Podcasts about African Americans

On Today's Episode – Mark is joined by Dr. Eric Wallace, who tells us a little about how he came to be a member of Project 21. He has a new book out (link below). The guys talk all things politics and the relationship between them and the Black Church. Tune in for all the funProject 21 Ambassador Dr. Eric Wallace is the president and co-founder of Freedom's Journal Institute (FJI) for the Study of Faith and Public Policy, an Illinois-based nonprofit organization designed to “advance the Kingdom of God through socio-political, education and engagement.”Wallace is a visionary who couples his rich educational background with a bold approach to challenging the status quo. His post-graduate degrees in Biblical Studies (M.A., ThM, Ph.D.), combined with his passion and powerful message, make him one of today's most powerful voices of Bible-centered reason and change. Eric is the first African American to earn a Ph.D. in Biblical Studies from Union-PSCE (now Union Presbyterian Seminary).Wallace is outspoken about the evils of Critical Race Theory (CRT) — speaking recently about CRT at the For God and Country Biblical Worldview Intensive at World Outreach Center in Newport News, Va., and at a special panel discussion at the Conservative Minority Convention (CMC) in Dallas-Fort Worth. https://www.amazon.com/Heart-Apostasy-Abandoned-Authority-Ideology/dp/0979763185 https://freedomsjournalinstitute.org/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This lecture discusses key ideas from the 20th century African-American philosopher, theologian, and civil rights leader, Martin Luther King Jr.'s work "Letter From A Birmingham Jail" This episode examines King's depiction and analysis of racism and segregation as fundamentally wrong and illegitimate forms of inequality in America To support my ongoing work, go to my Patreon site - www.patreon.com/sadler If you'd like to make a direct contribution, you can do so here - www.paypal.me/ReasonIO - or at BuyMeACoffee - www.buymeacoffee.com/A4quYdWoM You can find over 3500 philosophy videos in my main YouTube channel - www.youtube.com/user/gbisadler You can find the Letter From A Birmingham Jail here - https://www.africa.upenn.edu/Articles_Gen/Letter_Birmingham.html

The Social Impact Holiday Mixer is an evening of celebration and connection bringing together philanthropists, nonprofit leaders, and changemakers from across the Bay Area. Hosted at Commonwealth Club World Affairs, the program blends festive warmth with civic purpose. Honorary chair and emcee Willie L. Brown, Jr., two-term mayor of San Francisco and former speaker of the California Assembly, opens the evening with reflections on leadership, philanthropy and community. He is joined by co-hosts Elisabeth Pang Fullerton, a philanthropist and impact investor studying Global Public Health Leadership at Harvard, and Eddy Zheng, founder of the New Breath Foundation and national advocate for cross-cultural healing and justice. Following brief remarks, the evening transforms into an interactive roundtable discussion, with microphones, held by the co-organizers, circulating among guests to share social impact success stories and lessons learned. The program concludes with an open reception, inviting continued conversation and collaboration. Wine and hors d'oeuvres by Vino Godfather. About the Speakers  Honorary chair and emcee Willie Brown was a two-term mayor of San Francisco, legendary speaker of the California State Assembly and is widely regarded as one of the most influential African-American politicians of the late 20th century. Mayor Brown has been at the center of California politics, government and civic life for more than five decades. Co-host Elizabeth Pang Fullerton is a philanthropist, early-stage investor, and startup veteran who leads a foundation advancing equity in health care, education and conservation. As general partner of her family office, she invests in mission-driven ventures addressing global challenges. Currently studying at the Global Public Health Leadership Program at Harvard, she focuses on building more just, inclusive, and human-centered systems. Co-host Eddy Zheng, president and founder of the New Breath Foundation, bridges Black, Asian American, immigrant, refugee, and formerly incarcerated communities. Featured in The New Yorker, The Guardian, PBS, NPR, and the award-winning film Breathin': The Eddy Zheng Story, he advances cross-cultural healing and justice through culture, history and identity. Moderator Dave Clark is an Emmy Award-winning television news anchor for KTVU Channel 2, a trusted Bay Area morning voice since 2007. With more than 50 years in broadcasting, his work has aired nationally and internationally. He now pairs journalism with community service, supporting Joshua's Gift and The Vibrancy Foundation alongside his wife, artist and entrepreneur Lucretia Clark (aka Livacious Lu). A Social Impact Member-led Forum program. Forums at the Club are organized and run by volunteer programmers who are members of The Commonwealth Club, and they cover a diverse range of topics. Learn more about our Forums. OrganizerVirginia Cheung & Ian McCuaig  Learn more about your ad choices. Visit megaphone.fm/adchoices

For generations, celebrating Kwanzaa from December 26th to January 1st has been a end of the year holiday tradition that's becoming more widely known and practiced. So what is Kwanzaa and why are the seven prinicples so important to our daily living? Intrigued? Here's a deep dive into this valued African American holiday that's based on family, empowerment and economic development.

Shop Talk explores nostalgic themes surrounding defunct retail brands. But first, innovative toilet technology from Japan and the first photo booth museum in NYC Caught Our Eye. Kenneth Frazier, former CEO of Merck and the first African American to lead a major American Pharma Co., is the Business Birthday. We're all business. Except when we're not. Apple Podcasts: apple.co/1WwDBrC Spotify: spoti.fi/2pC19B1 iHeart Radio: bit.ly/4aza5LW Tunein: bit.ly/1SE3NMb YouTube Music: bit.ly/43T8Y81 Pandora: pdora.co/2pEfctj YouTube: bit.ly/1spAF5a Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Send us a textJoin us on the Black History Mini Docs Podcast as we delve into the incredible life of Madam C.J. Walker, the first female self-made millionaire in America.

Tune in Friday, December 19, 2025 @ 7pm EST/4pm PST/6pm CST for the next “He Said, He Said, He Said Live!” A Look at the World from A Seasoned Black Man's Perspective…becauseone perspective isn't enough!” for “The Renaissance of Reggie Van Lee: Leadership, Legacy, and Living with Purpose” with special guest Reggie Van Lee.”Join us for our He Said, He Said, He Said Live Holiday Show, featuring an in-depth conversation with Reggie Van Lee, a global executive whose career bridges transformational leadership, corporate strategy, and cultural stewardship.Reggie Van Lee is an Executive Partner & Managing Director at AlixPartners, bringing more than three decades of experience advising corporations and boards through complexity and change. Prior to AlixPartners, he served as Chief Transformation Officer at the Carlyle Group, leading enterprise-wide initiatives across culture, structure, corporate strategy, diversity, and talent. Before that, he spent more than thirty years at Booz, Allen & Hamilton, retiring as an ExecutiveVice President focused on strategic transformation and high-performance organizations.Beyond the boardroom, Reggie's leadership extends deeply into mentorship, civic service, and the arts. He serves on the boards of the Women's Venture Capital Fund II, NationalCARES Mentoring Movement (Chair), Blair House Foundation, and the Coalition for African Americans in the Performing Arts (Chair). He is the Chair of the Washington, DC Commission on the Arts and Humanities, co-founded andchairs the Black Theatre Coalition and helped co-found the Gospel Music Haus Museum.A former Trustee of the Kennedy Center and member of the Tony Awards Nominating and Voting Board, Reggie has also served as Chair of Washington Performing Arts and Vice Chair of the Washington Ballet. His honors include being named one of the Top 25 Consultants in the World, a Washington Minority Business Leader, and Black Engineer of the Year. Reggie holds BS and MS degrees in Civil Engineering from MIT, has served on the MIT Corporation, and earned an MBA from Harvard University.This holiday closing episode goes beyond titles to explore leadership, legacy, joy, and living with purpose—and why those values matter now.New Episodes of “He Said, He Said, He Said” - Live stream Fridays, 7 p.m. EST on all theselinks: https://linktr.ee/hesaidhesaidhesaid FACEBOOK: facebook.com/hesaidhesaidhesaidlive RELIVE and SHARE special moments from "He Said, He Said, He Said" here: SHOW CLIPS (22) He Said, He Said,He Said - Live - YouTubeFOLLOW US —- CLICK LIKEand SUBSCRIBE to us @hesaidhesaidhesaidlive on YouTube and Instagram!#HeSaidHeSaidHeSaidLive #HolidayShow #ReggieVanLee #RenaissanceOfReggieVanLee #LeadershipWithPurpose #LegacyAndImpact #TransformationalLeadership #ExecutiveLeadership #PurposeDrivenLeadership #CulturalLeadership #MentorshipMatters #LivingWithIntention

