teach at a summer music camp, essentially.

Kimball: And that's when I started to get to know a lot of Tunisian music students, mainly piano students, but also songwriting and a wide variety of other instruments.

Kimball: But I also got to know their parents as well.

Kimball: And many of the parents of these students are teachers, and they would later become those with whom we developed Tunisia 88.

Kimball: So the seeds were kind of planted back then.

Nicholas: And was it the spark of freedom that came after the revolution of 2011 that inspired you to establish this in Tunisia?

Kimball: I think so.

Kimball: There was so many new initiatives going on post revolution in Tunisia.

Kimball: And then there was an education minister who just kept talking about how he wanted to see pianos in schools and he wanted to revive after school music clubs.

Kimball: And that's when we saw a real opportunity.

Kimball: But we didn't want to make the music clubs in the classic sense, meaning we didn't want the teachers to be in charge.

Kimball: We really wanted to bring the voice of the youth on board, meaning we wanted to put the students in the leadership position.

Kimball: And.

Kimball: And that was the real inspiration.

Kimball: And that minister at the time, he encouraged us.

Kimball: And, and that was the, you know, sort of the first major institutional partner that came on board, because without the Ministry of Education, you cannot access to public schools.

Kimball: So that was kind of that first initial step.

Kimball: And this was, yes, all in this context of the post revolution and this sort of real enthusiasm for new initiatives, and especially with local leadership, democratic structures and local leadership.

Kimball: And, you know, all of our music clubs, they are student led, but the students are elected by their peers.

Kimball: So that became part of the essential element to really allow the students that freedom, as you say.

Nicholas: And what was the process?

Nicholas: I mean, you kind of created a movement in Tunisia.

Nicholas: Of course, all of the public schools and of public high schools in Tunisia have a music club.

Nicholas: Now.

Nicholas: What was the process in establishing that?

Kimball: Well, essentially, we go to visit.

Kimball: We visited each school.

Kimball: Excuse me, we visited each school and we present the program and we invite students to participate.

Kimball: And I think the thing that.

Kimball: That really encouraged us at the beginning is in the initial, let's say, 10 to 20 schools that we visited, were watching students write their own songs as a group.

Kimball: And it's just very raw, very emotional, full of hope, full of energy and.

Kimball: And very sincere.

Kimball: And so that is what's, you know, kind of has this positive, virtuous cycle that inspired other clubs to do it.

Kimball: And then people realized that they're part of something like a national movement, because were starting clubs in a variety of different regions within the country.

Kimball: And I think that also captured the imagination of the students.

Kimball: Like, hey, we're not just singing and creating music for our own.

Kimball: It's not only our own school, but, hey, there might be students on the other side of the country that are going to hear this song.

Kimball: And there are songs from that first generation that are still actually quite well known by that generation and the ones that came after it in Tunisia.

Kimball: So this is part of that spark that just continuously channels the voice of the youth and hope and all the other subjects that the youth would like to deal with.

Nicholas: How many of the high schools didn't have a music club at all?

Kimball: Well, I would say the majority did not have the music clubs.

Kimball: There were some music clubs, but those music clubs were set up in, as we like to say, as they say in Tunisia, sort of the classic traditional sense, meaning the teacher is in charge.

Kimball: And so that doesn't give the youth much space for their own expression.

Kimball: And those would be music clubs that just say they.

Kimball: They just teach.

Kimball: They teach instrumental training.

Kimball: They might sing in a choir or something like traditional music in a choir, but it's led by the teacher.

Kimball: So the students are waiting for the teacher to tell them kind of what to do.

Kimball: But in our clubs, the dynamic is completely different because the teacher is a facilitator, and they are there just to support the clubs in doing what they want to do.

Kimball: So it's the students that have to define, you know, what are the songs we're going to write, what is the message we want to create, who's going to play what instrument, which genre of music is it going to be in?

Kimball: What do we do if one student likes, I don't know, rock music and the other one likes rap, and the other one does traditional Tunisian music or Arabic music or something like that.

Kimball: And like, how do you deal with these different genres?

Kimball: And they've just come up with so many creative solutions to that.

Nicholas: So it's the students leading us.

Kimball: Exactly.

Nicholas: I mean, you know, music education, I imagine better than anybody.

Nicholas: How do students react to this kind of Newfound reality of it's them leading.

Nicholas: It's not their teachers, they're just the facilitator.

Nicholas: It's them leading what they want to do.

Kimball: Yeah, I think it's a gradual waking up to a sense of responsibility, a sense of possibility, responsibility and possibility, I would say.

Kimball: And then they gradually experience that.

