Podcasts about African Americans

In 1980s Los Angeles, a killer is terrorizing South Central, murdering African American women and discarding their bodies in the street. As the victim count rises–suspects are few–fear and anger take hold in a community often overlooked by the police.This Episode is sponsored by BetterHelpBetterHelp: Visit BetterHelp.com/COLDCASE to get 10% off your first month.Progressive: Multitask right now. Quote your car insurance at Progressive.com to join the over 28 million drivers who trust Progressive.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

As a bridge between our college football series and our forthcoming civil rights series we discuss the Miami-Notre Dame rivarly and the racial aspect of it- and assess the empowerment of African-Americans in college athletics.

This week on Shat the Movies, we march into Glory (1989), the powerful Civil War epic telling the true story of the 54th Massachusetts, the first African American volunteer infantry regiment. With unforgettable performances by Denzel Washington, Morgan Freeman, and Matthew Broderick, the film tackles courage, sacrifice, and the fight for dignity. Gene and Big D dig into the emotional weight, historical accuracy, and lasting impact of this Oscar-winning drama. Does Glory still resonate today? Tune in and find out. Subscribe Now Android: https://www.shatpod.com/android Apple/iTunes: https://www.shatpod.com/apple Help Support the Podcast Contact Us: https://www.shatpod.com/contact Commission Movie: https://www.shatpod.com/support Support with Paypal: https://www.shatpod.com/paypal Support With Venmo: https://www.shatpod.com/venmo Shop Merchandise: https://www.shatpod.com/shop Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite

The promise of Reconstruction sparked a transformative era in American history as free and newly emancipated Black Americans sought to redefine their place in a nation still grappling with the legacy of slavery. Often remembered as a period of failed progressive change that gave way to Jim Crow and second-class citizenship, Reconstruction's tragic narrative has long overshadowed the resilience and agency of African Americans during this time.Requiem for Reconstruction (University of North Carolina Press, 2025) chronicles Reconstruction's legacy by focusing on key Black figures such as South Carolina congressman Robert Smalls, Judge William Whipper, writer Frances Rollin, and others who shaped postbellum Black America. Robert D. Bland traces the impact of the Reconstruction generation—Black Americans born between 1840 and 1870 who saw Reconstruction as a defining political movement and worked to preserve its legacy by establishing a new set of historical practices such as formulating new archives, shaping local community counternarratives, using the Black press to inform national audiences about Southern Republican politics, and developing a framework to interpret the recent past's connection to their present world. Set in South Carolina's Lowcountry—a hub of Black freedom, landownership, and activism—this book shows how late nineteenth-century Black leaders, educators, and journalists built a powerful countermemory of Reconstruction, defying the dominant white narrative that sought to erase their contributions. Find Professor Bland at his website, and on Threads, BlueSky, and X. Host Sullivan Summer is at her website, Instagram, and on Substack where she and Professor Bland continued their conversation. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

The War of 1812 wasn't sailors' rights — it was empire.Think you know why the War of 1812 started? Most people believe it was all about the Royal Navy “pressing” innocent American sailors. Historian Matt Taylor calls nonsense on that myth – and reveals how the real story is far darker, and far more explosive.Paul Bavill is joined by Matt Taylor, author of Black Redcoats, to uncover the hidden narratives of the War of 1812. From the forgotten African Americans who fought for Britain to the political smokescreens that dragged America into war, Matt shatters the schoolbook version of this conflict.Highlights include:The Real Cause of War – Forget sailors' rights: the United States launched the war as an imperialist grab for territory, land, and dominance over Native Americans.Black Redcoats & the Colonial Marines – Enslaved African Americans who escaped to British lines were armed, uniformed, and helped tear apart America's defenses. Their presence led directly to the collapse at Bladensburg and the burning of Washington.The Psychological Bombshell – Fear of slave uprisings paralysed militias, making the Chesapeake campaigns devastatingly effective.Aftermath & Legacy – From the unique “company villages” in Trinidad that still survive today, to the tragic destruction of Negro Fort in Florida, the legacy of the Black Redcoats still reverberates.The Human Story – Meet Fernando, enslaved, freed, re-enslaved by Andrew Jackson, and finally liberated – choosing to carry the name of the British officer who once commanded him.This episode doesn't just retell history – it rips apart comfortable myths and shows how race, freedom, and empire collided in ways that shaped nations. If you want history with bite, this is it.