A Holiday Haunting: Part 4 A unique relationship paradigm. Based on a post by zeon 67. Listen to the ► Podcast at Explicit Novels. He had asked Erin what kind of food she wanted to try, and she said something new, with lots of flavor. Walking into the orange glow of the Thai restaurant and getting the scent of the food, Jack knew he had picked the right place. Erin looked so excited, her eyes darting to every plate as they got seated. "So, Siam is now Thailand?" Erin asked as soon as the waiter poured the waters and left the menus. "Yeah." Jack nodded. "I'm sorry, but I have to ask; are you okay?" "What? Why?" She lowered the menu, and her eyes widened. "Just want to make sure that you're not gonna fall asleep on me." Erin smiled and said, "I'm getting my eight hours. Can you help me with this menu?" Jack leaned over and tried his best to explain everything to Erin. He remembered her telling him that the food she used to eat in the 1880s was bland and boring. He got the idea she wanted something spicy but didn't want to scare her. He suggested Pad Thai, and picked something hotter for himself, a couple of appetizers and wine. "So, what did you do all day?" Erin asked as soon as they were alone again. "Nothing really. Replied to some emails, watched TV with my sisters, argued with my parents about politics ;  a typical holiday." "What would you be doing if you were back in Boston?" "Don't know. Maybe watch basketball, gym, go on the PlayStation, hit a couple of bars with friends." "PlayStation ;  that's the machine that you can play computer cartoons." "Close enough," Jack smiled, "What about you? How did you used to spend your free time?" "Working for the Franklins took up most of my time. I would be in that house for hours, sometimes the whole day. Any time I had to myself, I'd read or maybe go for a walk. Not really that entertaining. But now I can't wait to experience new things." "I know, I saw your list. What about today?" "Me and Lucy watched more movies. We watched some ones with a lot of action, which was terrifying. But I got through it." Jack wanted to quickly interject and ask what film that she saw, but let her carry on. "I tried to use Lucy's computer. But it was so hard and nothing worked. It looked so easier when you were using yours. I kept on forgetting about the Start button." "And I got this." Erin reached into her jacket pocket and showed Jack a red cellphone. It looked a little small compared to most modern phones and had some scratches around the sides. "I got from a store nearby and a prepaid plan. We can talk to each other now." "That's awesome," Jack said. He knew that there was something that he had forgotten to do for Erin. "Lucy helped me take a couple of selfies. I guess that's what girls like me do now. I created a Spotify account and I'm trying to find my taste in music. But I'm not joining Instagram or Facebook yet. Lucy said it's too early." "Yeah." Jack nodded, thinking if he should tell her the horror stories of social media. "Also, I know Beth is going to be trawling for your account and will immediately follow you." The food then arrived, and Erin's attention was drawn instantly to the plate set in front of her. Jack watched her, a mix of confusion and excitement at the various plates. He should probably try to explain everything. "These are the appetizers, that's pork gyozas ;  dough wrapped around a filling. Those are chicken satays ;  grilled chicken with sauce." Erin pointed to her dish and asked, "And I ordered; ?" "Pad Thai. A typical Thai dish ;  everyone should try it at least once. I got drunken noodles, there are hotter." Erin reached for a chopstick; her fingers and thumbs fumbled around the utensil. But to Jack's surprise, she got used to quickly them and tried everything in front of them. Seeing her face light up with every bite, he just grinned, like he was enjoying the food through her. "This all tastes amazing. So many spices and different flavors." "I thought food was better back in your time. Fresher, no chemicals or hormones." "Maybe. But we just boiled everything. And there was no taste." Jack carefully ate his noodles, making sure not to make a mess as he listened to Erin. She talked more about her plans; she was thinking about starting yoga. He didn't see it in Lucy's apartment but now could tell she was wearing makeup and looked even better. Her eyeliner made her green eyes pop, and she had a bold shade on her lips, making it so enticing. He needed to be alone with her. Erin caught him staring and smiled. She then said, "Me and Lucy were talking. And I think we got a story I can tell people." "Okay." "We got this idea after watching a true crime television show ;  Lucy loves those. So, I tell people I came from Ireland but I moved here when I was twelve. I lived with a very religious aunt and uncle. The Franklins. We lived away from other people and had a simple life." "So, you were in a fundamentalist sect?" "Yes. I didn't have a TV, no internet or modern music. I only interacted with the Franklins and other people in the community." "Okay. But why did you leave?" "The Franklins died." "And what happened between then and now?" Erin paused, looking like she was thinking of an answer. She took a sip of wine and said, "After I decided to leave, I travel to Boston and stay there, for some time? But; but it's too expensive and I meet Lucy and she lets me stay with her. I then meet you and; you know?" "That's perfect." After finishing their food, Jack ordered more wine and asked Erin what she thought about the meal. "I loved it." Erin said, wiping her lips with the napkin. "I always wanted to try something like this. Before I left Boston, there was this Chinese neighborhood. Just walking pass, I would be enticed by the aroma. But I could never walk into the neighborhood." He asked why but saw Erin go quiet and look nervous. It took Jack a moment before he understood, going to a Chinese block would be a major no-no for a white woman in 1890s Boston. "I lived in what is now called South End. Then it was a mix of Irish, Lebanese, Jewish, African-American, Greek. It was okay to speak with them and visit their stores. But the Chinese was a different story. I never understood why." "Do you miss Boston?" "Yes. When I arrived in the city, after weeks on that boat, I couldn't believe such a place could exist. So big, so many people. Visiting the Cathedral of the Holy Cross, getting lost in alleys exploring the city, having picnics at the Common." Looking at her, Jack thought about asking her something that he had been on his mind for a while. "Do you want to come to Boston with me?" "I would like that." They both leaned over the table and kissed, just a quick peck. But they stared in each other's eyes, a tension rapidly developing between them. Jack thought about asking about dessert, there was the Chocolate Bar a couple of blocks away, or that they go for another drink. But watching Erin, it felt she wanted to be alone with him. "Lucy told me something," Erin said in a hushed tone. "She will be working late and will be spending the night at a friend's." Jack nodded and flagged down the waiter. A human Copulation. "Lucy!" Erin called out as soon as they opened the door. Hearing no response, she turned and faced Jack. They both shared knowing smirks and quickly kissed. Erin moaned in his mouth as the kiss grew more lustful. She pressed herself against him and wrapped an arm around his neck. Erin wanted to feel closer to him. Jack loved every moment; having a gorgeous girlfriend draped over him would make any man ecstatic. Erin then took his hand and pulled it down to her ass. It was amazing how much she had changed in the last couple of days; the modest, sexually-na ve girl from the nineteenth century had disappeared. Erin moaned again as Jack cupped her ass. She broke their kiss and tilted her head towards Lucy's bedroom, Erin's green eyes sparkling as she grinned at him. Jack let her take the lead, pulling him into the bedroom. Erin slammed the door shut and quickly went to work on undressing Jack. She clumsily tried to unbutton his shirt but got nowhere and groaned. "You're wearing too many layers," Erin said, flashing him a half-smile. He pushed her back and immediately corrected his dress code. His jeans and the rest of his clothes then fell to the floor, and Jack then wrapped his arms back around her, kissing Erin's neck as he tugged on the zip. Her dress loosened, and Erin effortlessly slipped out of it, revealing her perky tits clad in a black bra. He didn't do it on purpose, but Jack moaned at the sight of her. How could he not? Erin stood in front of him wearing a black lace bra that just covered her bust, revealing a hint of her areolas. Below, she wore a matching lace thong. Super fucking sexy. Looking up, Erin had this smug smile on her face; she knew the effect she was having on Jack. She swayed her hips as she moved to him; Jack stayed slack-jawed as Erin pushed on the bed and straddled him. She lowered her head, and they resumed fervently kissing, writhing together. Jack reached around and unclasped her bra. Erin shimmied her body and slipped her hands out, tossing her bra away. Jack instantly grasped her free tits, enjoying the feeling of the soft flesh in his palm. Their lips still locked, he gently squeezed them, his thumb teasing her sensitive nipples. Erin responded by moaning into his mouth, egging him on. Jack pinched and pulled her erect bud, eliciting more moans from Erin. It got too much for her, and Erin pulled back. "Jack, I; I need you; inside me," she said, breathless. She rolled off him and got on all fours. There was something perverse in being fucked like an animal; Erin really wanted to feel that way again. She shuddered as she felt Jack's lips brush down her back as he carefully pulled down her panties, biting her lip and burning in anticipation. He slipped his hand between her thighs and found a very wet pussy. Erin trembled at his touch and moaned again. She begged for more and was ecstatic at having her cunt be invaded by Jack's finger. He then slid another one in, pushing them into her pussy. She gritted her teeth and hummed. Jack pulled his hand back, disappointing his panting girlfriend. His fingers oozed with her slick juices; shit, she's horny. He pressed his tip on the wet folds of her pussy and waited for a moan. Erin shook her head and whimpered as he thrust his cock in one slow push. "Oh yes;" Erin whispered, rolling her back and letting out another moan. Shuddering, her cunt muscles welcomed his cock, tightening around the shaft. Erin felt his hands on her ass, squeezing her cheeks as Jack slowly fucked, in long, gentle movements. It was just like being in the Franklin's bed, Erin going through the same electric sensations and loving every second of it. Erin threw her ass back, demanding his cock faster and harder. " more, more, more," she whimpered, matching his rhythm. Hearing her moans, Jack pumped his cock harder, watching his girlfriend's ass shake with every thrust. She pleaded for more and faster Jack went, pounding his cock. He loved how loud she was being. It was such an intensely erotic feeling, having a gorgeous woman cry for your cock. It urged him on, and the bedroom echoed with the sounds of their flesh slapping. Erin slammed her head on the pillow, stifling her cries as her body tightened, edging closer. She pressed down on the mattress and lifted her chest up, arching her back. Her right hand went for her left tit, clamping her fingertips around her erect nipple. While she pinched and pulled, her left hand slipped between her legs and found her engorged clit. "Oh; CHRIST!" She screamed. Erin dropped her mouth wide open, her limbs twitching as she hurtled to an incredible and intense climax. She inhaled sharply, gritted her teeth, close, so very close. Jack stopped and went still. He wrapped his arms around her waist and slammed his cock in slow, hard thrusts. It was too much for her. Erin shrieked, and her whole body shuddered; her fingers gripped the sheets, and her eyes rolled back into her skull, riding out an earth-shattering orgasm. "Oh; that felt good," Erin whispered, coming in down. Jack fell back, hitting the headboard. That was something. His still-hard cock slid out of Erin's drenched cunt. His throbbing shaft dripped with her slick juices. Taking a couple of deep breaths, his eyes focused on Erin and he used every ounce of willpower not to cum. She had this small, content smile on her face that looked so cute and yet very sexy. She grinned back at him, knowing what he was thinking. Her eyes drifted down to his glistening cock, and her smile went wider. She instantly regained her composure, getting on her back. Their eyes met again, and Erin wiped the sweat from her forehead before cupping her tits. Biting her lip, she pinched her nipples and spread her legs, eager for his cock, "Please." Jack quickly responded, shuffling forward with his cock in his hand. He leaned over her, feeling the heat from Erin's post-orgasmic glow. His throbbing tip brushed up against the soaked openings of her pussy. He rested his hands by her waist; she felt warm and slowly pushed his cock back in. Erin groaned and exhaled, her body vibrating, enjoying the incredibly fulfilling sensation of having Jack's cock back inside her. Intense heat rippled out from her cunt; her pussy muscles kneaded his pulsing shaft. Erin looked up at him, her eyes filled with lust and love. "Oh, yes;" Erin moaned as Jack bottomed out. She then wrapped her hand around his neck, pulling him down; Erin needed to kiss him again. The mouths instantly parted, and their tongues met again. Moaning into his mouth while twirling her tongue, Erin hooked her legs around Jack's waist, pulling him closer. She let out an animalistic grunt like she had been penetrated by another inch of cock. Erin or Jack, or both, broke their embrace and locked eyes. Watching each other's faces contort while they rhythmically fucked each other senseless. "Oh, God!" Erin screamed, getting closer and closer. She fucked him right back, meeting every vigorous thrust by throwing her hips forward, slamming her pussy at his cock. Jack pushed her up and lowered his head, nestling his face in the crook of Erin's neck. He slowly kissed down her soft white flesh, reaching her tits. He enthusiastically sucked on her nipple while slipping his cock out, waited a moment, then rammed it back into her drenched pussy. His free hand eagerly groped her other tit. "Oh, Jack!" It was getting too much for Erin. She tightened her grip around Jack's waist and went stiff. She fucked him hard, hyperventilating and shaking. Erin hissed and cried his name out as she rode through another orgasm. She frantically thrust her hips, trying to extend her climax and begged Jack for more. He replied by pressing his teeth down her nipple, and that was it. Her pussy spasmed around his raging cock and she let out a long cry. "Yes; yes; Oh Lord; Jesus Christ!" She yelled. As Erin went limp in his arms, Jack could feel the familiar tingling sensation coming from his balls. He tried to put it off, still plunging his cock furiously. Both of them moaned and gasped for air, covered in sweat, wanting more. But Jack couldn't take it anymore; he threw his head back, roared as he shot a torrid of cum into her. His body jerked uncontrollably from the needed orgasmic release, each movement causing another shot of jizz. Erin sighed and moaned, feeling Jack's cock explode deep inside her, making her tremble in ecstasy. Another rope of his jizz filled her womb, followed by another. As Jack collapsed on top of her, his brain mushed in a post-climax daze, Erin held him tightly. She had a broad grin, smugly satisfied that her pussy was filled by her lover's cum. Quietly moaning, feeling the hot cum seep down her thighs, Erin leaned forward. Her tits pressed against Jack's chest as she kissed him. Recovering from the intensity of their orgasm, they passionately kissed before breaking, pressing their foreheads together. Their eyes were closed, and they slowly breathed. "I love you," they said in unison, before exchanging more kisses. Erin smiled back at Jack. Her hands trembled, and sweat flooded her face. It was happening again. She remembered her breathing exercises, focusing on five things in the room. It didn't work, and Erin sunk through the mattress, her hands phasing past Jack's body. His mouth dropped as he watched her go. She hit the floor of the room, thankful that she didn't go any further. Jack immediately jumped off the bed and checked underneath, finding her sprawled out on the carpet. "Are you okay?" Erin stared at the underneath of Lucy's bed and just whimpered, "; no." New Years Eve. Jack tried to pay attention to the conversation; he knew it was important. It was about Erin's condition and what they should do next. But when he saw Erin walkout, wearing a black lace dress, Jack struggled to pay attention to Lucy and her friend. Erin just looked too sexy. She caught him staring, and Erin responded with a smirk. "Circe; Circe; Circe!" Lucy yelled, "We already got the dirt." Jack quickly turned back to Lucy and her phone. She had been Facetiming with a witch, who supposedly knew what was happening to Erin. They hadn't completed the resurrection ritual properly. Lucy's witch friend said they had done around ninety percent of it. The remaining ten percent involved Jedidiah Franklin's grave dirt and New Year's Eve. "Shut up, bitch!" Circe shouted at Lucy. Glancing back at Erin, she and Jack exchanged another look. This didn't sound like it was going well. Lucy and Circe had spent around twenty minutes just name-calling, bringing up boyfriends they had shared and generally being dismissive at each other. What he understood was that Circe wanted them to do another ritual, while Lucy wanted to do something different. Anything, it didn't matter. "What is it with you witches and wizards? Sex magic all the time. Sprained your ankle ;  sex magic. Car won't start ;  sex magic. Have to go to small claims court ;  sex magic. Don't you have a book of spells?" "Aw the poor medium is stuck. God, you're so basic. You just repeat what spirits say, like a parrot with tits." "Shut up, Claire, you giant poser!" Lucy yelled. The raven-haired witch went quiet and completely still. Lucy even called out her name to check if the call had frozen. Jack got the sense that Lucy had crossed some line and should apologize. Seeing Circe's bulging eyes, he figured the apology should be sooner than later. But the call ended, and he let it go. "What do we do next?" Erin asked. "We still go out. It's New Year's Eve." Lucy said, her phone then buzzed, and she read the message. "It's Circe. She says that as Jedidiah Franklin was the one who killed you, he needs to be punished. We have to burn the dirt, evoke Frigga, you two get freaking with some mistletoe above the bed. When the dirt turns white ;  we're good. Then she called me; the c-word. She called me a cunt" Erin looked embarrassed on her behalf, looking at her feet and said, "Oh." Lucy shrugged it off. "I will make it up to her later." She stood up and checked the time; it was getting close to eight, they had some time to kill. "Jack, you call a cab. Me and Erin will get ready." Erin followed the blonde in her bedroom, taking careful steps as she hadn't gotten used to wearing heels. In the bedroom, a silver bucket sat next to the window with a tub filled with dirt lying next to it. Erin had joined Jack this time, driving to a graveyard near the coast. Lucy gave them instructions while working, listening to her transparently flirt with a customer for tips while they waited to be told what to do next. Lucy opened a drawer and pulled out two sticks of white chalk. Handing Erin one, she bent down and drew a circle around the bed. "You okay with another sex ritual?" Erin chuckled and said, "It's getting repetitive." She placed the grave dirt in the bucket and set it down in front of the bed, drawing a circle around it. "Will you be there ;  watching?" "I have to." Lucy laughed. "Do we have to do it today? I was looking forward to celebrating the New Year." "It has to be a special day like New Year's Day or say, February 1. Then there's the Spring Equinox, Midsummer, Halloween, the Winter Solstice. You want to wait until February to make sure you never walk through a door?" "Of course, no." Erin replied, "I want to move on with my life and forget about protective circles, sex magic, the Franklins." Wiping the chalk from her hands, Erin checked herself out in the mirror. The dress showed off a lot of her bare skin, and she didn't know what to feel about it. Seeing Jack's face, Erin knew she looked hot and loved the feeling. But then there were Mrs. Franklin's words, telling her that she looked like a Catholic succubus. At least her legs were covered; it was too cold to go without tights. Lucy then joined her by the mirror. She wore a more revealing outfit, a silver sequined V-neck dress, her large tits up for display. Seeing her like that, Erin could only imagine the reaction in the nineteenth century. This was the new normal now, and she had to get used to it. Lucy raised her phone up and took some photos, saying, "We look hot." Erin laughed and then did the same. They took a couple of photos of their reflections, then some selfies. It was kind of pointless, and no one was going to see it, but checking out the photos, Erin really liked how she looked. "You said we had to do it tonight. Should we still go out?" "Yeah." Lucy smirked, putting away her phone. She said, "One, whenever we do it, it has to happen at the witching hour ;  that's like at three in the morning. Two, it's your first New Year's Eve, you gotta celebrate it." Jack then knocked on the door and said, "The cab is coming in ten minutes." Approaching Normalcy. Erin liked how it felt having Jack's arm wrapped around, comforting. They were in a bar, a busy bar, sitting alone and waiting for Lucy. There were many people around her, and it took Erin some time to get used to being in a crowd. It wasn't like she was frightened or agoraphobic. She just got anxious about saying the wrong thing, letting people know that she didn't belong in this time. Then was the whole becoming incorporeal whenever she became nervous. Finishing a glass of wine helped Erin from phasing through the chair. The alcohol also helped her make small talk. A girl in the restroom had asked about her dress, wanting to know where she got it from. They talked for a bit more, and Erin returned to Jack, full of confidence. "Hey guys." Lucy sat down in front of them and placed a white plastic bag on the table. "I got the mistletoe for Frigga. I need a drink." Jack ordered another beer and two glasses of ros for them. "So, what is the plan for tonight?" Erin asked. "Drink here then go to a couple of bars and see what happens." Lucy then glanced at Jack, who shrugged a 'that sounds good' response. "What did you do all day?" "Nothing," Jack said, "Just emailed my boss and about me moving back to Boston." "Cool. Did Erin tell you what she did today?" Jack shook his head and turned to his girlfriend. "I went grocery shopping by myself." "That's really great," Jack said. "Once this thing goes away and I'm not afraid of passing through a bed, there's things that I want to do. I already got a plan." "Like what?" Lucy leaned in, finishing her wine. "First, I need a job, something that I can do and that's not far from Jack's apartment. And I'm looking at GED courses. Then a community college course." Lucy grinned and said, "That's fucking cool. We need some tequila to celebrate." Jack and Lucy showed Erin how to take a shot of tequila. She let out a long moan as the burn of the alcohol shocked her throat and quickly bit into the lime slice. They slowed down their drinking, Jack saying that they shouldn't be wasted for the ritual. Lucy agreed, worrying out loud that she could mess up and make Erin a ghost again. They talked for a while, trying to predict what would happen in the new year, before going to another bar. Then quickly another one, eventually ending up at the Cord & Rifle. It was more of a high-end hipster bar, which annoyed Jack and Lucy, and she worked there. The bartenders wore white shirts, suspenders and each had handlebar mustaches, looking like Civil War surgeons. This just confused Erin, wondering why people were pretending to be like that. "It's just; the trend," Jack said, sighing. Erin glanced at Lucy, and she was rolling her eyes but also nodding. They ordered more drinks, and Erin moved away from wine, trying what the bartenders said were authentic cocktails from her time. They were lying to her. Her eyes flickered to other patrons; they were all ordering expensive drinks, taking photos, deleting them, then retaking them. Their lips were stretched out in the smile, but their eyes stayed unmoved. This is what modern life is? Expensive drinks and pretending to be happy. She and Lucy were then in the bathroom, touching up their makeup. Erin turned her and asked, "Is New Year's Eve supposed to be; like this?" "Are you asking if New Year's Eve always this mediocre?" Lucy said, smirking. "Yeah. It's always a massive let-down. You got this pressure to have this epic night, everything is expensive, then there's that bullshit about getting a kiss at midnight." "A midnight kiss?" "It's some bullshit. Something that Hollywood and Hallmark love. I think it's real tradition behind it, probably something farming related. But now it's been romanticized to insane levels. If someone doesn't kiss you when the clock strikes twelve, then life is over." "Really?" "Stupid, isn't it?" Lucy sighed, "At least you got Jack." "You are not interested in meeting someone?" Erin asked, "There were some men that were checking you out?" She narrowed her eyes as she spoke, wondering if she used the right word. "I wasn't feeling it." Lucy shrugged. "Too many desperate creeps and fake-ass nice guys. You know that tavern-like bar we quickly left because of the vibe? Some girl tried to hit on me in the bathroom. It's been a while since I've been with a girl;" They then went quiet and stared at each other. A group of ladies woke them up, and they quickly left the bathroom. They had never discussed the kiss at the s ance, and Erin didn't know how she could ever bring it up organically. She couldn't make sense of it herself; why did she kiss her? It wasn't like she had this attraction to Lucy. Erin just rationalized that the s ance messed with her emotions, and that was it. Jack was waiting for them at the booth. He stopped them before they could sit. "Some guy was looking for Lucy. Lloyd?" "Lloyd? Oh, snap. Where is he?" "Outside. Said near the 7-Eleven." "We should get out of here." "Why?" Erin asked. "He's got the final stuff we need to for tonight." Lucy replied. "Oh," Jack smiled and handed them their jackets. They got outside and walked to the meeting point. He turned to Erin and said, "We're meeting Lucy's weed dealer." "Weed?" Erin asked. Lucy jumped in before Jack could open his mouth, saying, "It's marijuana, cannabis. You probably heard it as hash. We need it for the ritual." "Oh. Do you normally partake?" Nodding her head, Lucy smiled and said, "Yeah. It makes things less boring. Also, marijuana has been used in so many sacred and spooky things." "I do as well." Jack felt Erin give him a quick look, knowing that she was about to ask him the same thing. "Weed is legal in Boston. I smoke it time to time. Shame we don't have any dispensaries." "Same," Lucy quickly jumped in. "They say we might get dispensaries in Portland by summer." Erin stayed quiet, giving them both a long stare. "Are we supposed to just burn it?" She eventually asked, "Or we do smoke it?" "Both," Lucy replied. Erin remembered hash from when she first arrived in America, that weird feeling block of greenish-brown that her father would take as medicine. There was also a time when she was given cannabis fluid for an illness. The idea that people now took cannabis for fun interested her. "I would like to try some." Erin said, nodding her head. Both Lucy and Jack looked at each other, silently conversing before turning back to Erin, asking if she was sure. They mention PSAs, peer pressure and not wanting to force her into something she might not be ready for. Erin replied with a blank look, nodding her head but not really listening. "Before I was a char-girl, I worked in a factory. The fumes from the vats would give me migraines. Do you know what the druggist gave me?" Erin asked, slowly smiling. Both Jack and Lucy shook their heads. "Heroin," Erin said, "They used to give that to fussy babies as well. Also, the man who owned the house before you, Jack. I once saw him inhale white powder and act loony. I feel marijuana is safer." Lucy shrugged and walked away. She was back with a baggie filled with dark brown herbs a minute later. "All set?" Jack asked. "Yeah. Lloyd was pretty nervous and wanted to know who you guys are." "What did you say?" "Just a couple I had a quasi-threesome with." Erin was still blushing by the time they got to the final bar. It had more of an old-school look about it, reminding her of Ireland and the taverns where she would be sent to fetch her father. They got in just before the countdown. While everyone started counting down and looking at the screens, Erin lost her cocktail. The glass phased through her hand and smashed against the floor. Was it nerves? That the ritual wasn't going to work, or she could say to herself that she was excited, looking forward to the new year. While everyone celebrated, Erin ignored the lost drink and grabbed Jack, kissing him hard. If this wasn't going to work, she would at least have some fun. She quickly ended their embrace and then lunged at Lucy, giving the medium a long hug. After tonight, she needed to do something for Lucy, something to show her appreciation. Lucy broke their hug and smirked back at her. "Let's get out of here. Time for you to be human." More Dark Arts. Jack thanked that the burning pot was giving him a gentle high, otherwise he would be embarrassed. He, like Erin, sat in his underwear on Lucy's bed. A sprig of mistletoe was taped to the headboard behind them while white candles circled the bed. They watched Lucy burn some incense sticks while reading out of the grimoire. But every once in a while, Jack would catch the medium look up from the book and steal glances, her eyes focusing on the bulge between his legs. Erin did the same but acting a lot more obvious than Lucy. It was this weird horny circle. Jack tried to stay unaroused, which was getting more difficult with every passing second. Erin and her lacy bra would draw him in, and his cock throbbed with every look. "Are you okay?" Jack asked. Erin grinned and said, "Yeah." Looking at her, it was clear that she was getting a buzz from the pot. It was also affecting him, that or whatever Lucy was burning. He felt warm and eager. Jack needed to move, jump off this bed and do something. He looked at Lucy; she was still reading the grimoire and glancing up at them. Was she checking Erin out? Her attention had moved away from his bulge, focusing on Erin's heaving chest and her tits. Jack closed his eyes and shook his head; all the pot and incense made him think he was in a porno. Lucy then slammed the book shut and stood in front of them. Still wearing her sequin dress, she said, "It's time." "What do you want us to do?" Erin asked. "Yeah, you're the director." Jack added, smirking. "You guys start fucking. I will chant Frigga's name while you do it." Jack turned back to Erin; her green eyes told him she was ready. He pulled her close to him and kissed her passionately. Their lips parted, and they both moaned, also gasping for air. Erin grinned back at him, making Jack chuckle at the ridiculousness of the situation. He placed his hand on each side of Erin's face and pressed his lips back on hers. Jack thrusted his tongue into her mouth, suppressing a groan as he felt her hand cup his bulge. There was a moan ;  it may have come from Lucy as Erin freed Jack's cock. He couldn't explain it, but his cock was a stiff and hard as it ever had been. Maybe the stuff that Lucy had burned is what they make Viagra out of? Jack could feel his tip oozing copious amounts of precum and coating Erin's fingers. She broke from their kiss and looked down in amazement, drooling at the sight of his pulsating member. Erin desperately needed that cock inside her. She grabbed Jack and roughly pulled him down onto the mattress. He looked shocked at her sudden assertiveness. But before he could say a word, Erin sat between his legs and took his cock deep into her mouth. Both he and Lucy moaned their approval as Erin swirled her tongue along the underside of Jack's shaft. "Oh Frigga; Oh Frigga; Oh Frigga; oh fuck," Lucy said. She paced around the room, burning a bundle of sage while invoking a Norse goddess. She lost her focus as she saw Erin strip off her bra and bob her head on a massive cock. This was insane. Jack was stunned by Erin's drive and how badly she wanted his cock. Her naked tits bounced against his crotch, and Jack had to feel them again. Taking her perky tits in his hands, Erin moaned on his cock while Lucy had stopped speaking and just stared at them. Erin shuddered and then pulled her head from Jack's cock. She could have more fun blowing him, but right now, they needed to have sex. Erin looked up at him, replying with a big, content smile. She then stood up on the bed and wriggled out of her panties, giving Jack and Lucy a little show. She rested her left leg on the other side of his crotch and slowly sank. Erin grabbed his slick, throbbing cock and pressed against her pussy. "Jack; this is so wicked," she said with a big smile. She let out a long, deep exhale as she bent her knees and became impaled on Jack's cock. Erin's body involuntary shook as her eyes rolled back. Something was different this time, there was this raw, lewd feeling, but Erin wasn't complaining as Jack's cock pulsed against the walls of her pussy. She remained still, her eyelids down, and she breathed rapidly. Seeing Erin and Jack acting like there were in a porno, Lucy had forgotten what she was supposed to do. She stared at her friend's body or, more accurately, ogled Erin's nakedness. She looked hot. So did Jack. She didn't want to think about that now; that would be later when Lucy was alone with her vibrator. She stood in front of the silver bucket and lit a match. "Oh Frigga. Please take fortune on Erin and punish the man who wronged her," she said, looking up. Lucy flicked the match into the dirt, it burned into a bright white flame and went back to enjoy the show. Erin rested her palms on Jack's chest and slammed herself up and down on his cock. She had thrown her head back; her eyes were closed, and she hummed to herself as she forcefully rode Jack. Her tits bounced to Lucy's and Jack's delight, eager to be touched. Those herbs that Claire picked had really fucked with her head; she knew she was never this bi-like. Erin then arched her back and squeezed her tits, pulling on her erect nipples. "Oh Lord; yes!" Erin cried, nearly sending herself off to her first orgasm of the night. Seeing her moan and cry for more was an incredible sight for Jack. It was love. Seeing his girlfriend ride his cock with such passion was unbelievable. He wrapped his arms around her firm ass and raised his hips. He saw Erin appreciate the slight change, his cock thrusting deeper into her slick pussy. She was getting close; he could sense it. But then Erin slowed down, and Jack had to yawn. Turning his head, Lucy was down, sleeping on the floor. He felt weak, and his eyes were heavy. Erin collapsed on top of him ;  in a deep sleep like before. Jack shook his head, thinking that it would help. He then prodded Erin and yelled her name, but nothing. He couldn't fight it anymore and slowly drifted asleep. The Attic, Again. Jack's eyes opened, and he knew something was different. This isn't Lucy's bedroom. Sitting up, he knew where he had been transported to, the attic. It wasn't was like the other week when he woke up in 1897 and watched Erin die. There was nothing in the attic this time, no lanterns, steamer trunks or the presence of anyone, just exposed brick and worn floorboards. Something had happened. Sitting up, he noticed that he had been on Lucy's bed. Looking to his side, Erin lay in a deep sleep. Weirdly enough, she was wearing the same black lace dress. To his left, he heard snoring. Turning his head, Lucy slept, also wearing the same dress she had on from earlier. Seeing her was surprising; Jack expected it would be just him and Erin transported back in time. That's what would make sense. He reached over to his right, gently rubbing Erin's arm. "Erin? Erin?" Nothing. Jack then turned to Lucy and called out her name. Again, nothing. Getting up, Jack walked around the attic. There had to be something they needed to do. Or something they did wrong. He raised his hand up; there was something different. There was a dry heat coming from somewhere in the room. Jack tried to ignore it, focusing on the door. He pushed it a couple of times, it didn't move. He slammed his shoulder against it; the door didn't budge; there's no give. "Ah; ," a female voice moaned. Jack rushed back to the bed, seeing Erin stirring. She slowly opened her eyes and said, "Jack?" Erin then sat up, turning her head, taking in the change. "No." "It's okay. It's not like it was before. Something is different," Jack said. He then pointed to Lucy, who was still asleep, "She's also here." "Lucy," Erin said, her eyes widening. She jumped to her feet and moved to the blonde medium. She shook Lucy, yelling her name. "Fuck; leave me alone. Shit." Lucy groaned, pushing away Erin. She sat up and rubbed her eyes. With one eye open, she scanned their surroundings. "Where the fuck are we?" "The attic," Jack said. "It's weird. There's a door but it's not opening. And, I don't hear anyone." "No Franklins?" Erin asked, wrapping her arms around herself. Jack extended out his hand and gently rubbed Erin's shoulder. "No. We're alone." He slipped off his blazer; it was getting too hot, and then sat back on the bed. He glanced at Lucy, waiting for her to think of something. She stood up and paced in front of the bed. "Okay. Remind me again. What happened last time? Was it the same?" Jack shook his head, "No. Not like this. I was watching the Franklins and Erin going through their day. It was like when Scrooge goes back to the past. They couldn't hear me or see me. But I could go anywhere. Not just this attic." "Same for me. I just woke up," Erin said, "And I thought everything went back to how it was. But then I saw myself; as a maid. Then Jack." "Okay, let me think." Lucy said, still pacing. Watching the blonde walk back and forth, Jack rolled his eyes and undid the top button of his shirt. He looked down at his feet, realizing he was tapping his foot. There was something about this attic; it was making him feel hot and restless. Erin joined him on the bed, and Jack quickly got distracted by her. She just looked so sexy; he was desperate to continue what they were doing back in Lucy's apartment. Looking at Erin, Jack noticed that she had the same problem. Beads of sweat trickled down her forehead. Her fingers drummed against the mattress and her legs jiggled. Lucy rushed back to them, her skin glossy and her face flush. "I think Frigga wanted something else. Like you have to be here for the final bit." "Yeah okay. But why did the spirits or Frigga or whatever drag you here as well?" Jack asked. Lucy shrugged, "I'm part of this." "How?" Erin said, slowly playing with her hair. "I mean you did use my body to have sex. And remember when we first summoned you? You kissed me." Jack glanced at Erin; her face was crimson. Turning back to Lucy, "Do you think the kiss had effect something." "No. I think whatever force, being, god, kept Erin in your home and then made her corporeal for real; they must think I am part of it. That's why I was taken here as well." Lucy said. Jack let out a long sigh and then said, "I'm so glad that I called you instead of that Starry guy from Dover." "His real name is Stan and he's a big piece of shit," Lucy said, rolling her eyes. She turned to Erin, asking, "I need to know more about the kiss. Why did you do it?" Erin stayed quiet. She stared at her feet but eventually looked up. "I just felt so overwhelmed when I found myself back in Jack's room." "Overwhelmed?" Lucy repeated. "Yes. Becoming a body again, there were so many emotions. Confusion, love, jealousy, lust." "But you kissed me, right?" Lucy asked, arching an eyebrow. "Nothing forced you to?" Erin buried her head in the hand, going red again. She took a deep breath and said, "No. It was me. I don't know why. I was angry at you but also, I was thankful. Possessing you ;  twice! A feeling lingered." She paused and then added, "I felt you liked it." Hearing this, Jack covered his mouth, muffling a moan. "Hell yeah, I did," Lucy said, "It was like you're reading my mind ;  you probably did. Haven't been kissed like that in ages. No offence Jack." "None taken," Jack said, just whispering. "Maybe that's why I'm here. Let me think," Lucy said again, her tone breathless and weak. She then sat back on the bed, next to Jack. They went quiet. The only sound that filled the room was the creaking of the bed as all three fidgeted. Lucy tightly gripped the sheets, forcing herself to stay still. Erin instead rested her head on Jack's shoulder, running her hand over his chest. He responded by slowly stroking her thigh. The sound of fidgeting disappeared, replaced with heavy breathing. "You should fuck already," Lucy shouted. She looked at them, her face flush and with deep desperation in her eyes. "You sure?" Jack asked. "It will please Frigga," the medium quickly said, "Like you complete the final ritual in the room where Erin died. So, you should do it now. I will just watch. And you should fuck." Jack looked back at Erin; she had this mischievous grin that told him yes. He kissed her, driving his tongue into her mouth, pulling her in. She moaned, her eyes shut, and she trembled as Jack pulled on the dress zipper. She went limped, letting him quickly undress her. Christ, she wanted him. Pulling the straps down, Jack smirked and marveled at his girlfriend's lingerie-clothed body. She wore that sexy lace bra again, and she looked amazing. Immediately, his hands were on her tits, squeezing them through the thin fabric. Erin then swatted his hands away and reached behind, unhooking her bra. He thought he heard Lucy moan, but Jack ignored it. He leaned his head down and gently kissed Erin's tits, his hands caressing her pale flesh. He ran his tongue around her sensitive nipples, teasing her with a quick flick. Erin pushed down on his head as Jack sucked on her tits, moaning and throwing her head back, waiting for more. Jack ignored her and pushed Erin back. He kissed down her body, loving how soft her skin felt on his lips. He stopped when he felt the hairs of her pussy. Pulling her panties down, Erin hadn't shaved anything yet; thin rust-colored strands surrounded her lips. He lowered his head and poked the dewy folds of her pussy with his tongue. Erin cried and covered her mouth. After that night with the s ance, Erin craved the sensation of his tongue driving her pussy wild. She then felt an arm wrapped around her from behind; Lucy. She was hugging Erin; the blonde medium's hands were dangerously closed to her tits. This felt wrong, completely against the teachings of the Church, but Erin didn't care. Over the sounds of Erin's moans, Jack moved his tongue to her clit. Just by giving the engorged bud a couple flicks, Erin cried and shuddered. He stopped and looked up, she was breathing heavily, and her lips were trembling. Also, she and Lucy were in this embrace that looked hot. Jack dropped his head back and kissed her clit as he slid two fingers deep into her wet folds. Erin's eyes bulged. She gasped for air. "More; please more;" Erin cried; she didn't want Jack's attack to stop. Lucy's eyes widened as she carefully watched every movement Jack made with his tongue. A deep heat quickly enveloped her. Her hand dropped from Erin's side and onto her own thigh. The couple was too wrapped up in themselves; they wouldn't notice her, right? Also, they were about to fuck in front of her, she would be well in her right to play with herself. But then Erin shuddered, and Lucy focused her energy on keeping the former spirit steady. "Oh Lord yes," Erin screamed. Her thighs clamped around Jack's head, and she bucked her hips. She let another intense cry and then went rigid. Erin shuddered on the bed as the coming orgasm thundered through her body. Sweet juices dripped from her pussy, and Jack hungrily ran his tongue over her folds, loving the taste. Erin soon stopped trembling and released her grip around his neck, letting Jack up. Erin wiped the drops of sweat on her forehead and then looked at Jack, "I need; you. Please." Jack smirked and slowly started to strip. She didn't want to relax, take a breath or stop sweating. As he fiddled with the buttons, he felt two hands on him. Turning to his right, Lucy stood next to him. She gave him an intense stare, and his mind flicked back to when they were on the sofa together. Erin didn't seem to notice or maybe didn't even care. She had a big smile on her face, giving Jack the thought that if he kissed Lucy, Erin wouldn't mind. Lucy nodded at him and gave him a small smile. She battered his hands away and quickly stripped Jack of his shirt. She ran her hand down his chest, accidentally or not. Jack helped her out by slipping out of his shoes while Lucy played with his buckle. She pulled his jeans down and looked at his bulge, then back up at him. Jack wondered if she was going to touch it or not. But instead, Lucy yanked down his boxer-briefs, joining Erin in moaning at the sight of his erection springing free. She mumbled something at him. Jack heard it as showtime, and Lucy pushed forward on the bed and back into Erin's arms. She pulled him down on top of her and into a long, passionate kiss, their tongues twisting together. Erin spread her legs as Jack centered the tip to her opening. Again, he felt another hand, this time around his shaft. His eyes were close and remained that way, not wanting to know if it was Erin or Lucy who was guiding his cock. It was hotter that way. They all moaned as Jack sank his cock deep into Erin's wonderful pussy. He heard his girlfriend whimper as he was entirely buried in her cunt. She then shocked Jack by raising her hips and wrapping her legs around his waist, constricting him. Something felt different. As Erin's pussy caressed and massaged his shaft, she felt tighter, wetter and a lot hotter. Erin looked up at him, her eyes half open and her lips pursed. She felt the muscles of her pussy ripple around his shaft. Jack hadn't moved, letting his thick cock pulsate in her cunt as she whimpered. Erin needed it; there was an aura around her, desperate and very energetic. She then loosened her grip around his waist and nodded her head, trembling at the first slow thrusts. "yes, yes, yes," she moaned. While they fucked, Lucy laid next to them. She needed to be naked. Pulling on the thin straps of her dress, Lucy stripped down to her underwear. She saw both Jack and Erin turn to her as she exposed her large tits. She gave them a wink and slid a hand underneath her panties, feeling her slick pussy. Having two attractive people fucking right in front of her was making her wet with lust. "Yeah;" Lucy said, rubbing her pussy lips with the palm of her hand. Jack held on to Erin, pinning her arms back and thrust his cock harder. He grunted while she whimpered at every stroke. Erin then threw herself at him, slamming her crotch on his piston-like cock. He then released her hands and went for Erin's shaking perky tits. With his fingers wrapped around her nipples, Jack stabbed his cock in long, sharp thrusts as he pinched "Yes! Yes! Oh Lord; Jesus Christ!" Erin cried. She could feel herself getting stiff and very hot. Her moans were overlapped by Lucy's. She turned her head and saw her friend staring at her, biting her lip and trying not to come. Her panties were gone, and she had two fingers stuck deep in her pussy while also playing with her clit. They were at the same stage. Their eyes stayed glued to one another's as Erin started to shudder. Jack held onto her waist, frantically driving his cock deep into her dripping pussy. Erin alternated from either gasping for air or groaning. Lucy was the same. Her eyes lowered to the blonde's lips, and Erin's mind threw back to when the s ance and how she needed to kiss her. Trembling, Erin pressed her lips against Lucy's full pink lips. The blonde medium moaned and immediately opened her mouth, slipping her tongue past Erin's parted lips. She and Lucy had their eyes closed as they got more into it, and quickly, their soft moans turned to muffled cries, both cumming immediately. "Ah!" Erin and Lucy screamed at each other, the sound dampened by their glued together mouths. Erin broke away from the medium and turned back to Jack. Her pussy spasmed over his pounding cock, while bucking her hips as she thrashed, prolonging her climax. Watching her, Lucy cupped her own tits, tugging her nipples with her free hand while ramming her fingers hard and deep in her cunt. She shuddered then jerked forward, letting a long shriek and writhed on the bed. Coming down, they laid on the mattress, drenched in sweat and panting. Erin looked at Lucy, ignoring her boyfriend and the fact he was plowing his throbbing cock in and out of her pussy. Lucy smiled back, and they kissed again. Their tongues outstretched and twisted together. Jack couldn't hold back anymore. All lesbian action is incredibly erotic, but when it involves someone who you love, it's out of this world, and he came immediately. He tried to warn her, but just a satisfied groan left his lips. Jack then shuddered at each pulse of his cock, his cum filling his gorgeous girlfriend. She wrapped her legs back around him and worked the muscles of her pussy, wanting more cum. His cock stopped twitching, and Jack went weak, struggling to stay upright and not collapse on top of her. He crashed back on his ass and arched his back, looking to the ceiling. The pounding of his heart had gone, replaced by a gentle beat. The same restless came over him. Looking at Erin, seeing his cum leak out of her cunt, he was desperate for another round. Lucy crawled in front of him, gripped his slick cock and said, "Let me clean you up." Her tongue probed his tip, lapping up the cocktail of his cum and Erin's pussy juices. Before Jack could react, Lucy opened her mouth and swallowed his head. She bobbed her head, resurrecting his cock back to life. Making eye contact with Erin, she just smiled; it was okay. Jack looked back down, running his hand through Lucy's hair. The blonde slid her lips up and down his shaft, mouth-fucking Jack with intense, otherworldly pressure. Lucy then ran her tongue up and down his shaft, licking the entire length. Jack stared at Erin, his eyes bulging as the medium drove his cock down her throat, his tip pushing further and deeper. She hummed in delight before releasing her grip, her teeth scraping against his sensitive skin as Lucy pulled her head back. Jack then watched her and Erin exchange looks, Lucy letting her mouth drop and biting her bottom lip. Her eyes widened, and Erin just responded with a nod and a small smile. Lucy gave his cock one last kiss and then crawled up the mattress. She laid on her back, her knees bent and thighs spread open, displaying her shaved crotch and delectable pussy. "You need to fuck her," Erin said, kneeling by Lucy, her face blank. Nodding his head, Jack shuffled forward and rested his hands on Lucy's knees. His cock was painfully hard, pointing directly to the blonde's dripping pussy. With complete ease, Jack slid his cock deep into her. She felt so tight. Just like Erin, Lucy's pussy felt snugger around his cock, also blazing hot and slippery with juices. Jack moved his hips, long deep thrusts while he grunted. He grabbed her legs, holding them together as he pounded Lucy's cunt. "Fuck; Jack; you cock feels so good," Lucy sighed. She moaned again and bit her lip, then rolled her head side to side. Erin was on her knees, in a trance, while she watched them. Lucy could see her friend's pussy, wet and needed to be kissed. They had kissed before; this is just a natural progression. Lucy reached up and pulled Erin's hand away from massaging her tits. "Get on top of me," she said in a whisper. Erin trembled at her touch, and Lucy needed to repeat herself before she understood what to do. She nodded her head and swung her legs over Lucy's head. She looked to the sky, ignoring Jack and lowered her crotch down. She shook and yelped, a very high pitch cry as her pussy touched Lucy's already parted lips and her extended tongue. It wasn't that wrong to have another woman feel her. Lowering her head, Erin made eye contact with her boyfriend and said, "Jack; she's licking my pussy!" She writhed and grounded her crotch on Lucy's mouth. The blonde kissed her throbbing lips, making her twitch with delight. Erin then felt Lucy grab onto her thighs and push her powerful tongue deep inside her pussy, her juices coating the medium's face. Erin moaned again; this felt different from Jack eating her out, a lot more wicked. Her hands reached, and she lewdly pinched on her erect nipples, moaning with a jolt of pain. Jack still held onto Lucy's legs, furiously pumping his cock as he watched Erin go crazy with lust. His eyes stayed glued on Erin, watching her squirm and whimper. He imagined what Lucy was doing to his girlfriend, exploring Erin's dripping pussy with her tongue, moaning at the taste of her hot, sweet juices. It overwhelmed Jack, and he slammed fuck the medium. Erin couldn't take it anymore. As Lucy thrust her tongue deep inside Erin's pussy, she felt something brush against her sensitive clit. That was it for Erin. She arched her back and then spasmed, wailing a scream of pure ecstasy. She could hear Lucy moan, maybe begging for more. Erin grinded her cunt against Lucy's rolling tongue, riding out her climax until she finally stopped, collapsing against the headboard. With Erin off her, Lucy gasped for air. Her face was wet with slick pussy cum. She made eyes with Jack, who had let go of her legs and was just staring back at her with a piercing look. He dropped down and licked his girlfriend's juices off her. Lucy felt his hands on her large tits, kneading them as he pounded her cunt. He then planted his lips on her neck, kissing up to Lucy's ear lobe. She shuddered as she felt Jack's breath ag