Kimball: What we believe, the conviction that we hold that music's real power is really connection.

Kimball: And when the youth come together to, you know, have a message and to impact their own community and even lead positive change in their own communities, this is where, you know, we're sort of unleashing just this amazing amount of untapped, previously untapped energy.

Nicholas: I read that said these music clubs create their own events with the effort of using music, as you said, to have a positive impact on their communities.

Nicholas: What do these events look like?

Kimball: They run the range from, let's say, modest events.

Kimball: And I'm sure Iman and Ameni, who've participated in numerous events over the years because they've been part of Tunisia 88 for, I can't even know how many years.

Kimball: There could be, let's say, modest events inside of schools, even part of school ceremonies.

Kimball: Maybe the club will get up and perform their songs.

Kimball: And it also leads to, let's say, mid size events.

Kimball: Maybe down the street from the school there's a small cultural center or a cafe or something like that.

Kimball: And then students may organize their concert outside of the school.

Kimball: And then there's sort of a wider audience.

Kimball: But it also gets even more ambitious than that.

Kimball: There's a lot of clubs that have chosen to collaborate with clubs from other cities.

Kimball: And this is sort of a more grandiose level of effort.

Kimball: But they would be seeking to make, I would say, larger events and the audiences in the hundreds of people, and that might be at some of them are even at outdoor venues or at cultural centers of different types.

Kimball: But we do encourage the clubs to seek out really any space at all that could receive a concert.

Kimball: There's the traditional spaces like cultural centers or music spaces, but there's also numerous other possibilities.

Kimball: Some clubs even did concerts at orphanages and things like that.

Nicholas: Could I ask our wonderful choir members joining us now, how has music inspired you?

Amani: For me, music is sort of expression like I had a big problem, like to show my emotions to people and express my feelings.

Amani: And music was the tool to do this.

Amani: And I find a safe place to be in Tunisia 88 clubs or choirs.

Amani: And I just found many friends, many good friends.

Amani: And we became like a Family.

Amani: And that really made me feel comfortable to show up and express my feelings and to share my music with them.

Amani: So this is it.

Nicholas: Amend, what about you?

Eman: Yeah, actually, I'm going to add something on what Emani said, because I totally agree with what she said.

Eman: Music is really was and is a way to express ourselves.

Eman: Tunisia 88 gives us space to actually, like, get out of our comfort zone and just express ourselves out there in the public, write our own songs, like as amateurs or as professionals.

Eman: It was very good to be part of something this big.

Eman: Actually, in my case, this opportunity gave me inspiration on what to follow even in my professional life.

Eman: Not only in the musical aspect, but also, like, I chose a career that is related to what my experience was in Tunisia 88, for example, the leadership part during the clubs in high school gave me, like, an idea on the fact that I really love people management.

Eman: So I even followed HR for my master's degree and I work in HR now.

Eman: So it's really helpful for all of us to even discover ourselves and look at life from different perspectives, musically and even personally and professionally.

Nicholas: That's so interesting.

Nicholas: So this is not just inspiring a possible music career or a love of singing or playing instruments, but your entire adult life?

Eman: Exactly, yes.

Eman: That's the point.

Kimball: Yeah.

Kimball: It's interesting, Nick.

Kimball: The students that we have in the program, over the years, approximately 7,000 have been through the program.

Kimball: And on this tour, we just have 26.

Kimball: And this is a choir tour, and these are members who were in clubs at the time.

Kimball: But I just wanted to underline that idea that just a rough estimate, we don't have all of the statistics, but maybe 5% of them have gone on to music studies in their university.

Kimball: But the other 95% are doing really a wide range of.

Kimball: Of careers.

Kimball: Everything from medicine, engineering, communications, sound engineering, entrepreneurial initiatives, geopolitics, HR management.

Kimball: Like Iman, I can't list all the careers, but they've all had meaningful experiences with the program at the same time and continue to.

Nicholas: So, yeah.

Nicholas: Do you think that this is not just inspiring, you know, a love of music, but this is allowing students to realize their own freedom to realize their own occupations in life.

Nicholas: Especially coming from a country where, you know, it's possible that might have.

Nicholas: Might not have not been available to them.

Kimball: We hope so.

Kimball: This is really one of the main purposes of the program, the general empowerment and development of many facets of.

Kimball: Of the people who are participating in the clubs.

Kimball: You know, often we get testimonials from parents, sometimes even formal Ones and also informal ones.

Kimball: And we hear frequently.

Kimball: I remember after one concert, this mother running up to me, a mother of one of our participants.

Kimball: And she was, you know, talking about how her daughter used to be very shy, very withdrawn, very sort of self doubting, unsure of herself.