Jeffrey Dahmer, also known as the "Milwaukee Cannibal" or the "Milwaukee Monster," was an American serial killer and sex offender. He gained notoriety for a gruesome series of murders and acts of necrophilia and cannibalism that occurred in the 1980s and early 1990s. Here is a summary of his life and crimes:Early Life: Jeffrey Dahmer was born on May 21, 1960, in Milwaukee, Wisconsin, USA. He grew up in a seemingly normal family but exhibited troubling behavior as a child, including an early fascination with dead animals.First Murder: His killing spree began in 1978, shortly after high school graduation, when he murdered a hitchhiker named Steven Hicks. Dahmer later said this was the point at which he felt a compulsion to kill.Modus Operandi: Dahmer's modus operandi involved luring young men, often of Asian or African-American descent, to his apartment. He would then drug and strangle them, engaging in sexual acts with the corpses and sometimes dismembering them.Arrest and Imprisonment: Dahmer's crimes went undetected for years. However, in 1991, police arrested him for a different reason and discovered gruesome evidence in his apartment, leading to his arrest and eventual conviction.Confessions: Dahmer confessed to the murders of 17 young men and boys, revealing chilling details of his crimes during interrogations. He showed a complete lack of remorse for his actions.Trial and Sentencing: In 1992, Dahmer went to trial in Wisconsin. He was found guilty of 15 counts of murder and sentenced to 16 consecutive life terms in prison without the possibility of parole.Death in Prison: On November 28, 1994, Dahmer was murdered by a fellow inmate, Christopher Scarver, in a prison in Portage, Wisconsin. Scarver also killed another inmate during the same attack.In a new documentary being presented by Fox, we are hearing never before released audio of Jeffrey Dahmer and his father during a phone call where Dahmer admits to his father that he kept body parts from a victim in a box at his grandmothers house. to contact me:bobbycapucci@protonmail.comsource:EXCLUSIVE: Serial killer Jeffrey Dahmer bragged to his father that he kept the mummified head and genitals of one of his victims in a box in his grandmother's basement, never-before-heard prison phone call reveals | Daily Mail Online

From Coca-Cola to McDonalds ~ Artist. Entrepreneur. Author. Servant Leader CEO of "The Why Not Win Institute" :These are just a few words that describe Larry D. Thornton, Sr. You could also call him a game changer, teacher and team player.  Even though there are many words to describe Larry's prowess leadership, hearing his life story puts everything in perspective.Growing Up in the Segregated South to go to Game Changer was not without adversity BOTH socially & because of race perceptions, However, his Mom & Many Mentors taught him interpersonal relationship skills that helped him see a bigger picture  on solving obstacles so he & his team could become winners in Business & Life.Thornton's artistry and work ethic got him attention at Coca-Cola, both for the good and the bad. He had to figure out a way to navigate this new world, where higher-ups praised him but co-workers reminded him of his “blackness” by drawing a noose in his workstation.  He persevered by learning to appreciate and embrace diversity, people resources, and conflicting opinions. While his success grew at Coca-Cola, Thornton did the unthinkable: set out to be the first African American to own a McDonald's franchise in Birmingham. This thorny journey was peppered with threats, attempts to thwart his mission and a marriage he could not keep from falling apart. He absorbed the “try, try and try again” motto, and came to see that failure was a prelude to feasting upon the sweet fruit of success. Thornton made up his mind that he would spend each day on a mission to show his unbending gratitude for his life and its benefits by fostering a supreme attitude and maintaining consistency in vision, purpose, and an unwavering commitment to principles. Thornton's journey from Madison Park, Montgomery, has been a long one. “Why Not Win?” reflects on his most useful lessons and the anecdotes associated with them He teaches Success Principles of Leadership at his "The Why Not Win Institute" launched  with Dr. Zillah Fluker in November of 2018 and in the last several years has been delivered at more than 20 colleges, universities & corporations. Find out more at:~ LarryThornton.com© 2026 All Rights Reserved© 2026 BuildingAbundantSuccess!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Dr. Marcus joins Dr. Thema to discuss the importance of holistic reparations as they explore his thought provoking book in light of the American Psychological Association resolution on Individual, Collective, and Intergenerational Trauma Recovery: Considering the Restorative Roles of Resttition and Reparations. Dr. Marcus Anthony Hunter is a professor of sociology and African American studies at UCLA. He is also the author of "Radical Reparations: Healing the Soul of a Nation," among other titles. In his last book, he talks about the many forms of reparations and things the nation can do to bring healing and repair to descendants of enslaved Africans. He is committed to raising awareness about the many contributions of Black people towards building the United States of America. Mixed & Edited by Next Day Podcast info@nextdaypodcast.com