When eight-year-old Amy Erdman Farrell moved with her family to Akron, Ohio, in 1972, she found herself adrift in a sea of taunting boys and mean girls. Shy by nature, she dreaded her long, unhappy days at school. But a few years later, Farrell found an escape from bullying, the promise of sisterhood, a rising sense of confidence, adventure, and—best of all—lifelong friendship when she joined a Girl Scout troop. Decades later, award-winning author Dr. Farrell returns to those formative experiences to explore the complicated and surprising history of the Girl Scouts of the USA.Drawing from extensive archival research, visits to iconic Girl Scout sites around the world, and vivid personal reflections, in Intrepid Girls: The Complicated History of the Girl Scouts of the USA (University of North Carolina Press, 2025) Dr. Farrell uncovers the Girl Scouts intricate history, revealing how the organization has shaped the lives of more than 50 million girls and women since its founding in 1912. With Dr. Farrell as our own intrepid guide, we travel to American Indian boarding schools, Japanese American incarceration centers, segregated African American communities, middle-class white neighborhoods, and outposts throughout the globe. Intrepid Girls unpacks how the Girl Scouts navigated tensions over feminism, race, class, and political differences, carving out extraordinary opportunities for girls and women—even as it participated in the very discrimination it promised to transcend.For anyone who has ever worn a uniform or wondered about the hidden history behind this iconic American institution, Intrepid Girls will surprise, inspire, and challenge what we think we know about the Girl Scouts. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Edmonia Lewis, the first globally-recognized sculptor of African American and Native American descent, achieved critical acclaim for her masterpiece, “The Death of Cleopatra.” But over 100 years ago, it disappeared. _______________________If you enjoy this episode, please text it to a friend! Help us get Points North out to more ears...Join the Points North Fan Club today! For just $5/month, you can support the show you love, and we'll send you some cool Points North goodies in return.Subscribe to the Points North Newsletter for more Great Lakes news. And follow us on Instagram.