Kimball: But then as she spent more time in the music club, she not only started singing and performing, but she just brought a higher level of energy to basically everything in her life.

Kimball: And mother was telling me things like, you gave my daughter back to me.

Kimball: And it's very touching and increasing her confidence being part of a larger community.

Kimball: And then everything happens.

Kimball: They have sincere friendships are developing and the grades are improving and I think families like this.

Kimball: So yeah.

Nicholas: So what are you guys most looking forward to about your tour itself of the east coast?

Eman: Actually we are here to spread very good quality of music with different people.

Eman: The tour actually has, I mean the album that we are singing has a very large variety of songs.

Eman: For example, we are singing songs that are student made from Tunisia, from different regions.

Eman: We are singing songs from Gambia, 88 from Morocco, 88 from Senegal and 88.

Eman: And we are also singing classical songs in Latin, in German and even American songs.

Eman: So it's a large variety.

Eman: We're very excited singing these songs and meeting all these new people who are interested to know more about us and about the music that we are delivering.

Amani: I'm going to add something to what Aime said.

Amani: So other than like representing Tunisia International 88 Programs and the like large program that we're singing, I just want to say that this choir is very special because we have like such a unity and a bond that we want really people to feel and to understand that many people around the world, like in other countries are doing great job and are trying to deliver what music represents to them and to of course like show more about our culture and this is it.

Amani: Like we want really to make people understand like what music like how music like changed us as human beings.

Amani: And I'm always like saying to my friends that we are one.

Amani: Like all of us are an identity for our country and for ourselves and of course for international idiots.

Nicholas: I can't think of a better way to end this segment by just saying what you just said.

Nicholas: We are all one.

Nicholas: That's incredible.

Nicholas: It's been such a joy to talk with you guys today.

Kimball: Thank you so much, Nick.

Eman: Thank you.

Nicholas: And you guys are coming to Durham.

Kimball: Exactly.

Nicholas: So you'll be in our area.

Nicholas: I know we'll love to see you.

Kimball: Fantastic.

Nicholas: That was the Tunisia 88 Alumni Choir.

Nicholas: LED by Kimball Gallagher.

Nicholas: Reporting for Eye on the Triangle, I'm Nicholas Ward.

Nicholas: Thanks for listening.

Shradha: Next, Evie takes us to the North Carolina Museum of Art, where ancient art curator Caroline Rocheleau shares insights into the role museums play in preserving material culture and making history accessible.

Shradha: Through her lens of archaeology and art history, we're invited to think about how civilizations are connected across eras and how what we create today may become the artifacts that define us tomorrow.

Shradha: She also reflects on how contemporary art continues to shape not just how we see the present, but how future generations will understand it together.

Shradha: These stories center on connection through music, through history, through shared human experience.

Caroline: I think we need to keep in mind that we're all connected.

Caroline: Even in ancient times, all art was once contemporary.

Amani: This is Evie with wknc.

Shradha: I got to talk with Caroline Rochelle, director of research and curator of Ancient art at the ncma.

Shradha: We talked about the importance of the humanities research in antiquities and ancient art and just what it can reveal about our modern times.

Evie: I hope you enjoy listen around here.

Caroline: My name is Caroline Rocheleau.

Caroline: I am the curator of ancient collections at the North Carolina Museum of Art.

Caroline: And by training I am an archaeologist.

Caroline: I specialize in ancient Nubia and I'm also an Egyptologist and in that area I'm a generalist, so to speak.

Caroline: Oddly enough, my interest in ancient Egypt started when I was a child.

Caroline: I had wonderful history teachers and we.

Caroline: Egypt is always one of those topics that is taught at least where I come from, in Canada and when we traveled abroad as well.

Caroline: And that was really something that just piqued my interest as a child, that you have these ancient cultures that have monuments that have survived.

Caroline: And to me that was super interesting.

Caroline: And by default I sort of got interested in Greece and Rome as well because of that, all the monuments that you have in Greece and Italy.

Caroline: And my interest in Nubia is later what became the thing that drove me to a career in Egyptology.

Caroline: As a teenager, I used to read my dad's National Geographic magazine and there was this one volume that talked about the monuments of Nubia being rescued from the waters of Lake Nasser.

Caroline: And that to me was impressive that the monuments were cut up and taken out and then reconstructed later on.

Caroline: And we're not talking like small things, we're talking rock cut temples and how if you humans put their minds and hearts together, they could do really great things.

Caroline: So that was sort of my introduction to the ancient world.