When eight-year-old Amy Erdman Farrell moved with her family to Akron, Ohio, in 1972, she found herself adrift in a sea of taunting boys and mean girls. Shy by nature, she dreaded her long, unhappy days at school. But a few years later, Farrell found an escape from bullying, the promise of sisterhood, a rising sense of confidence, adventure, and—best of all—lifelong friendship when she joined a Girl Scout troop. Decades later, award-winning author Dr. Farrell returns to those formative experiences to explore the complicated and surprising history of the Girl Scouts of the USA.Drawing from extensive archival research, visits to iconic Girl Scout sites around the world, and vivid personal reflections, in Intrepid Girls: The Complicated History of the Girl Scouts of the USA (University of North Carolina Press, 2025) Dr. Farrell uncovers the Girl Scouts intricate history, revealing how the organization has shaped the lives of more than 50 million girls and women since its founding in 1912. With Dr. Farrell as our own intrepid guide, we travel to American Indian boarding schools, Japanese American incarceration centers, segregated African American communities, middle-class white neighborhoods, and outposts throughout the globe. Intrepid Girls unpacks how the Girl Scouts navigated tensions over feminism, race, class, and political differences, carving out extraordinary opportunities for girls and women—even as it participated in the very discrimination it promised to transcend.For anyone who has ever worn a uniform or wondered about the hidden history behind this iconic American institution, Intrepid Girls will surprise, inspire, and challenge what we think we know about the Girl Scouts. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Join us for Episode 14 of Season 5 of Knights Of The Nephilim. Deep diving into Esoteric and Occult Doctrine, Magickal Mechanics, Theory, and Ritual Practice.This week on Knights of the Nephilim, we are joined by Ronda Foster, an eighth generation Hoodoo practitioner, initiated lyanifa within the African Ifá tradition, licensed relationship counselor, and owner of Botanica Yemaya Olokun.Ronda's work is rooted in lineage, ancestral responsibility, and spiritual discipline, not trend or performance.In this episode, we explore:Hoodoo as inherited African American folk traditionIfá as divine intelligence and moral alignmentAncestral accountability and spiritual ethicsTrauma, shadow work, and energetic boundariesThe dangers of commodified and surface level spiritualityThis is a grounded, honest conversation about what real spiritual work requires, and what it costs."Step Into The Circle" Brought To You By: Celestial Oddities Radio and The Coterie Of Samil Arcane Occult Order.

Dr. Jay and Amazing Larry begin a series about the Holy Spirit. In this episode, the guys talk about the Holy Spirit coming to live in every believer and beginning His work of building the Father's Kingdom community.Frothy Thoughts with the Truth BaristaVisit HighBeam Ministry, The Truth BaristaCheck out the Frothy Thoughts Blog!Check out The Truth Barista Books!Check out The Truth Barista YouTube Channel!

How can you unlock creativity to thrive in leadership and life?   In this episode of Women of Color Rise, I speak with Dr. Natalie Nixon—creativity strategist, author of The Creativity Leap and Move, Think, Rest, and CEO of Figure 8 Thinking. Recognized on the Thinkers50 Radar and named one of the Top 50 keynote speakers by Real Leaders, Natalie helps executives and organizations harness creativity as a strategic advantage.   A proud African American woman and Gen Xer, Natalie grew up on the East Coast in a family that modeled discipline, faith, imagination, and rest. From her father's example of Sabbath practice to her mother's encouragement of daydreaming, Natalie learned early that curiosity and movement fuel innovation and resilience.   She shares lessons for leaders: Embrace creativity everywhere. It's not just for artists—engineers, CFOs, and educators all thrive when they pair wonder with rigor. Build curiosity into culture. Ask better "what if" questions to unlock new possibilities. Honor natural rhythms. Movement and rest sharpen thinking and prevent burnout. Connect ROI to creativity. Collaboration and curiosity drive productivity, efficiency, and innovation. Trust intuition. Imagination and foresight are as powerful as logic in leadership. Natalie's story shows that by moving, thinking, and resting with intention, leaders can reimagine what's possible and create lasting impact.   Order Natalie's book Move Think Rest here.   Get full show notes and more information here: https://analizawolf.com/episode-117-move-think-rest-to-promote-creativity-with-natalie-nixon  

When eight-year-old Amy Erdman Farrell moved with her family to Akron, Ohio, in 1972, she found herself adrift in a sea of taunting boys and mean girls. Shy by nature, she dreaded her long, unhappy days at school. But a few years later, Farrell found an escape from bullying, the promise of sisterhood, a rising sense of confidence, adventure, and—best of all—lifelong friendship when she joined a Girl Scout troop. Decades later, award-winning author Dr. Farrell returns to those formative experiences to explore the complicated and surprising history of the Girl Scouts of the USA.Drawing from extensive archival research, visits to iconic Girl Scout sites around the world, and vivid personal reflections, in Intrepid Girls: The Complicated History of the Girl Scouts of the USA (University of North Carolina Press, 2025) Dr. Farrell uncovers the Girl Scouts intricate history, revealing how the organization has shaped the lives of more than 50 million girls and women since its founding in 1912. With Dr. Farrell as our own intrepid guide, we travel to American Indian boarding schools, Japanese American incarceration centers, segregated African American communities, middle-class white neighborhoods, and outposts throughout the globe. Intrepid Girls unpacks how the Girl Scouts navigated tensions over feminism, race, class, and political differences, carving out extraordinary opportunities for girls and women—even as it participated in the very discrimination it promised to transcend.For anyone who has ever worn a uniform or wondered about the hidden history behind this iconic American institution, Intrepid Girls will surprise, inspire, and challenge what we think we know about the Girl Scouts. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Vincent Brown, Harvard professor of American history as well as African and African American studies, expands on his comments in “The American Revolution” series about what life was like for Black people before, during and after this country's break from the Brits.Become a supporter of this podcast: https://www.spreaker.com/podcast/tavis-smiley--6286410/support.

When eight-year-old Amy Erdman Farrell moved with her family to Akron, Ohio, in 1972, she found herself adrift in a sea of taunting boys and mean girls. Shy by nature, she dreaded her long, unhappy days at school. But a few years later, Farrell found an escape from bullying, the promise of sisterhood, a rising sense of confidence, adventure, and—best of all—lifelong friendship when she joined a Girl Scout troop. Decades later, award-winning author Dr. Farrell returns to those formative experiences to explore the complicated and surprising history of the Girl Scouts of the USA.Drawing from extensive archival research, visits to iconic Girl Scout sites around the world, and vivid personal reflections, in Intrepid Girls: The Complicated History of the Girl Scouts of the USA (University of North Carolina Press, 2025) Dr. Farrell uncovers the Girl Scouts intricate history, revealing how the organization has shaped the lives of more than 50 million girls and women since its founding in 1912. With Dr. Farrell as our own intrepid guide, we travel to American Indian boarding schools, Japanese American incarceration centers, segregated African American communities, middle-class white neighborhoods, and outposts throughout the globe. Intrepid Girls unpacks how the Girl Scouts navigated tensions over feminism, race, class, and political differences, carving out extraordinary opportunities for girls and women—even as it participated in the very discrimination it promised to transcend.For anyone who has ever worn a uniform or wondered about the hidden history behind this iconic American institution, Intrepid Girls will surprise, inspire, and challenge what we think we know about the Girl Scouts. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

During this final Another View for 2025, our guests were YOU - our listening audience! So many of you called in to share your favorite holiday memories, what makes your heart smile during this time of year, and what stories still make you laugh out loud! We are grateful for you, and the Another View team wishes you a wonderful holiday season and a happy New Year!

The Honorable Robert G. Stanton received NAI's 2025 President's Award. As the fifteenth Director of the National Park Service, and its first African American leader, Mr. Stanton's more than 40-year career has advanced interpretation, resource stewardship, and equitable public engagement nationwide. Beginning as a seasonal ranger at Grand Teton National Park in 1962, he rose through the ranks to lead the agency with vision, courage, and integrity. His lifelong advocacy for inclusion and representation has profoundly shaped how the stories of America's parks are told, broadening who sees themselves reflected in the nation's natural and cultural heritage.  He joins NAI's Song Stott and Paul Caputo.

When eight-year-old Amy Erdman Farrell moved with her family to Akron, Ohio, in 1972, she found herself adrift in a sea of taunting boys and mean girls. Shy by nature, she dreaded her long, unhappy days at school. But a few years later, Farrell found an escape from bullying, the promise of sisterhood, a rising sense of confidence, adventure, and—best of all—lifelong friendship when she joined a Girl Scout troop. Decades later, award-winning author Dr. Farrell returns to those formative experiences to explore the complicated and surprising history of the Girl Scouts of the USA.Drawing from extensive archival research, visits to iconic Girl Scout sites around the world, and vivid personal reflections, in Intrepid Girls: The Complicated History of the Girl Scouts of the USA (University of North Carolina Press, 2025) Dr. Farrell uncovers the Girl Scouts intricate history, revealing how the organization has shaped the lives of more than 50 million girls and women since its founding in 1912. With Dr. Farrell as our own intrepid guide, we travel to American Indian boarding schools, Japanese American incarceration centers, segregated African American communities, middle-class white neighborhoods, and outposts throughout the globe. Intrepid Girls unpacks how the Girl Scouts navigated tensions over feminism, race, class, and political differences, carving out extraordinary opportunities for girls and women—even as it participated in the very discrimination it promised to transcend.For anyone who has ever worn a uniform or wondered about the hidden history behind this iconic American institution, Intrepid Girls will surprise, inspire, and challenge what we think we know about the Girl Scouts. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

When eight-year-old Amy Erdman Farrell moved with her family to Akron, Ohio, in 1972, she found herself adrift in a sea of taunting boys and mean girls. Shy by nature, she dreaded her long, unhappy days at school. But a few years later, Farrell found an escape from bullying, the promise of sisterhood, a rising sense of confidence, adventure, and—best of all—lifelong friendship when she joined a Girl Scout troop. Decades later, award-winning author Dr. Farrell returns to those formative experiences to explore the complicated and surprising history of the Girl Scouts of the USA.Drawing from extensive archival research, visits to iconic Girl Scout sites around the world, and vivid personal reflections, in Intrepid Girls: The Complicated History of the Girl Scouts of the USA (University of North Carolina Press, 2025) Dr. Farrell uncovers the Girl Scouts intricate history, revealing how the organization has shaped the lives of more than 50 million girls and women since its founding in 1912. With Dr. Farrell as our own intrepid guide, we travel to American Indian boarding schools, Japanese American incarceration centers, segregated African American communities, middle-class white neighborhoods, and outposts throughout the globe. Intrepid Girls unpacks how the Girl Scouts navigated tensions over feminism, race, class, and political differences, carving out extraordinary opportunities for girls and women—even as it participated in the very discrimination it promised to transcend.For anyone who has ever worn a uniform or wondered about the hidden history behind this iconic American institution, Intrepid Girls will surprise, inspire, and challenge what we think we know about the Girl Scouts. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts.

From Mississippi to Beijing to the halls of Congress, Bella Abzug battled injustice her entire life. Known for her trademark hats and fearless style, Abzug helped reshape New York politics and the national women's movement. In part one of this two-part podcast series from Spectrum News NY1, Errol Louis traces Abzug's early life from her path to Columbia Law School to her work as a civil rights attorney and anti-war activist. The episode explores her role in defending African American civil rights, her leadership in a leading women's peace group and the frustrations that ultimately pushed her to run for Congress in 1970 — when she was 50 years old and ready to upend the political establishment.

In this episode of The Freedom Writers Podcast, Erin Gruwell sits down with original Freedom Writer Sharaud Moore—the student whose experience of bullying in Room 203 ultimately sparked the movement that would become Freedom Writers. Growing up in Long Beach surrounded by gang violence and hampered by the low expectations placed on young African American men, Sharaud learned early how to protect himself and those he loved. In this deeply personal conversation, he reflects on the moments that shaped him, the mentors who stayed, and how those experiences led him to become a devoted father, award-winning educator, and decorated coach. Sharaud's story is a powerful reminder that mentorship isn't about saving kids, but about showing up with the consistency they need to exceed the limits the world set for them.

Send us a textWe trace Justin Cummings' path from early leadership training to steering Santa Cruz through a pandemic, fires, and a fragile housing landscape. Practical stories show how to connect experts, cut red tape, protect renters, and stay grounded without losing joy.• early leadership roots in camp programs and team captaincy• becoming mayor during crisis and defining the role• building information bridges across sectors• doubling local COVID testing capacity through escalation and certification• handling criticism with clarity and boundaries• self care, time management and public visibility• housing instability as the central community risk• tenant protections and a funded attorney resource• transparency versus strategy in public communication• culture setting through joy, humor and choosing issues not sides• advice for emerging leaders on listening and sharing the stage BioI moved to Santa Cruz from Chicago in 2007 to pursue a PhD in ecology and evolutionary biology with a designated emphasis in environmental science from UC-Santa Cruz, which I received in 2013.  My work has largely focused on invasive species eradication in places such as Panama and the Galapagos, sustainable fisheries science, tropical forest restoration, assessing the impacts of climate change on the environment, and diversity, equity, and inclusion in environmental conservation. After a brief post-doc in Miami, I returned to Santa Cruz in 2015 to co-found and direct the UC-Santa Cruz Doris Duke Conservation Scholars Program, whose mission is to prepare college students from diverse backgrounds to become the next generation of conservation leaders.   In Santa Cruz, I witnessed and experienced the impacts of the exorbitant housing market. I got involved in a rent control measure campaign and was one of the highest signature gatherers to place the measure on the 2018 ballot. This, along with a commitment to community engagement, prompted me to run for city council. In 2018, I was the highest vote recipient and became one of two African American men voted onto the Santa Cruz City Council for the first time in history. In 2020 I became the first African American man to serve as Mayor of the City of Santa Cruz. In 2022, I was elected to the Santa Cruz County Board of Supervisors as the Third District Supervisor.  During my time on the council, I focused on sustainable community growth, increasing affordable housing, reducing carbon emissions, public safety reform, amplifying the voices of marginalized community members, connecting people to resources during the pandemic, and most importantly bringing our community together to make Santa Cruz better for everyone. Support the show

Inside of two weeks before Christmas, people are likely seeing houses light up with holiday decorations. But this time of year, there are lots of different celebrations happening in Northeast Ohio, given our region's vast diversity of cultures. For the Jewish community, Hanukkah started Sunday night. The Latino holiday Las Posadas starts today, then there's the upcoming African American holiday Kwanzaa at the end of the month. In early 2026, there's the Lunar New Year celebrated by some Asian cultures, and Ramadan, celebrated by Muslims, and the list goes on. On Tuesday's "Sound of Ideas," we'll talk about how there's a lot to be gained by learning about each other's cultures, at a time where there's also a lot of fear for these communities, with violence and threats against certain cultural groups on the rise. For example, just two days ago, gunmen killed at least 15 people in Australia in what authorities are calling a terrorist attack during a Hanukkah celebration. The "Sound of Ideas" team planned this conversation before this latest tragedy, to highlight our region's multicultural landscape, and allow audience members to learn from and connect with people who are different from them. It is with that spirit that we have this conversation. Guests: -Rabbi Joshua Caruso, Congregation Mishkan Or -Lisa Wong, President, OCA Greater Cleveland -Pooja Khaira, M.D., Academic Chief Resident, MetroHealth & Co-Founder, Sihk Mental Health Summit -Talise Campbell, Ph.D., Director, Djapo Cultural Arts Institute

Why does sustainability matter in activist art? When funding cycles are short, residencies are brief, and institutions often treat creative work as temporary or expendable, what does it mean to commit to change that lasts?In this episode of Art Is Change, the sixth in our series on the building blocks of effective community arts practice, Bill Cleveland sits down with two legendary cultural leaders — Leni Sloan and Barbara Schaefer Bacon — to explore sustainability not as longevity for its own sake, but as ethical responsibility. From invisible lineages of community practice to the quiet power of relationships that outlast grants, they examine what truly endures when art engages deeply with communities.Drawing on decades of experience as practitioners, funders, and advocates, this conversation challenges conventional ideas of growth, impact, and institutional survival.asks whether sustainability lies in organizations, practices, relationships, or something more elusive — trust, memory, and the transmission of creative values across generations.If you are an artist, cultural organizer, funder, or community partner grappling with how to build work that matters beyond the life of a project, this episode offers hard-earned wisdom, moral clarity, and a powerful reminder: some forms of change are too important to be temporary.NOTABLE MENTIONS PeopleLenwood “Leni” Sloan – Activist artist, cultural organizer, impresario, and long-time leader in community-based arts practice; featured guest on Art Is Change.Barbara Schaffer Bacon – Former Co-Director of Animating Democracy, a national initiative advancing arts-based civic dialogue and democratic practice.Bill Cleveland – Host of Art Is Change and Director of the Center for the Study of Art and Community, with decades of experience in arts-based community development and cultural organizing.Liz Lerman – Choreographer, civic artist, and thought leader whose work has profoundly shaped community-based and socially engaged dance practice.John O'Neal – Playwright, performer, and cultural organizer; co-founder of the Free Southern Theater and founder of Junebug Productions, a cornerstone of African American community-based theater.M. C. Richards – Poet, potter, educator, and author whose writings on creativity, discipline, and teaching have deeply influenced generations of artists.OrganizationsCenter for the Study of Art and Communit– A national resource supporting artists, organizations, and institutions working at the intersection of art, community, and social change.Animating Democracy– A program of Americans for the...

As a student athlete in Central High School, Tom Singer saw how his African American teammates had very different experiences than he did. This observation fueled his work as an ally in the 1960s civil rights movement.  Tom leveraged his law degree to challenge discrimination, filing a case against a local gym that charged African Americans more for memberships, challenged discriminatory treatment against incarcerated Muslims, and many other actions that pushed for real, meaningful change.  As Tom looked back on the changes from the 1960s into the 21st century, he saw progress. He also saw a need for more. His story reveals the ongoing struggle for racial justice in South Bend._____This episode mentions a 1963 Testimony on Fair Housing held at the University of Notre Dame. Click hereto see text from that. You can also listen to the full oral histories of Audrey and Dr. Bernard Vagner as well as Dr. Roland Chamblee.   This episode was produced by Jon Watson from the Ernestine M. Raclin School of the Arts at IU South Bend, and by George Garner from the Civil Rights Heritage Center.  Full transcript of this episode available here.Want to learn more about South Bend's history? View the photographs and documents that helped create it. Visit Michiana Memory at http://michianamemory.sjcpl.org/.  Title music, “History Repeats,” from Josh Woodward, used via CC-BY-4.0-DEED. Visit his website at https://www.joshwoodward.com.

My conversation with Dr Greer starts at about 28 minutes in to today's show after headlines and clips Subscribe and Watch Interviews LIVE : On YOUTUBE.com/StandUpWithPete ON SubstackStandUpWithPete Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. This show is Ad free and fully supported by listeners like you! Please subscribe now for as little as 5$ and gain access to a community of over 760 awesome, curious, kind, funny, brilliant, generous soul Dr Greer recently appeared with Dr Jason Johnson on Culture Jeopary, more importantly she has published a new book that we talk about. It's called How to Build a Democracy (Elements in Race, Ethnicity, and Politics) The Blackest Question is a Black history trivia game show. Join Dr. Christina Greer as she quizzes some of your favorite entertainers, history makers, and celebrities while engaging in conversations to learn more about important contributions in Black history and Black culture. The Blackest Questions entertains and informs audiences about little-known but essential black history. Topics range from world history, news, sports, entertainment, pop culture, and much more. Christina Greer is an Associate Professor of Political Science at Fordham University - Lincoln Center (Manhattan) campus. Her research and teaching focus on American politics, black ethnic politics, urban politics, quantitative methods, Congress, New York City and New York State politics, campaigns and elections, and public opinion. Prof. Greer's book Black Ethnics: Race, Immigration, and the Pursuit of the American Dream (Oxford University Press) investigates the increasingly ethnically diverse black populations in the US from Africa and the Caribbean. She finds that both ethnicity and a shared racial identity matter and also affect the policy choices and preferences for black groups. Professor Greer is currently writing her second manuscript and conducting research on the history of all African Americans who have run for the executive office in the U.S. Her research interests also include mayors and public policy in urban centers. Her previous work has compared criminal activity and political responses in Boston and Baltimore.  Prof. Greer received her BA from Tufts University and her MA, MPhil, and PhD in Political Science from Columbia University On YOUTUBE.com/StandUpWithPete ON SubstackStandUpWithPete Pete on Blue Sky Pete on Threads Pete on Tik Tok Pete on YouTube  Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page   Gift a Subscription https://www.patreon.com/PeteDominick/gift Send Pete $ Directly on Venmo

1:40:08 Marquett GOES IN ON HATER!!!! (BRUTAL)1:43:20 The Type of N Marquett HATES1:45:18 Tips for Public speaking? (Articulate w/out stuttering)1:47:30 We can't let these false narratives prevail - MDB1:48:40 YOU ARE NOT on The Big Homie's caliber1:49:40 That's how we know you're really DUMB!!1:50:12 Show us how YOU living?!?! (HATER GETS FLAMED)1:52:43 Marquett teaches HATER a SAVAGE lesson!1:54:30 Marquett is lifting other people up (GREATNESS)1:56:48 The Big Homie digs HATER back up from the grave1:58:03 I ain't gon' pretend I have respect when I don't have respect - MDB1:58:54 "You talk like a white guy" - Marquett kicks some game1:59:30 Black Males allowing the Black Female to be Obese2:00:40 This is Black Excellence!! (Shoutout to The Saint!)2:02:01 Marquett explains how much of a Hustler he is2:03:44 Haters will NOT fly to Las Vegas to throw hands w/ Quett2:05:18 No excuses Black Men2:05:49 They Live off of a Female and have NO PLAN2:07:14 Troll claims he wants smoke?!2:09:24 Fake Masculinity 2:11:50 They always hate on someone who's put themself on the other side of the Spectrum2:13:34 TROLL claims he was blocked?! (Scared to come on Camera)2:14:13 These African American Males coming on screen deserve this2:16:24 You are not my people - Marquett speaks2:21:21 Saint is joining the Patreon!! (High Level Game for Members)2:24:10 Saint appreciates this timely livestream (Facts were spoken)2:27:13 Proper English2:28:06 Marquett talks to his Latino's real quick2:30:38 All Haters were once fans2:31:30 Saint comes on Camera and has respectful conversation w/ The Big Homie!2:51:26 Level to knowing one's Self2:54:12 Saint asks if Marquett has ever had a conversation w/ Dr. Umar Johnson2:55:37 The Big Homie has had alot of conversation's w/ ALOT of REAL people2:58:14 Saint asks about the conversation... (Quett is kicking that ISM)3:00:43 First step to get out of the idea stage? (Diabetics)3:02:43 Marquett is showing us things we never seen before!3:03:16 The ones who live a quiet life w/ alot of money & influence make power moves3:07:45 Internet Nerds making "Expose" video's on The Big Homie3:08:31 Make your moves in the shadows!!#blackgirlmagic #blackmen #foundationalblackamericans Support Via Cashapp: @MarquettDavonSupport via Venmo: @MarquettDavonSupport: https://donate.stripe.com/4gM9ATgXFcRx5Tf4rw0x200Become a member: https://thesasn.com/membership-account/membership-levels/Support with Bitcoin: BTC Deposit address: 3NtpN3eGwcmAgq1AYJsp7aV7QzQDeE9uwdMy Book: https://www.amazon.com/Black-Box-Marquett-Burton/dp/0578745062https://www.gofundme.com/f/support-marquett-burtons-training-centerBook Consultation: https://cozycal.com/sasn#Marquettism #FinancialFreedom #Entrepreneurship #Marquettdavon #Wealth #FoundationalBlackAmerican #Leadership #Deen #business #relationships #money

Biographical Bytes from Bala: Laurel Hill West Stories #051, Part 1   Human performance has ancient roots in ritual, storytelling, music, and dance, evolving from prehistoric communal activities to formalized theater in ancient civilizations.   Mumming originated in pre-Christian seasonal rites involving masked performances symbolizing death and rebirth, later becoming popular folk dramas in medieval Europe with themes of good vs. evil and resurrection. Minstrels were traveling musicians and storytellers who entertained courts and villages, distinct from troubadours who focused on courtly love poetry.   In the 19th century, minstrel shows featured white performers in blackface who caricatured African Americans through music and comedy, and popularized certain instruments and songs but perpetuating harmful stereotypes. Minstrelsy influenced American entertainment forms but reinforced racist myths, using exaggerated dialects, stereotypical characters, and appropriated dances, with complex legacies acknowledged by modern scholarship.

We dive into the two largest HBCU programs in Florida and discuss what they meant to civil rights and African-American athletes in the state.

Host Melinda Marsalis talks with nurse Rosemary Reed about how to get your mind and body ready for winter. Welcome to HEARD IT ON THE SHARK with your show host Melinda Marsalis and show sponsor, Mississippi Hills National Heritage Area.  HEARD IT ON THE SHARK is a weekly interview show that airs every Tuesday at 11 am on the shark 102.3 FM radio station based in Ripley, MS and then is released as a podcast on all the major podcast platforms.  You'll hear interviews with the movers and shakers in north Mississippi who are making things happen.  Melinda talks with entrepreneurs, leaders of business, medicine, education, and the people behind all the amazing things happening in north Mississippi.  When people ask you how did you know about that, you'll say, “I HEARD IT ON THE SHARK!”  HEARD IT ON THE SHARK is brought to you by the Mississippi Hills National Heritage area.  We want you to get out and discover the historic, cultural, natural, scenic and recreational treasures of the Mississippi Hills right in your backyard.  And of course we want you to take the shark 102.3 FM along for the ride.     Bounded by I-55 to the west and Highway 14 to the south, the Mississippi Hills National Heritage Area,  created by the United States Congress in 2009 represents a distinctive cultural landscape shaped by the dynamic intersection of Appalachian and Delta cultures, an intersection which has produced a powerful concentration of national cultural icons from the King of Rock'n'Roll Elvis Presley, First Lady of Country Music Tammy Wynette, blues legend Howlin' Wolf, Civil Rights icons Ida B. Wells-Barnett and James Meredith, America's favorite playwright Tennessee Williams, and Nobel-Laureate William Faulkner. The stories of the Mississippi Hills are many and powerful, from music and literature, to Native American and African American heritage, to the Civil War.  The Mississippi Hills National Heritage Area supports the local institutions that preserve and share North Mississippi's rich history. Begin your discovery of the historic, cultural, natural, scenic, and recreational treasures of the Mississippi Hills by visiting the Mississippi Hills National Heritage Area online at mississippihills.org.   Musical Credit to:  Garry Burnside - Guitar; Buddy Grisham - Guitar; Mike King - Drums/Percussion     All content is copyright 2021 Sun Bear Studio Ripley MS LLC all rights reserved.  No portion of this podcast may be rebroadcast or used for any other purpose without express written consent of Sun Bear Studio Ripley MS LLC      

Ed Ward and host Nate Wilcox fill in a gap in our discussion of his epic History of Rock & Roll Part 1, 1920-1963 with a look at how African-American pop music transformed itself thru the swing era, the rise & fall of the blues queens, the thin line between jazz and blues, the first guitar heroes and the greatest American musical superstar you've probably barely heard of, Louis Jordan. ⁠GO TO THE LET IT ROLL SUBSTACK TO HEAR THE FULL EPISODE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -- The final 15 minutes of this episode are exclusively for paying subscribers to the Let It Roll Substack. Also subscribe to the LET IT ROLL EXTRA feed on Apple, Spotify or your preferred podcast service to access the full episodes via your preferred podcast outlet. We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please consider becoming a paid subscriber to support the show. Thanks! Email ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letitrollpodcast@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Twitter.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Let It Roll is proud to be part of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pantheon Podcast⁠s⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Okay family, pull up a chair because we need to talk. Washington State recently became the third state in America to fund a reparations study for African Americans, and it should be a moment to celebrate. The Legislature allocated $300,000 in seed funding, and the Washington Equity Now Alliance — a community-based organization doing the real work — raised another $450,000 to ensure this sacred study is done right. Governor Ferguson signed the law that spells out who’s qualified to lead the study: a PhD focused on reparations, peer-reviewed publications, expertise in calculating uncompensated slave labor, and lived experience. So far, so good, right? But here’s where it gets messy. The Department of Commerce is creating its own procurement rules, and its decisions are now preventing the community from securing qualified consultants for this work. Somehow, an “apparent successful bidder” has been named – a company called Truclusion that doesn’t appear to meet ANY of the legal requirements got through the procurement process — while the nation’s leading reparations scholar, an UCLA endowed chair and Howard University department head who literally wrote a BOOK on Reparations, was denied due process on a technicality when he asked for his legal right to a debriefing. How is the state this incompetent with something this important? Sisters Audrey and Melannie sit down with Attorney Jesse Wineberry Sr. — former five-term state legislator, first Black House Majority Whip in Washington’s history, and Chair of WENA — to break it down, shed light on the matter, and invite the community to take action. Somethin’ ought to be said. What say YOU? Links Washington Equity NOW Alliance Reparative Study for Washington Descendants – Washington State Department of Commerce Truclusion Website (Apparent Successful Bidder) Dr. Marcus Anthony Hunter Dr. Marcus Anthony Hunter – Achievements Marcus Anthony Hunter – UCLA Sociology Review of City-Level Reparations across the United States (.PDF) Dept. of Commerce WENA Community Partner Designation (REPARATIONS STUDY) (.PDF) WASHINGTON REPARATIONS STUDY BUDGET (.PDF) Calls to Action Support Dr. Marcus Anthony Hunter The Department of Commerce has denied Dr. Marcus Anthony Hunter his legal right to a debrief in accordance with Washington State Law RCW 39.26.170(2). He now must incur legal costs to challenge this injustice. It's not about the “contract” anymore – it's about the “principle” of the matter and the blatant disrespect of “Black Excellence.” Please support Dr. Hunter in this fight. This work is SACRED and COLLECTIVE. Donate here File a public records request Department of Commerce – Public Records Request Office of the Governor – Public Records Request CUT & PASTE THIS TEXT INTO YOUR EMAIL PUBLIC RECORDS REQUEST Pursuant to RCW 42.56, I request all records in any format—including emails, texts, memos, notes, meeting minutes, and other documents—related to COMMERCE RFP 26-33740-001 (Charles Mitchell and George Washington Bush Reparations Study), managed by Michelle Griffin, Department of Commerce: 1. Bidder Evaluation and Selection All proposals submitted in response to the RFP Individual and composite scores for all bidders Identities of all scorers/selection committee members Evaluation criteria and scoring rubrics Deliberations and comparative analyses All records supporting the selection of Truclusion as the apparent successful bidder All communication transmitting Dr. Hunter’s proposal to the scoring committee 2. Deadline Extension All communications and justifications regarding the November 10, 2025 decision to extend the contractor announcement deadline from November 5-10 to November 18, 2025, including the stated need for “additional time for scoring” 3. Delegation of Authority Any documents authorizing the Department of Commerce to delegate review and selection duties for this RFP to the Commission on African American Affairs 4. Conflict of Interest Documentation All signed conflict of interest disclosure forms and/or waivers executed by selection committee members CONTACT: DEPARTMENT OF COMMERCE commercewa@govqa.us Natasha Langer Public Disclosure Specialist Operations Division Office Services 360-725-3156 THE GOVERNOR’S OFFICE publicdisclosure@gov.wa.gov Tricia Smith Director of Public Information & Records 564-200-2106

The African American Cultural Center has completed phase one of its renovation, marking a major moment for this historic East Side institution. Interim dance and drum director Robin Hibbert, Board Chairwoman Thembi Duncan, and Executive Director Leah Angel Daniels join Jay Moran to discuss the challenges of rebuilding, the community's response, and what lies ahead as the center prepares for new programs and its upcoming Kwanzaa celebration.