Caroline: Basically the Nile Valley and a little bit of the Mediterranean was through grade school and high school these opportunities that I had with these great teachers as a child.

Caroline: The first museum I remember visiting was the Egyptian Museum in Cairo, which I know means that I was very fortunate and I had opportunities that perhaps not other little kids my age had in my hometown.

Caroline: But that really had an impact on me, the fact that museums were the stewards of antiquities and other kinds of objects, and that's how they could be preserved, especially if they're smaller, portable, I supportable.

Caroline: But there's huge statues as well, that they're not just like out in the environment where they can be taken away or destroyed by water, rains, you know, things like this.

Caroline: So like museums as the place to go to learn about different things, ancient cultures that no longer exists except in their materiality, basically was.

Caroline: Was something that drew me, I think, to the museum world and in general much later on.

Caroline: And I, I know that museums have difficult histories to tell because of colonialism, how collections were acquired and things like this.

Caroline: And museums are working really hard today to decolonize museums and tell different narratives and different stories.

Caroline: And you see this throughout history, how things adapt with the culture, with the times, with the new ways of thinking and things like this.

Caroline: And this also applies to works of art, how we display them.

Caroline: A good example of that is the statue of Bacchus at the Museum of Art, where there's a whole publication about this.

Caroline: It's, it's.

Caroline: I'm going to try to make it very short and brief, but when we started looking at this particular statue, we're going back through our files and documentations that we had about this particular object.

Caroline: And it was really obvious that back in the 60s, the museum wanted to remove the antiquities from what was the whole, but the rest was not ancient.

Caroline: So there was really a focus at that time to display only the genuine ancient portion of that statue, meaning the torso and the head.

Caroline: They're both antiquities from two different sculpture.

Caroline: And that was the goal.

Caroline: We did a lot of research and there was history that sort of popped up as were doing this.

Caroline: And we wanted to keep the history and the history was really about that torso with those legs that were not ancient, the arm, the left one, also not ancient.

Caroline: But we had tracked the history of the statue to 1830 something, and we wanted to preserve that history.

Caroline: So instead of de.

Caroline: Restoring, which was the original plan, we decided to re.

Caroline: Restore because the statue that had been removed and the original plan had never come to full completion.

Caroline: And we changed our minds because of structural analysis issues, but also because today that's not how we're thinking we don't want to remove the antiquities from their whole because the rest of the composite sculpture is also part of the history.

Caroline: So why would we just select different histories that we find more important than others?

Caroline: So we reconstructed the whole statue and even gave it a new arm because we knew what it looked like from publications.

Caroline: So that just kind of showcases within the last 50 such years how museums of thought of antiquities.

Caroline: What's the best way to display them?

Caroline: But also thinking about the visitor.

Caroline: Would a visitor understand when you just have fragments?

Caroline: A scholar might, A student who's studying in this field might, but the average visitor might not.

Caroline: So how do we interpret this material?

Caroline: I think that statue is a really good example of that.

Caroline: I find when you start looking at ancient cultures, just the fact that they survive is the material culture has survived, even if it's just a tiny little part.

Caroline: I find that very engaging.

Caroline: And when you start looking at the objects themselves, and I think that's what the curators really.

Caroline: We geek out on this sort of thing.

Caroline: We're lucky enough to be able touch these objects and study them up close.

Caroline: And what I like to do is try to bring the humanity out of these objects.

Caroline: We see them like, oh, it's a Canopic jar.

Caroline: Oh, it's a coffin.

Caroline: Oh, it's a statue.

Caroline: Very often, certainly with ancient Egyptian material culture, you have the name of the deceased written somewhere on there.

Caroline: And I like to bring that to the front.

Caroline: It's not just a shabti jar, it's the Shabti jar belonging to Hori.

Caroline: Like there was a person who had this object made for their tomb.

Caroline: And that's part of their religious belief in the afterlife.

Caroline: Trying to bring that human side of things.

Caroline: These are not just objects, they belonged to people.

Caroline: There's one object that I really like, and that's the coffin of Amun Red.

Caroline: We have two coffins at the museum.

Caroline: We don't have mummies.

Caroline: People call them mummies very often, but we don't have mummies.

Caroline: They're coffins in which the mummy was once blazed.

Caroline: And on the coffin of Amun Red, there is an inscription down the front.

Caroline: And that's a typical funerary offering, an offering the king gives to Osiris so that he may give, blah, blah.

Caroline: And then you have the person's name.

Caroline: And in Amun Ren's name there's a typo that the scribe made and clearly realized that they had made a typo and they fixed it.

Caroline: And that just there to me, that Just makes the ancient Egyptians human.