 When it just touches on these really profound themes and it's moving in a way that catches you off guard. Matt Nothelfer is a Committee Member of the Borrego Springs Film Festival and working documentary filmmaker.In this conversation, Matt talks:* Why small, community-driven festivals like Borrego Springs offer some of the best experiences for indie filmmakers.* How the festival creates a filmmaker-friendly environment: lounge, home-baked food, networking, and long Q&As.* The “secret weapon” of Borrego Springs: a local audience that fills a 180-seat theater from morning to night.* Why early-bird submissions matter—and when they don't.* How to spot scammy or low-value festivals on FilmFreeway through community presence, transparency, and online footprint.* Why filmmakers should focus more on storytelling and theme than technical perfection.* The blind-submission, five-category review process Borrego uses to evaluate films fairly.* Why small festivals often have the highest acceptance chances—300 submissions, 70–80 selections.* How writing a thoughtful, festival-specific cover letter can move a film from “maybe” to “yes.”* Advice to emerging filmmakers: avoid chasing 100 meaningless laurels and instead pursue festivals aligned with your goals.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Hi everyone. This is Ben Guest and this is The Creativity Education and Leadership Podcast. Today my guest is Matt Telfer, who is a committee member for the Borrego Springs Film Festival. In this interview, we talk all things film festival, how to run a filmmaker friendly festival, and tips and tricks for submitting to film festivals.Enjoy.Matt, thanks so much for joining the podcast today.MATT: My pleasure. Happy to be here.BEN: So, I always like to start with a fun question, senior year of high school, what music were you listening toMATT: right off the bat with a curve ball? Alright, let's lay it out. I got the Talking Heads,BEN: the Cure,MATT: Like, let's see, what else?BEN: New Wave.MATT: Yeah, a little bit of the punk stuff. I mean, we got Pixies were, was I listening to the Pixies then? I can't remember. Yeah, so, uh, the Dead Milkman, stuff like that. The pubs, um, yeah, I had some of their records. You know, it's really frustrating ‘cause I had those records up until like five years ago and I left them at a colleague's house and they scattered to the wind.All that good stuff. Yeah. Anyway, I'm still a little bitter about that, but That's okay. My colleagues, my colleague was a friend and he, he deserved them.BEN: So you are a committee member at the Borrego Springs Film Festival. What? Yes, sir. And, and you've, you've held a variety of roles there and, and off air, you're saying sort of lately you've been focused on.You know, the pre-production of the festival, the website, getting the materials together. Correct? Correct. Reaching out to filmmakers, et cetera. Talk to me, talk to us about what are the fundamentals of running a good festival?MATT: Well, our context is that we're super small and modest. Uh, like we were saying before the interview, uh, officially started, we are literally a, a tiny little village in the middle of a giant state park.Actually the biggest state park in the lower 48 states desert community. We're actually just south of Palm Springs and, uh, there's like 3000 full-time residents here and, uh. So running a film festival in a place where there's literally. Not really a commercial market, it's a different type of animal.And um, so we kind of do everything on a very tight budget and we try to personalize stuff as much as we possibly can. We, since we can't really throw a lot of money at stuff, we just do everything we can in other dimensions.BEN: What's an example of that?MATT: Just trying to be considerate about stuff, uh, being friendly to filmmakers that are willing to submit and to get, and that also get accepted. So when they come here, it's a personalized experience. We work pretty hard on creating a filmmaker's lounge where folks can gather and network with each other throughout the entire uh.Five days of our film festival and while they're at the film festival and they're talking to each other, we also have food available for ‘em. One of our great committee members, her name's Pam, she literally will bake stuff in the evening and bring it in in the morning. So you have fresh pastries, cookies, coffee, like fruit vegetables, just everything laid out.And you know, there's really not a huge expense to do that, but you need like the right people to do that, so that's the thing that kind of makes our festival a little bit. Different, I guess in a way is like there's a personalized aspect to it and we spread that type of attitude across all our stuff.So we're gonna have like four parties during the entire festival, and all those parties have similar type of vibe.BEN: The reviews that I read online, um, on film freeway filmmakers were saying that it is, it's a film, it's a filmmaker friendly. Festival.MATT: Yeah. Because, you know, that's what we can do. Mm-hmm. Like, you're not gonna travel to a remote place in the desert and, you know, run into a bunch of industry folks.Usually there are exceptions to that. And, uh, as our. Film festival has gotten a little more solid, and we occasionally have some industry people coming in. Most of the time it's indie filmmakers. You know, we might have some elbow rubbing that this kind of neat. But for the most part, you know, these are just small independent filmmakers trying to do their thing and.Wanting to share their films with an appreciative audience. And aside from, being very personable, uh, with the committee and with the staff that run the film festival, one of the great things about our particular film festival is that the community is a huge part of what we do. The event they show up, we have 180 seat theater and it's full from 10:00 AM in the morning until eight o'clock at night.Oh wow. Every block and wow. It's been that way since the beginning, and it's not because of anything that we do on the committee, it's simply because the community wants to be a part of it. And so that's kind of our secret weapon, is like you show up as a filmmaker and like, oh man, I got, I got scheduled for the 10:00 AM block.They, and then they, they show up and like, what's going on here? This is look back. And then at the end of it, you know, there's an extended q and a. We don't. Push our blocks back to back really tight and there's plenty of time just to like relax and having interaction with folks and some q and as will go on for like a half an hour, if not more.And it's just, you know, so that's a unique thing that just kind of emerged without effort. And we take credit for it and we're excited that we can offer that. But you know, it wasn't any, it wasn't by design, it was just kind of like, cool. This is working.BEN: As far as festivals go, it sounds like filmmaker heaven.MATT: Well, you try to, we definitely try to be. And the dude that got this whole thing rolling, his name's Fred G and he has lived in this little community for a really long time, and he's a great guy and he's one of the reasons why a lot of people show up because, you know, he's just one of those kind of like community, uh, he's, he'll be really upset if I use this phrase, but he's like a town elder. Mm-hmm. You know what I mean? Mm-hmm. Mm-hmm. So just having that type of guidance and having that type of person that can kind of unify the entire event, I. Is really great. And again, like I said before, it's kind of our secret weapon is that we have like this great community that's willing to be a part of a filmmaker's storytelling in so much as like they'll sit there, they'll react to it, they'll ask questions about it afterwards.So yeah, if you're. A filmmaker that wants your film to be seen by actual eyeballs and actual people that are engaged. Mm-hmm. Then film festivals like ours, which there are many around, around the world. You gotta search ‘em out. As a filmmaker, you've gotta. Start getting discriminating. You've gotta really pay attention to what films are film festivals are offering and try to be a part of those kinds of environments, if that's what you want.BEN: So this is great because you're, um, you are part of the Bgo Springs Film Festival, you're also a working filmmaker. What are some other festivals that you've attended or know about that have a similar sort of filmmaker friendly vibe?MATT: Full Bloom film festival in North Carolina for sure. The WYO Film Festival in Wyoming, we enjoyed that a lot.My wife and I who are documentary filmmakers, we've taken our film films there. And again, you know, it's the exact same recipe basically, you have a core group of citizens that are willing and able to show up and be a part of an event. So when you sh, when you arrive as a filmmaker and you sit in the audience, you're not alone with, or if you're in the audience and you're only with other filmmakers there to screen their movie, you know?Yeah. You know that, you know that feeling. We've been there, right? We've been, we've all been there and, and we don't. Film festival is like what we're talking about right now. They don't wanna offer that. They want it to be something, even if they sometimes fall short, which has happened with us, we've had blocks where, maybe there's only 50 people in the audience and, you know, half of the audience might be filmmakers.But that is such a rare thing anymore. You just wanna be offering something to filmmakers. Make them feel appreciated because we know how hard it is to make these things and even and to be willing to share that in front of other people and, ask and answer questions it's a special thing and we wanna nurture that as much as possible and sort of those other film festivals.Love it. Yeah.BEN: Yeah. So we, I, I first came across you on Reddit on the film festival subreddit, and you were offering good advice and thoughts on, for filmmakers applying to festivals, how to think through strategy. So I guess for all, yeah. I mean, did you hear Yeah, help us out.MATT: Yeah. Did you, when you were reading that stuff, I mean, what kind of hit you as like the most relevant?BEN: I think it's two things and since I, I just have a documentary. I finished and am submitted a film festivals. I've read a bunch of stuff. Seen a bunch of stuff, so I may conflate some of the things that you said versus something I saw elsewhere. But two things. That's all right. I'llMATT: take credit for it.BEN: One is know what your goal is ahead of time, right? Oh, yeah, absolutely. To, be it the, be it a filmmaker friendly festival with good parties and events and networking. Is your goal to get exposure? Is your goal to meet people in the industry? Is your goal mm-hmm. To get laurels? Those are all different worthy goals, but they all will change your strategy and your approach for film festivals.And the second is, you know, submit to, don't submit to 50 festivals. Submit to 5, 6, 7, see what the results are and then adjust from there.MATT: Oh, absolutely. Yeah. So yeah, when we're talking strategy, that's so important and, and we can speak about it from the perspective of the Borrego Springs Film Festival because, you know, knowing the context of the type of festival we are now, if you were a filmmaker that was searching out, let's say.A bunch of like publicity for, you know, some type of, media push. It's like, would you necessarily want to come to Bgo Springs? Maybe yes, maybe no. It depends on how you played it, but. The main reason you would be coming to Borrego Springs, we feel is because you want that personal interaction and you want feel special as a filmmaker and you want to share your stuff with us, and we want you to share your stuff with us, right?So you're absolutely right when you're initial initiating your kind of film festival search as a filmmaker, you really gotta narrow down what your expectations are. And figure that out. I can speak as a filmmaker as well. It's like if you're gonna go someplace and spend money to do so, I mean, at the very minimum you squeak by on a budget of 500 bucks, then that's kind of like dirt cheap to go someplace and then return home.You know? That's still a lot of money. Mm-hmm. And that's, that's probably like. The least amount that you would ever be able to spend and you would need help, like getting lodging, which we try to offer to our filmmakers. Um, you know, how are you gonna, what are you gonna do? What are you going to eat when you get there, which we try to offer to our filmmakers.And, you know, all those things become part of the calculus, right? Mm-hmm. Especially when you're independent, mm-hmm. I would ask you is like when you're trying to submit, what are you aiming for right now?BEN: So great question. So I'm aiming for trying to get multiple laurels and I'm in, in a little bit of a different situation, I think, than most filmmakers.So I, I have an academic background, I have a PhD, and ideally I'd like to I've worked at various universities. In the ideal world, I'd like to go back overseas and teach film at a university. And so in the world, in the world of academia, you know, there's this phrase, publish or perish, right? You have to publish academic journal articles, publish.Mm-hmm. In film, in the world of filmmaking, academia, a film festival run. A film festival. Acceptance is like a journal article, right? Um, maybe if you do a feature film that's like publishing a book, this is sort of, uh, roughly equivalent to getting a, a journal article published. So I want to sort of garner a number of laurels so that I can indicate, you know, this, this short plate at these 10 different film festivals.MATT: Okay, so the credentials matter, right? Correct. It's kind of like that kind of that'sBEN: exactly right. LittleMATT: trophy on the mantle, as it were. Mm-hmm. Yeah. Yeah. Okay. So, um, I'm gonna ask you another question if that's okay.BEN: Yes. I feel like I'm getting a All right. Free film festival, um, consulting.MATT: Perhaps, I don't know about that, but when you are pursuing the laurels and, you know, everything's kind of like filtering through film freeway these days. Mm-hmm. So what's your strategy as far as like finding those types of film festivals that you think are going to, allow you to get those laurels on your poster or whatever?BEN: Yeah. Another great question. So couple things. One is it's a doc. My latest is a documentary short, and it's, it takes place in the world of improv comedy. And the two subjects are two black women. So looking at festivals that either are geared towards comedy, towards documentary shorts or towards black themes and African American themes. One of those three or, or, um. Themes of uh, women in, in general. Sure. Well, if I couldMATT: interrupt real quick, please. Yeah. So it seems like you're trying to basically still maintain some integrity as far as that goes. It's like, yeah, I'm not relevantBEN: all like the fly by night, if you submit, we'll give you the, you know, the UP award.Yeah, exactly. Well, that, that's why I'mMATT: asking because. Okay. Because that's why I'm asking because, there are plenty of, you know, weird little festivals that are floating around the mill fly by night, that,BEN: thatMATT: come, that come and go. And if you want to get a hundred laurels on your poster, if that's, you know, what makes you feel good, then you could definitely do that.But at least what you're saying is like, okay, let's make sure that what's happening with my film has integrity, has, has a shape, and has, something that means something after, you get accepted.BEN: Yes. Oh, a hundred percent.MATT: And the reason I bring that up is because, you know, as a small film festival we struggle with getting we just struggle competing with what's out there on film Freeway, let's put it that way.BEN: You know, because Talk about that. Break itMATT: down. Yeah. You know, it's just, as anyone knows that's trying to do this thing, it's like you hit film freeway and they're a great platform. I'm not, complaining about them at all, but there's just a lot of stuff on there that is more or less as a filmmaker or relevant.I mean, would you agree with that?BEN: Oh, a hundred percent.MATT: Unless all you're wanting to do is just get one laurel to put on your, on your poster, so you know. Maybe they offer a little bit of something. But as a filmmaker, I've been to the ones that don't offer much anything aside from a screening and even, and it's like I'm lucky enough to even go to ones that have physical screenings.A lot these days are just like, oh, we'll slap it online and call it good. So, you know, uh, let's be honest, there's a lot that are just out there and they're just trying to churn. Make some money. So as a small film festival, we're competing with that stuff and we've seen our, uh, submission rate decline, not necessarily a bad thing for us.Mm-hmm. But for other film festivals, I imagine they might be getting frustrated with it. We are actually perfectly comfortable with where we've kind of landed and the groove we've been in since the pandemic. Even a little few years before then, and we haven't tried to kind of like change our recipe much.So we're just happy with the amount that we're getting. We're happy with the amount that we're accepting and we're pleased with how we're screening stuff and the opportunities we're giving people. But I do feel, from what I've seen, it's becoming. Uh, it's just, it's a bit, it's a bit difficult to navigate the slop.Let's just break it down like that. Yeah. And I don't know if you're feeling if you're experiencing the same thing or not. I'd be curious to, to see what you, what you say.BEN: For a hundred percent, so I, I made a few documentaries in the late 20, 2011, 2012, and that was right when Without a box, which was filmed free, right withoutMATT: a box.BEN: Started and it was great because instead of having to burn a bunch of DVDs and physically mail them, you could just upload your film and then submit it to a bunch of festivals. Research a bunch of festivals. Great. Coming back to it now in 2025, it's Scam Central and I think unfortunately one of the things you, you have to spend a bunch of time doing is trying to figure out which of these festivals.First of all, which of these festivals are just legit in that they're not trying to just mm-hmm. Get money from you. They're gonna do a virtual screening and that's it. And then once you even get that breakdown, kinda like you said, which are festivals that are legit, that, that have good people working hard, good intentions, you're proud to show your film there versus they're just churning through submissions and fees.And chart, have a bunch of deadlines and a bunch of different slots you can apply for. They're not the exact opposite of how you describe Borrego Springs.MATT: Yeah. And you have to, as a film festival, at least in our opinion over here, it's like you have to bring that value to the table or else why?Why are you really doing it? And if that answer is like, you're just some guy sitting in an apartment somewhere trying to make a lot of money or a living, I don't know if you can make a lot of money doing this.BEN: Mm-hmm.MATT: Um, but. If you're just doing a film festival that is literally fly by night because you want to cash in, it's like, that's really unfortunate.Now the other side of that coin is like we see a lot of very earnest filmmakers submitting and, uh, they might not be the most technically adept. And they're fresh out of the gate as far as like trying to be a filmmaker. So they're very eager and you know, they just want to tackle everything all at once, and they end up you know, they're not really exercising any discrimination about where their films are going and they end up, you know mm-hmm.Kind of wasting a lot of money in that regard. Submitting, the, submitting, submitting without much, kind of emotional reward from it. And I think,BEN: yeah.MATT: Having some type of like positive feedback about what you're doing is great, even if it's whatever.But. It really helps to have a place to land where you feel like super special and cared for and considered and not just like, oh, I showed up and, it cost me $10 to get into my own movie and it's costing me $20 to, buy a cocktail over here and, you know, those kinds of things.If you're even lucky enough to get that, honestly.BEN: Right. What's your advice on spotting scams when you're applying to festivals?MATT: How to be discriminating as far as like submitting?BEN: Yeah,MATT: I mean I can only approach that from our, my wife and i's own experience trying to get our films into festivals. And with the insight like working on a film festival, I think that helps.But trying to spot ‘em is really, you got to. Try to get a sense if there's any type of community involvement going on mm-hmm. With the festival. And you can usually track that online if you're, you know, if you're a bit sleuthy, and you can find out if it's being supported by the community in some sort of way.Mm-hmm. And it shouldn't take you too long to figure that out with a couple of decent, online searches and follow in a few threads of information. Another thing is, is like if they're kind of nurturing their online presence, you know, it doesn't have to be super sophisticated. You just have to get a vibe that they're trying.And if, if you get that kind of sense, then it's worth the effort. Typically the other thing is you gotta really know what type of film festival that you're submitting to, right? If you're making documentaries, you're not submitting to, you know, a feature film, festival Right. In every festival.So yeah. Core effects. So I, yeah. You know, it's just being, making those obvious decisions. But when you dig beneath that superficial stuff and you get past like the obvious. Really try to get a sense about what you want yourself as a filmmaker when you go to a film festival. And for us it's like getting appreciative eyeballs on the film and giving us fun feedback and having a good time and interacting and, and doing some networking, uh, basically having a party and celebrating your film.Mm-hmm. And I think that weBEN: think about, yeah, sorry, go ahead.MATT: I think that this, that's important for us, so I imagine, and I, I would think that it's important for other people that are making movies as well. Yeah. If we, about, especially independently.BEN: Yeah. Yeah. You know, there's you were alluding to very little money in it, but, um, there are, there are rewards.Yes. One of the biggest of which is seeing your film in a packed house with an engaged audience. What from a screener perspective, from a film festival perspective, what are some tips you would give up and coming filmmakers, young filmmakers on their short films in particular mistakes that you see et cetera, et cetera.MATT: I would say the biggest mistake, especially as a, a young filmmaker, is concentrating so much on the technicalities of the craft and ignoring the storytelling. Um, you know, we, you mentioned, and we mentioned before about like when we started, uh. Kind of submitting to film festivals. This was basically what, like 15 years ago for both of us now, right?2010s, 2012, whatever. Mm-hmm. The technical back then could elevate you above everything else back then. Like today. You know, look, anyone that has a, has a mobile telephone, essentially has the skillset it takes, or not the skillset, but the technical wherewithal.AnBEN: outstanding camera.MATT: Yeah. Yeah. And the point being is like you can go out and you can create something compelling without the gate of the technical getting in the way. Uh, you can capture it. And it doesn't have to look like a million bucks. It's nice if it looks like, you did a big budget thing on a small budget.I'm not knocking the craft of anything. I'm just saying don't be so intent. Or maybe even don't even worry if like, it falls short technically a little bit. ‘cause I will. Guarantee you that a film is gonna get into a film festival based on if it's a compelling story with a good theme or not. And theme is another thing that a lot of folks don't necessarily appreciate, I don't believe.Just to give you a little bit of insight, our film festival. Is the selection committee are not industry professionals. They are regular citizens. They're just watching movies to help out our film festival. Now, try to imagine what that means. It's like folks don't focus on the technical unless it's an absolute train wreck.They will literally sit down and say, is this something I'm interested in and am, am I engaged with the story? Full stop. So that's where, that's the thing you have to focus on. And if you're not doing that as a filmmaker, okay, maybe you're just, you know, maybe your thing is gonna be, you're just a cinematographer, you're just a sound guy.You know, you're more crafty than you are. You know, a storytellers you gotta find that. You gotta find that place. That would be the main thing, because I know we, we. This, I think this is a good thing about our particular film festival is that we have taken in some films that probably weren't like technically as good as they should have been, but because they are just so.Compelling. We don't ignore it like we do pay attention to the craft, but if a story elevates beyond the craft, we're more than happy to bring those folks in. And when those folks come in, they're like, oh my gosh. You know, it was like we're having a hard time getting accepted to film festivals and we're so grateful that you took our film and we can't believe the response that we're getting.Um, they tend to be the best. Most enthusiastic filmmakers and attendance of anybody. Mm-hmm. They're not cynical, you know, they're not burnt out, they're just like over the moon.BEN: They're happy to be there.MATT: Yeah. And it, and they should be. And they're gonna spread the word ‘cause they, they've created something.Yeah. Wonderful. Now, you know, maybe it's underexposed, maybe it's overexposed. Maybe the audio's not great here and maybe the audio's okay there, whatever. It's compelling. That's the main thing. And you and you as a filmmaker really need to start analyzing. My wife and I do this all the time. It's like, what the heck are we making here?Are we making something that is compelling to us personally? Mm-hmm. Are we making something that's compelling to other people? Mm-hmm. It's two different things.BEN: Mm-hmm.MATT: I mean, that's right. So storytelling is hard.BEN: Yeah. That's the craft. It's storytelling.MATT: Yeah.BEN: Yeah, yeah. What does your, so you've got screeners, not industry folks, people just who appreciate films and filmmaking.What does your judging sheet or criteria sheet look like with your screeners, and what's the process that a film goes through?MATT: Here's another thing about our particular film festival. We're completely blind. Submissions. You know, we do not solicit anything. It's like early days we were kind of like poking around and asking for some folks to kind of consider us, but we've kind of let that fall by the wayside.Maybe that's one of the reasons our submissions have declined a little bit over the years. One of the factors, but regardless completely blind submission. So. Stuff comes in. We have a bunch of people that are at the ready and they start watching it, and we basically have a five step process.It's like, consider this, consider this, consider this, consider this. And they do that. And they mark it from scale of one to 10. And, uh, from that we kind of start our, fundamentallyBEN: what are, what are the different, consider this. Like what are the categories?MATT: Let's see. I gotta look it up, but it, it basically breaks down to, okay.Are you sentimentally engaged with this? Meaning, is it, is it a subject matter? I love that questionBEN: that,MATT: yeah, it is a subject matter that you. Like just offhand, like, okay. It's a, it's a nature movie. See, I love nature movies. Oh, I see. Are you, you see what I'm saying?BEN: Predispose, I thought, I thought you meant was the film engagement.MATT: No, no. It, no, it's, it's, it becomes both. It becomes both, right? Yeah. Because your sentimental attraction to something is going to create an engagement. So we kind of wanna know if, uh, our regular folks are like just locking into something because they just love the subject matter.BEN: They make the topic.Yeah.MATT: Yeah. Um. Then from there we do actually talk about craft, even though I was saying before, like, uh, don't worry so much filmmakers about the craft anymore, but we wanna make sure that you can hear it. Okay. It's not a total disaster with the audio and you can see everything. Okay. So we ask them to rate it on that scale.And then, um, other, you know, just more nuancey things is like, okay, is the pacing cool? In other words. Did you find it like it was dragging a lot or it was, too fast? How's the editing style? Those kinds of metrics. And there's actually a few other ones in there as well. So all that is just kind of thrown into the pile.Mm-hmm. And then from there we start to weed that out as we come to after like all the submissions come in and from. Once all the submissions come in and our, our deadline has passed, then the committee jumps in and starts doing a more nuanced type of an analytical thing to the films that have been submitted.But I will say that regardless of how we kind of shuffle things, once the deadline is closed, the people that watch our films and the committee members are usually. Copacetic. There's hardly anything that that changes. And, um. The nice thing about our particular film festival too, is like if you're a filmmaker submitting, you know, I'll just, I'll give you the numbers.We essentially get like 300 submissions, so it's not a lot. Mm-hmm. Um, and out of that 300 we are running a sub, we're running a screening rate anywhere between like 70 to 80 movies a season. Mm-hmm. So that's a really good. That's a really good, uh, opportunity to get accepted at a film festival, and that's why small film festivals might be the best bet for a lot of independent filmmakers, I think.Mm-hmm. You know, because you have that opportunity to get noticed. So I think I might have tangent, I went off tangentially a little bit there, so if you wanna pull me back in.BEN: Yeah. You went off tangentially, but in a great way. I mean that I want to appreciate the transparency with the numbers. I interviewed, um, the director of the Wyoming International Film Festival, a guy named Rudy Womack, and he was the same.He was like, here's our numbers, we publish ‘em. He's like, most festivals don't, but it just demystifies the process. So it's very helpful.MATT: Yeah. And I'll give film pre credit because they allow film festivals like ours to put those numbers online. Mm-hmm. And, and we've done that. If you hit our page on film Freeway, you can start to figure out what we're about without too much trouble.BEN: What are the, what are the different blocks you run?MATT: As far as like thematically?BEN: Yeah. Yeah. Like at a festival. What are the different categories and blocks.MATT: Aha. See now you touched on something that's kind of unique to us. Okay. So, you know, you go to a film festival and it's like, oh, this is the, this is our dog block.Every movie's about dogs.BEN: Right, right.MATT: Or something like that. We don't do that. At all. So we kind of grab bag, the whole thing. It becomes a very eclectic mix of stuff. Mm-hmm. And one of the reasons we've ended up doing that is because our community has kind of demanded it. Whoa.Interestingly enough. Yeah, so they drove the decision to kind of like stop doing thematic blocks and they wanted a better mix of things because they, again, our folks here, they show up for every single block place is packed.BEN: I just, and sorry to interrupt before you finish, like everything you're saying, it just sounds like there's an iter iterative feedback loop.Between the community in the festival, the film? Absolutely in the festival. The volunteers in the festival. So I just wanna highlight that ‘cause I'm loving everything you're saying.MATT: Well, again, like I said, it's the secret sauce. It's our, it's our weapon that we have our secret weapon that allows us to kind of like elevate beyond our like humble budget.Right.BEN: The community is, but community is letting you know, we don't want thematic blocks.MATT: Yeah. The community came in and said, we, we want mix. So when we sit down and we're sitting through movies, it's like. If we're watching something that we're not in tune with thematically, then you know, you would have to sit there for like an hour and a half and just kind of tolerate it.Whereas now, if like a movie comes on about dogs and for some reason you're just a weirdo and you don't like dogs, that movie will come and go and now you're onto something else, right? Mm-hmm. So. Yeah like you just mentioned, it, it really becomes a cooperative effort between the community, the film festival itself and, and even the filmmakers.And we're kind of proud that it is a little bit ramshackle in that way ‘cause it creates a very organic vibe and weirdly enough. Like at the end of it all because it, it's a little bit random. It is like how folks get scheduled.BEN: Mm-hmm.MATT: Themes are emergent anyway.BEN: Mm-hmm. It's, peopleMATT: start creating patterns that didn't exist and then it sometimes that becomes really profound.It's like, didn't even think of that. It's brilliant. However oh, the other thing about programming too, that we do specifically for our film festival is that we. We ask our filmmakers, say like, Hey, are you planning on coming here? And if they, if they are planning on coming here, we try our, our level hardest to make sure that we program their films to match their schedule, right?So we don't lay out our program and say, okay, you were scheduled for, you know, Wednesday at 2:00 PM. It's like, well, I'm only free on the weekend. You know, and you wouldn't, you would never be able to attend. We ask first to say, do you think you're gonna be able to be here? And if they say yes, then we try to accommodate as best we can.So again, it's, it's collaboration across the board from filmmakers down to the, to the citizens of our small town.BEN: One of the things I read somewhere, or heard somewhere, is that it's much more advantageous to apply for the early bird deadline. What's your take on that?MATT: For our film festival, not so much, but I, I definitely adhere to that strategy as a filmmaker.If nothing else, it's budget conscious, you know? Yeah, yeah. It's cheaper usually under the initial deadlines you know, you have to take advantage of that. The other thing I guess is like, I will say from our experience, uh, with our particular film festival, if you get it in under the early bird deadline, at least it's there.And you know, you've basically got like four or five, six months for the submission. Crew for that particular film festival to kind of think about it. Whereas if it comes in a last minute, you're not really gonna get as much consideration. It's just gonna have to be more like, uh, an initial one-off type of decision.SoBEN: are there other, and I mean the, the most important advice right, is always make a good movie outside of the movie. Yeah. Are there other ancillary things that. Can move the needle at all. Cover letters, director statement, press kit, stuff like that, or it's not, uh, it's negligible.MATT: Hmm. It's neg negligible to an extent in so much, it depends on how you frame it as the filmmaker.Mm. And let me, I'll try to explain. So every year as a film festival, you just basically get cover letters. It's like, oh, take my film please. It's about this, it's about that. But it's a cover lever, co cover letter. It's, uh, copy and pasted. You can tell. You can just, you just know. It's like, okay, they're making an overture to us, but they're also making an overture to like a hundred other film festivals.It's like if you're gonna write to a film festival and say you want in, just make sure that you actually acknowledge who you are sending your film to. Don't just say, Hey, Borrego Springs, I wanna be in your film. I like Borrego Springs, mm-hmm. My parents went there once and I've always been com I've always been interested in the desert and how awesome would it be?See, that tells us that you're paying attention. Right?BEN: Mm-hmm.MATT: That you're trying. We're trying. We just want the filmmakers to try as well, as far as like trying to make any requests to get preferential treatment, and it's totally cool to ask for preferential treatment. By the way. You can say, I see that you're a small community.I just made a film that's, that takes place in a small community. We might be a really good fit. That kind of thing matters, right? An email overture works. Yes. An email overture doesn't work. No. It's both things at once, depending on, it really depends on how you write that letter. So if you wanna invest the time and effort to try to impress a film festival, just make sure that.You understand what that film festival is and really think about if what you're offering, the film festival is something that they might want. And if you can, if you see a, a common thread there, write about it in a letter. And even if it's just one sentence, it's like, then we know on our side that this person's paying attention and that that kind of matters.It does matter. So at the end of the day, when you're take, when you're kind of like really trying to figure out your cutoff, if your little film happens to be on the bubble, guess what? It might get into film festival, right? Mm-hmm. Because you said that you have a connection to this place, and I think that's fair.I mean, what, does that make sense?BEN: Yeah, for sure. So the festival is coming up in January, is that correct?MATT: Yeah, we're in the middle of gearing up for it right now, as a matter of fact. Nice. I gotta run out to the, to town here in like a, like 15 minutes actually to do some stuff for the film festival.So yeah, it's, it's, well, today we're shooting, um, a little promo, uh, thing that we're gonna run, run during. At the beginning of the blocks, and I'll be doing that with Fred G the chairman of the board. Yeah, that's nice, fun stuff. We try to have fun with things, so. Yeah.BEN: We do littleMATT: skits and whatnot during the award ceremony.It's, it's goofy. I love it. Cheesy as hell, but we like doing it, soBEN: I love it. Oh, that's actually something that I sort of, in, in, in my cover letters, which I try to. You know, write tailored to the festival. Especially the ones in California say, well, the film's about this improv duo and mm-hmm. We accepted, we'll come and we would love to do a little improv performance for the festival attendees.Um,MATT: I will say this too, because we're such what you just mentioned. I just want to piggyback on that for a second. So you said in my cover letter I'll say, we're willing to attend. It's like if you say that in a cover letter and you mean it, you, and you're willing to do that. Yeah. That's good. Especially for a festival like ours.We want filmmakers to come here. We wanna treat ‘em to a good time. We want them to be part of something that's. Big in the community and the community wants that as well. So if you're here and you're willing to be here, then that matters.BEN: I love it. Well, I mean, everything I'm hearing about Borrego, like literally I just reached out ‘cause I wanted to just talk film festival submissions, but now I'm like, Ooh, next year I'm definitely gonna submit to, uh, to Borrego.MATT: Yeah, I know this was supposed to be like a strategy session and here I am bragging about the film festival. That'sBEN: No, no. It's exactly what I, what I want. It's great. Last question. What's a, what's a. Documentary that blew you away recently?MATT: So, okay, so last year at our film festival, there was this really cool documentary called Dale. Have you seen it?BEN: No. Tell me about it.MATT: So Dale is like this older woman and she's the first basic Asian American that was in the, um, uh, Los Angeles orchestra, the Los Angeles Phil Harmonic. Okay. And essentially all it is is.I say all it is like, it's a very profound kind of retrospective of what she did to get to that point and you know, her views on things and it's just, and the music that was involved, just very beautiful, very poignant and simple. And. So when, when you have like movies like this and it's, it's not even a 10 minute long movie, it's under 10 minutes.Mm-hmm. When it just touches on these really profound themes and it's moving in a way that catches you off guard. Those are the things that you can't ignore, right? Mm-hmm. And this is actually, Dale's a good example because, you know, it's not always shot pristinely, it doesn't have to look, perfect. But the story reaches kind of a transcendent level that is really, really nice. So if I would throw in Dale and let me see, uh, the the director of that, his name was Justin Strike. So if anyone, I think it's still on the film festival circuit, so you have that opportunity. Go check it out.BEN: Love it. Love it. Love it. Matt, thank you so much for taking the time. For people who are interested in Borrego Springs Film Festival, either to attend, to submit, et cetera, what where should they go and where can they find you?MATT: Oh, online search, just, you know, Borrego Springs Film Festival. It'll lead you to all the places you need to be.And, uh, yeah, just track us down that way. Pretty straightforward. Take a peek at what we're offering. We keep mm-hmm uh, we keep an archive of the stuff we've done online so you can pull back the curtain and look and say, okay, is this kind of something I'd be interested in?Um, you can get a vibe for it that way. And, uh, that's, yeah, that's kind of it. That's kind of it. I think we've tried hard to make sure that what we offered is pretty transparent, and if you take a look at it and you think it's a good fit, and by all means, send us your stuff. Including you, by the way, so, you know.Yeah, no, you have to submit as well now would definitelyBEN: be submitting early bird deadline next year. Perfect. I wish I, if I was still in LA I'd come down, uh, next month and, and just go to this upcoming festival. It sounds wonderful.MATT: Well, I know. Why don't you just do it anyway?BEN: Yeah, I'll give you aMATT: VIP pass.I that,BEN: listen, I might take you up on it. I still all, well, if you do, it'sMATT: we'll be waiting for you.BEN: You, you know, we're, we're documentary filmmakers. We always have a couple irons in the fire. So I do have one kind of idea of, uh, another doc I'd like to shoot out on la maybe I'll combine it. I'll let you know.MATT: Perfect excuse.BEN: Hey, this was fantastic. Thank you so much for taking the time. I'm so glad um, we connected and uh, just listen. Our pleasure be fantastic.MATT: Yeah, we're, we're happy as a film festival to be asked to do this kind of thing, so thank you. And um, best of luck to your film too. I'm gonna check it out, so be sure to submit it straight away.BEN: I will. Thank you so much, Matt. Alright man. Thanks.BEN: That was my interview with Matt of the Borrego Springs Film Festival. Hope you enjoyed, please forward to at least one person. Have a great week. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

Are the Claims of Racism True, or a Distraction? Special Episode. From Chicago to West Virginia, a Law Enforcement Perspective. Few accusations are repeated as often, or with as much certainty, as the claim that American policing and the criminal justice system are inherently racist. It's a powerful narrative, amplified daily across social media, headlines, and political talking points. But is it true? Or has it become a dangerous distraction from facts, context, and real solutions? Look for The Law Enforcement Talk Radio Show and Podcast on social media like their Facebook , Instagram , LinkedIn , Medium and other social media platforms. That question is at the center of a special episode of the Law Enforcement Talk Radio Show and Podcast, available on their website, also on Apple Podcasts, Spotify, Youtube and many major streaming platforms, and discussed across Facebook, Instagram, and the news. The episode features Maurice “Maury” Richards, a former Police Chief in Martinsburg, West Virginia, and a retired Chicago Police Lieutenant with decades of frontline experience. Experience From Two Very Different Cities Richards' career spans two vastly different policing environments, urban Chicago and small-city West Virginia. His perspective is not theoretical or academic; it's built on years of responding to violent crime, managing officers, and confronting the realities that don't always make headlines. Supporting articles about this and much more from Law Enforcement Talk Radio Show and Podcast in platforms like Medium , Blogspot and Linkedin . During the conversation, Richards challenges the popular claim that police shootings in America are driven by racial bias. Instead, he argues that crime patterns, suspect behavior, and officer encounters with violence, not race, largely explain police use-of-force outcomes. Are the Claims of Racism True, or a Distraction? Special Episode. What the Data Shows National data consistently reveals that police shootings closely track rates of violent crime and armed encounters, not racial animus. In 2019, police officers fatally shot just over 1,000 individuals nationwide. The majority were armed or posed an immediate threat. While African Americans represented roughly a quarter of those killed, that proportion has remained stable for years and is lower than what crime and suspect data would predict, given the frequency with which officers encounter armed violent offenders. That context is often missing from public debate. Available for free on their website and streaming on Apple Podcasts, Spotify, Youtube and other podcast platforms. Equally overlooked: in 2019, police fatally shot more unarmed white suspects than unarmed Black suspects, and those numbers have declined significantly since 2015. When placed alongside broader homicide data, unarmed Black suspects killed by police represent a tiny fraction of overall violent deaths involving African Americans. What Research Actually Concludes Multiple large-scale studies, spanning economics, criminology, and peer-reviewed science, have examined police use of force. Their findings repeatedly undermine the claim of systemic racial bias in police shootings. Are the Claims of Racism True, or a Distraction? Special Episode. The Law Enforcement Talk Radio Show and Podcast episode is available for free on their website , Apple Podcasts , Spotify and most major podcast platforms. Researchers have found that: The likelihood of a fatal police encounter increases with exposure to violent suspects, regardless of race. There is no statistically significant evidence of anti-Black bias in fatal police shootings when crime rates and behavior during encounters are considered. White officers, in some departments, have been found less likely than minority officers to shoot unarmed Black suspects. These conclusions don't deny that misconduct occurs or that bad officers exist. Rather, they challenge the idea that racism is baked into the system itself. The Cost of a False Narrative Richards and the show's hosts argue that the real danger lies in what happens when an unproven narrative is treated as fact. The portrayal of policing as systemically racist has had consequences, some deadly.  In past years, false assumptions fueled targeted attacks on officers and led to pullbacks in proactive policing, especially in high-crime neighborhoods. When officers disengage, it is often law-abiding residents in minority communities who pay the price through increased violence, drug activity, and gang control. Are the Claims of Racism True, or a Distraction? Special Episode. Check out The Law Enforcement Talk Radio Show and Podcast website, on Apple podcasts, Spotify, Youtube and on LinkedIn, Facebook, Instagram, and across most podcast platforms where listeners will find authentic law enforcement stories. As Richards explains, fewer arrests and less enforcement don't eliminate crime, they simply shift power to those who exploit the absence of law and order. Politics, Policy, and the Bigger Picture Claims of systemic racism have become foundational to movements such as “Defund the Police,” opposition to Broken Windows policing, and calls to dismantle traditional drug enforcement. Even national leaders have echoed these allegations, often without defining what “systemic racism” actually means. When examined closely, the arguments fall apart: Claims of widespread racial animus ignore how aggressively modern institutions punish and correct discriminatory behavior. Assertions that past racism explains all present disparities assume causal links unsupported by evidence. Psychological theories of subconscious bias have been widely challenged and debunked. Disparity-based arguments focus solely on offenders while ignoring victims, who are disproportionately minority themselves. Perhaps most troubling, many proposed “solutions” would harm the very communities they claim to protect by reducing safety, enforcement, and accountability. The Bottom Line The conversation reaches a clear conclusion: the claim of systemic racism in American policing and the criminal justice system does not stand up to scrutiny. That doesn't mean reform isn't needed or that every police action is justified, but it does mean debates should be grounded in facts, not fear or political convenience. Are the Claims of Racism True, or a Distraction? Special Episode. A Special Episode of the podcast episode is streaming now on Apple Podcasts, Spotify, and across Facebook, Instagram, and LinkedIn. To hear the full discussion, listen to this special episode of the Law Enforcement Talk Radio Show and Podcast, available now on their website, on Apple Podcasts, Spotify, Youtube and other major platforms, and join the conversation across social media and news outlets nationwide. Listeners can tune in on the Law Enforcement Talk Radio Show website, on Apple Podcasts, Spotify, YouTube, and most every major Podcast platform and follow updates on Facebook, Instagram, and other major News outlets. You can find the show on Facebook, Instagram, Pinterest, X (formerly Twitter), and LinkedIn, as well as read companion articles and updates on Medium, Blogspot, YouTube, and even IMDB. You can help contribute money to make the Gunrunner Movie . The film that Hollywood won't touch. It is about a now Retired Police Officer that was shot 6 times while investigating Gunrunning. He died 3 times during Medical treatment and was resuscitated. You can join the fight by giving a monetary “gift” to help ensure the making of his film at agunrunnerfilm.com . Background song Hurricane is used with permission from the band Dark Horse Flyer. You can contact John J. “Jay” Wiley by email at Jay@letradio.com , or learn more about him on their website . Stay connected with updates and future episodes by following the show on Facebook, Instagram, LinkedIn, their website and other Social Media Platforms. Find a wide variety of great podcasts online at The Podcast Zone Facebook Page , look for the one with the bright green logo. Be sure to check out our website . Be sure to follow us on X , Instagram , Facebook, Pinterest, Linkedin and other social media platforms for the latest episodes and news. Are the Claims of Racism True, or a Distraction? Special Episode. Attributions Manhattan Insitute Liberty University Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