Caroline: It's not just people who lived thousands of years ago, they were just like us.

Caroline: They made mistakes, they corrected their typos.

Caroline: I think that might be reassuring for a school kids like, yes, even the Egyptians made typos.

Caroline: So I tried to bring that humanity in the displays and trying to tell people like, we're all part of this wonderful planet.

Caroline: We all have different.

Caroline: We live at different moments, we have different cultures, different religions, but we're all human and.

Caroline: And trying to make the connection between the visitor and the object.

Caroline: That's something I like to do and try to do in my displays whenever possible.

Caroline: I think very often objects in museum collections can be used as ambassadors for other culture, like understanding how other people their framework, basically their culture, their religion.

Caroline: And if you find commonalities, that makes the other person, who at first glance might be very different from you, more approachable because you have similar things from your respective culture.

Caroline: Sometimes you realize that some of the things that you see in the galleries, you have very similar stuff at home.

Caroline: There are certain things that continue.

Caroline: We still have containers right now.

Caroline: They might be made of glass or plastic, not ceramics.

Caroline: But there's these basic human needs are still being met today.

Caroline: They look completely different, but they're still there.

Caroline: And if you start looking into more the science of it, like how things are made and whatnot.

Caroline: I was reading somewhere that with concrete, the Roman recipe is actually still better today than things we've improved on in quotes in the last like a thousand years.

Caroline: And there are certain things that the ancients did really well.

Caroline: And we often, I think we don't give credit enough credit to ancient peoples because they didn't have the technology that we have.

Caroline: They didn't have the same quantity of knowledge, if you will, because just because they live so long ago and yet they were able to do fantastic things that have survived for so long.

Caroline: So I think we need to give way more credit to ancient peoples and also realize how could actually really connected they were, even though they didn't have airplanes, they didn't do like transatlantic voyages or anything, they're super connected.

Caroline: The fact that the ancient Romans were aware of Han China and vice versa, where today we don't even think of the two even knowing each other, they did.

Caroline: And they're on the opposite side of the world, but they're connected.

Caroline: So that's another thing too that I think we need to keep in mind that we're all connected.

Caroline: Even in ancient times, I think studying in the humanities, there's a Variety of field, but archaeology and art history specifically, because that's what I studied.

Caroline: You learn so much and you gain all these transferable skills.

Caroline: How to do research, how to read and distill information, how to write up what you've just learned.

Caroline: So summarize it, ask questions, don't take things at face value.

Caroline: And these are really good skills that you want to have for the rest of your lives.

Caroline: And I had a couple of lawyers actually tell me, when we employ people to do research, we like to go to students who studied in history, art history, those, you know, humanities field, because they know how to do research.

Caroline: Well, that's a decent job too to be a paralegal, right?

Caroline: So I think there's like, it's kind of like archaeology.

Caroline: Very often in art museums, it's sort of pushed to the side because it's not art, it's material culture, which is something that at the museum we've brought back into the mainstream.

Caroline: It's part of the history of human creativity.

Caroline: Same thing with sometimes the humanities are pushed to the side because they're not the well paying jobs, but they're the jobs that teach you or the programs that teach you important skills that are transferable.

Caroline: And there's something you just mentioned, it made me think, one day will be history.

Caroline: You know, like we're living in the moment, in the present, but one day somebody will be studying us.

Caroline: And there's this wonderful contemporary art at the Egyptian Museum in Munich.

Caroline: And as you walk in just before you go downstairs to the actual galleries and it says all art was once contemporary.

Caroline: Ancient Egyptian at some point was contemporary art because that was their moment, their time.

Caroline: So today we're living in the contemporary world.

Caroline: One day we will be history.

Evie: This has been Evie with WKNC editing and producing by me and music by Samuel Shepard.

Evie: Thanks for listening.

Caroline: See you next time.

Shradha: And with Valentine's Day this weekend, it feels especially fitting.

Shradha: Whether you're spending it with friends, family, or someone special or just taking time for yourself, I hope you find moments that remind you how powerful connection really is.

Shradha: And to someone who recently told me that they've been keeping up with every episode, yes, I heard you and yes, I appreciate it.

Shradha: Thank you.

Shradha: The music you heard in the story was spatial entanglement by the Grey Room, licensed through the YouTube audio library.

Shradha: Thank you for listening.

Shradha: This has been Eye on the triangle from WKNC 88.1 FM HD1 rally.

Shradha: Our theme song is Krakatoa by Noah Stark, licensed under Creative Commons to re listen to this or any other episode, visit wknc.org podcast or subscribe wherever you get your podcast.

Shradha: Thank you for listening.