A brief take on reimagining scholarly book reviews in African American literary studies, exploring how cluster reviews could illuminate broader developments across subfields more effectively than single-volume assessments.Written by Howard Rambsy IIRead by Kassandra Timm 

A brief take on how African American literary knowledge has long circulated through sound as well as print, showing how Remarkable Receptions extends that oral tradition by calling listeners into an audio archive of Black literary history.Written by Howard Rambsy IIRead by Kassandra Timm

A brief take on the memorable names that shape African American short fiction, showing how writers from Chesnutt and Hurston to Baldwin and Bambara use naming to capture voice, region, history, and character across generations of stories.Written by Kenton RambsyRead by Kassandra Timm

A brief take on the unforgettable names found throughout African American novels, exploring how Black writers use naming to reveal character, history, irony, and identity across generations of novels.Written by Howard Rambsy IIRead by Kassandra Timm 

Join me as I sit down with historian Ronald Angelo Johnson to explore his groundbreaking book Entangled Alliances: Black Internationalism in the Early American Republic. Johnson reveals how free Black communities, Caribbean revolutionaries, and geopolitical alliances shaped the rise of U.S. diplomacy during the nation's formative decades.From the Haitian Revolution to the complex relationship between African American activists and U.S. officials, Johnson explains why early American history cannot be understood without the influence of the Black Atlantic world and why history can never be seen as simply black and white. Support the show

San Jose is home to the largest Sikh temple – or gurdwara – in the U.S., and for decades, it has been a place of sanctuary and refuge. But lately, another feeling has settled in for worshippers: fear.ICE enforcement has ramped up over the past year, with some of the sharpest increases in California. And Sikhs, many who are from the Indian state of Punjab, worry their sacred spaces could become targets. South Asians aren't always the first group that comes to mind when we talk about undocumented communities. But according to U.S. Customs and Border Enforcement, 35,000 people from India were apprehended at the border this year.  Journalist Tanay Gokhale has been out reporting in the South Asian community, and joins host Sasha Khokha to talk about what he's been hearing from Sikh worshippers at gurdwaras and those who've been detained by ICE.  And we visit CJ's BBQ and Fish in Richmond. Owner Charles Evans calls himself a "World War II baby." He was born in Richmond to parents who moved to the Bay Area from Arkansas, part of a migration of African Americans west to work in the shipyards. His dad created BBQ pits out of washing machines and refrigerators in their backyard. His mom insisted all of her kids learn to cook, clean, and sew. After driving AC Transit buses for many years, Charles opened CJ's BBQ and Fish 30 years ago, putting his own born-in-California spin on the barbeque and soul food recipes his parents taught him. For her series California Foodways, Lisa Morehouse discovered CJ's is not just a celebration of Richmond's Black history and Southern roots, but also a place of refuge and delicious comfort for everybody. Learn more about your ad choices. Visit megaphone.fm/adchoices

Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Sauda Johnson McNeal. To highlight Sauda Johnson McNeal’s journey from a successful law career to filmmaking. To discuss her new film “Love the Skin You’re In”, its themes, production process, and personal significance. To inspire entrepreneurs and creatives to pursue their passions while balancing purpose and practicality. Key Takeaways Career Transition & Dual Roles Sauda started as an actor, realized the instability, and pursued law for financial security. Maintains dual careers: education attorney and filmmaker, blending purpose (helping youth) and passion (storytelling). Film Details Title: Love the Skin You’re In. Themes: Self-love, family healing, caretaking, and African-American experiences. Cast includes Wendy Raquel Robinson, Marla Gibbs, and Oba Babatundé. Release: Limited theatrical run (Dec 17–23 in North Hollywood), streaming planned for February 2026 (Black History Month). Production Challenges Unexpected permit issues caused shutdowns. Tight 4-week shooting schedule due to budget constraints. Importance of leveraging relationships and calling in favors for casting and resources. Personal Connection Story inspired by Sauda’s own struggles with self-worth during college. Emphasizes therapy, faith, and support systems in overcoming self-doubt. Entrepreneurial Insight First project was self-financed; future plans include raising private equity for films. Goal: Maintain creative control while expanding opportunities for others. Impact & Audience Takeaway Encourages self-acceptance and repairing family relationships. Resonates with men on fatherhood and emotional presence. Highlights the underappreciated role of caretakers. Notable Quotes On purpose and passion:“My purpose is to help young people. My passion is this filmmaking business.” On self-love:“Love the skin you’re in is about total self-acceptance regardless of where you are on your journey.” On overcoming fear:“Film is unpredictable… I said, okay, the other fears—do it anyway.” On family relationships:“We are not promised tomorrow… Fix these family relationships if they’re possible to be fixed.” On entrepreneurial mindset:“I absolutely would like to use other people’s money… but keep creative control.” #SHMS #STRAW #BESTSupport the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.

Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Sauda Johnson McNeal. To highlight Sauda Johnson McNeal’s journey from a successful law career to filmmaking. To discuss her new film “Love the Skin You’re In”, its themes, production process, and personal significance. To inspire entrepreneurs and creatives to pursue their passions while balancing purpose and practicality. Key Takeaways Career Transition & Dual Roles Sauda started as an actor, realized the instability, and pursued law for financial security. Maintains dual careers: education attorney and filmmaker, blending purpose (helping youth) and passion (storytelling). Film Details Title: Love the Skin You’re In. Themes: Self-love, family healing, caretaking, and African-American experiences. Cast includes Wendy Raquel Robinson, Marla Gibbs, and Oba Babatundé. Release: Limited theatrical run (Dec 17–23 in North Hollywood), streaming planned for February 2026 (Black History Month). Production Challenges Unexpected permit issues caused shutdowns. Tight 4-week shooting schedule due to budget constraints. Importance of leveraging relationships and calling in favors for casting and resources. Personal Connection Story inspired by Sauda’s own struggles with self-worth during college. Emphasizes therapy, faith, and support systems in overcoming self-doubt. Entrepreneurial Insight First project was self-financed; future plans include raising private equity for films. Goal: Maintain creative control while expanding opportunities for others. Impact & Audience Takeaway Encourages self-acceptance and repairing family relationships. Resonates with men on fatherhood and emotional presence. Highlights the underappreciated role of caretakers. Notable Quotes On purpose and passion:“My purpose is to help young people. My passion is this filmmaking business.” On self-love:“Love the skin you’re in is about total self-acceptance regardless of where you are on your journey.” On overcoming fear:“Film is unpredictable… I said, okay, the other fears—do it anyway.” On family relationships:“We are not promised tomorrow… Fix these family relationships if they’re possible to be fixed.” On entrepreneurial mindset:“I absolutely would like to use other people’s money… but keep creative control.” #SHMS #STRAW #BESTSee omnystudio.com/listener for privacy information.

Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Sauda Johnson McNeal. To highlight Sauda Johnson McNeal’s journey from a successful law career to filmmaking. To discuss her new film “Love the Skin You’re In”, its themes, production process, and personal significance. To inspire entrepreneurs and creatives to pursue their passions while balancing purpose and practicality. Key Takeaways Career Transition & Dual Roles Sauda started as an actor, realized the instability, and pursued law for financial security. Maintains dual careers: education attorney and filmmaker, blending purpose (helping youth) and passion (storytelling). Film Details Title: Love the Skin You’re In. Themes: Self-love, family healing, caretaking, and African-American experiences. Cast includes Wendy Raquel Robinson, Marla Gibbs, and Oba Babatundé. Release: Limited theatrical run (Dec 17–23 in North Hollywood), streaming planned for February 2026 (Black History Month). Production Challenges Unexpected permit issues caused shutdowns. Tight 4-week shooting schedule due to budget constraints. Importance of leveraging relationships and calling in favors for casting and resources. Personal Connection Story inspired by Sauda’s own struggles with self-worth during college. Emphasizes therapy, faith, and support systems in overcoming self-doubt. Entrepreneurial Insight First project was self-financed; future plans include raising private equity for films. Goal: Maintain creative control while expanding opportunities for others. Impact & Audience Takeaway Encourages self-acceptance and repairing family relationships. Resonates with men on fatherhood and emotional presence. Highlights the underappreciated role of caretakers. Notable Quotes On purpose and passion:“My purpose is to help young people. My passion is this filmmaking business.” On self-love:“Love the skin you’re in is about total self-acceptance regardless of where you are on your journey.” On overcoming fear:“Film is unpredictable… I said, okay, the other fears—do it anyway.” On family relationships:“We are not promised tomorrow… Fix these family relationships if they’re possible to be fixed.” On entrepreneurial mindset:“I absolutely would like to use other people’s money… but keep creative control.” #SHMS #STRAW #BESTSteve Harvey Morning Show Online: http://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.

The Battles of Lexington and Concord in April 1775, known as the "shot heard round the world," marked the first military engagements of the American Revolution. Ralph Waldo Emerson named it that because it launched revolutionary movements in Europe and beyond, marking it as a key moment in the fight for liberty and self-governance. But this moment was global in more ways than inspiring other nations. The quest for independence by the 13 North American colonies against British rule rapidly escalated into a worldwide conflict. The Patriots forged alliances with Britain’s key adversaries—France, Spain, and the Netherlands—securing covert arms supplies initially, which evolved into open warfare by 1779. French and Spanish naval campaigns in the Caribbean diverted British forces from North America to defend valuable sugar colonies, while American privateers disrupted British trade, bolstering the rebel economy. All of this international involvement was promoted by the Founding Fathers, because the Declaration of Independence was translated into French, Spanish, Dutch, and other languages and distributed by them across Europe to garner sympathy and support from nations like France and the Netherlands. Spain’s separate war against Britain in Florida and South America, alongside French efforts to spark uprisings in British-controlled India, further strained Britain’s ability to quash the rebellion. Post-independence, the consequences rippled globally: Britain and Spain tightened their grip on remaining colonies, Native American tribes faced heightened land encroachments due to the loss of British protections, and enslaved African Americans who fought for Britain, lured by promises of freedom, were relocated to Nova Scotia and later Sierra Leone. To explore this new framework of the Revolutionary War is today’s guest, Richard Bell, author of “The American Revolution and the Fate of the World.”See omnystudio.com/listener for privacy information.

Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed James Green. Purpose of the Interview The interview aimed to showcase James Green’s entrepreneurial journey as the founder of KyuTeaCo (Kyushu Tea Company), a premium tea brand focused on curating authentic Japanese tea experiences. It highlighted his unique position as an African-American entrepreneur bridging cultures, his passion for tea, and his mission to educate consumers about tea’s health benefits and heritage. Key Takeaways Background & Inspiration James Green grew up in Atlanta, studied international business and Japanese, and lived in Japan for five years. His passion for tea began during a high school exchange program in Fukuoka, Japan, and deepened through cultural immersion. Business Model KyuTeaCo partners with eight small, organic tea-growing families in Kyushu, Japan. Direct-to-consumer and B2B approach: e-commerce platform launching soon, plus partnerships with cafes. Simplified supply chain: Farmers → Kuti Co → Customer (eliminates middlemen, ensures fair pay for farmers). Mission & Differentiation Focus on storytelling and cultural connection, not just selling tea. Educates consumers on tea’s health benefits (e.g., reducing hypertension and diabetes risks). Premium curated experience vs. mass-market tea brands. Challenges & Lessons Kickstarter campaign failed due to lack of collaborators and marketing reach. Learned importance of storytelling and emotional connection for crowdfunding success. Social Impact “11% for Good” Program: 11% of every sale goes to sustainability efforts for Japanese tea farming. Name significance: “11” in Japanese sounds like “ii,” meaning “good.” Future Plans Launching e-commerce in January. Exploring subscription models and virtual tea tastings. Goal: Build a brand that consumers care about through cultural education and premium experiences. Notable Quotes On launching a business:“I’m learning now more than anything, just launch it. Just go. You’ll build it brick by brick, day by day.” On cultural connection:“We’re not just selling tea; we’re telling the stories of Kyushu and these families. It’s about legacy and sustainability.” On social impact:“Every bag of tea someone buys, 11% goes toward rehabilitating the Japanese tea industry. We’re investing in their futures.” On entrepreneurship:“Anybody can sell a product. What we’re doing is creating an experience and educating people about the culture behind it.” #SHMS #STRAW #BESTSupport the show: https://www.steveharveyfm.com/See omnystudio.com/listener for privacy information.

Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed James Green. Purpose of the Interview The interview aimed to showcase James Green’s entrepreneurial journey as the founder of KyuTeaCo (Kyushu Tea Company), a premium tea brand focused on curating authentic Japanese tea experiences. It highlighted his unique position as an African-American entrepreneur bridging cultures, his passion for tea, and his mission to educate consumers about tea’s health benefits and heritage. Key Takeaways Background & Inspiration James Green grew up in Atlanta, studied international business and Japanese, and lived in Japan for five years. His passion for tea began during a high school exchange program in Fukuoka, Japan, and deepened through cultural immersion. Business Model KyuTeaCo partners with eight small, organic tea-growing families in Kyushu, Japan. Direct-to-consumer and B2B approach: e-commerce platform launching soon, plus partnerships with cafes. Simplified supply chain: Farmers → Kuti Co → Customer (eliminates middlemen, ensures fair pay for farmers). Mission & Differentiation Focus on storytelling and cultural connection, not just selling tea. Educates consumers on tea’s health benefits (e.g., reducing hypertension and diabetes risks). Premium curated experience vs. mass-market tea brands. Challenges & Lessons Kickstarter campaign failed due to lack of collaborators and marketing reach. Learned importance of storytelling and emotional connection for crowdfunding success. Social Impact “11% for Good” Program: 11% of every sale goes to sustainability efforts for Japanese tea farming. Name significance: “11” in Japanese sounds like “ii,” meaning “good.” Future Plans Launching e-commerce in January. Exploring subscription models and virtual tea tastings. Goal: Build a brand that consumers care about through cultural education and premium experiences. Notable Quotes On launching a business:“I’m learning now more than anything, just launch it. Just go. You’ll build it brick by brick, day by day.” On cultural connection:“We’re not just selling tea; we’re telling the stories of Kyushu and these families. It’s about legacy and sustainability.” On social impact:“Every bag of tea someone buys, 11% goes toward rehabilitating the Japanese tea industry. We’re investing in their futures.” On entrepreneurship:“Anybody can sell a product. What we’re doing is creating an experience and educating people about the culture behind it.” #SHMS #STRAW #BESTSee omnystudio.com/listener for privacy information.

Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Celebrity Chef Jernard Wells.