From her start playing paddle tennis on the streets of Harlem as a young teenager to her eleven Grand Slam tennis wins to her professional golf career, Althea Gibson became the most famous black sportswoman of the mid-twentieth century. In her unprecedented athletic career, she was the first African American to win titles at the French Open, Wimbledon, and the US Open. In this comprehensive biography, Ashley Brown narrates the public career and private struggles of Althea Gibson (1927-2003). Based on extensive archival work and oral histories, Serving Herself: The Life and Times of Althea Gibson (Oxford UP, 2023) sets Gibson's life and choices against the backdrop of the Great Migration, Jim Crow racism, the integration of American sports, the civil rights movement, the Cold War, and second wave feminism. Throughout her life Gibson continuously negotiated the expectations of her supporters and adversaries, including her patrons in the black-led American Tennis Association, the white-led United States Lawn Tennis Association, and the media, particularly the Black press and community's expectations that she selflessly serve as a representative of her race.  An incredibly talented, ultra-competitive, and not always likeable athlete, Gibson wanted to be treated as an individual first and foremost, not as a member of a specific race or gender. She was reluctant to speak openly about the indignities and prejudices she navigated as an African American woman, though she faced numerous institutional and societal barriers in achieving her goals. She frequently bucked conventional norms of femininity and put her career ahead of romantic relationships, making her personal life the subject of constant scrutiny and rumors. Despite her major wins and international recognition, including a ticker tape parade in New York City and the covers of Sports Illustrated and Time, Gibson endeavored to find commercial sponsorship and permanent economic stability. Committed to self-sufficiency, she pivoted from the elite amateur tennis circuit to State Department-sponsored goodwill tours, attempts to find success as a singer and Hollywood actress, the professional golf circuit, a tour with the Harlem Globetrotters and her own professional tennis tour, coaching, teaching children at tennis clinics, and a stint as New Jersey Athletics Commissioner. As she struggled to support herself in old age, she was left with disappointment, recounting her past achievements decades before female tennis players were able to garner substantial earnings. A compelling life and times portrait, Serving Herself offers a revealing look at the rise and fall of a fiercely independent trailblazer who satisfied her own needs and simultaneously set a pathbreaking course for Black athletes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

From her start playing paddle tennis on the streets of Harlem as a young teenager to her eleven Grand Slam tennis wins to her professional golf career, Althea Gibson became the most famous black sportswoman of the mid-twentieth century. In her unprecedented athletic career, she was the first African American to win titles at the French Open, Wimbledon, and the US Open. In this comprehensive biography, Ashley Brown narrates the public career and private struggles of Althea Gibson (1927-2003). Based on extensive archival work and oral histories, Serving Herself: The Life and Times of Althea Gibson (Oxford UP, 2023) sets Gibson's life and choices against the backdrop of the Great Migration, Jim Crow racism, the integration of American sports, the civil rights movement, the Cold War, and second wave feminism. Throughout her life Gibson continuously negotiated the expectations of her supporters and adversaries, including her patrons in the black-led American Tennis Association, the white-led United States Lawn Tennis Association, and the media, particularly the Black press and community's expectations that she selflessly serve as a representative of her race.  An incredibly talented, ultra-competitive, and not always likeable athlete, Gibson wanted to be treated as an individual first and foremost, not as a member of a specific race or gender. She was reluctant to speak openly about the indignities and prejudices she navigated as an African American woman, though she faced numerous institutional and societal barriers in achieving her goals. She frequently bucked conventional norms of femininity and put her career ahead of romantic relationships, making her personal life the subject of constant scrutiny and rumors. Despite her major wins and international recognition, including a ticker tape parade in New York City and the covers of Sports Illustrated and Time, Gibson endeavored to find commercial sponsorship and permanent economic stability. Committed to self-sufficiency, she pivoted from the elite amateur tennis circuit to State Department-sponsored goodwill tours, attempts to find success as a singer and Hollywood actress, the professional golf circuit, a tour with the Harlem Globetrotters and her own professional tennis tour, coaching, teaching children at tennis clinics, and a stint as New Jersey Athletics Commissioner. As she struggled to support herself in old age, she was left with disappointment, recounting her past achievements decades before female tennis players were able to garner substantial earnings. A compelling life and times portrait, Serving Herself offers a revealing look at the rise and fall of a fiercely independent trailblazer who satisfied her own needs and simultaneously set a pathbreaking course for Black athletes. 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

In this interview, she discusses her book, Race, Politics, and Irish America: A Gothic History (Oxford UP, 2023), which inserts successive Irish-American identities--forcibly transported Irish, Scots-Irish, and post-Famine Irish--into American histories and representations of race. Figures from the Scots-Irish Andrew Jackson to the Caribbean-Irish Rihanna, as well as literature, film, caricature, and beauty discourse, convey how the Irish racially transformed multiple times: in the slave-holding Caribbean, on America's frontiers and antebellum plantations, and along its eastern seaboard. This cultural history of race and centuries of Irishness in the Americas examines the forcibly transported Irish, the eighteenth-century Presbyterian Ulster-Scots, and post-1845 Famine immigrants. Their racial transformations are indicated by the designations they acquired in the Americas: 'Redlegs,' 'Scots-Irish,' and 'black Irish.' In literature by Fitzgerald, O'Neill, Mitchell, Glasgow, and Yerby (an African-American author of Scots-Irish heritage), the Irish are both colluders and victims within America's racial structure. Depictions range from Irish encounters with Native and African Americans to competition within America's immigrant hierarchy between 'Saxon' Scots-Irish and 'Celtic' Irish Catholic. Irish-connected presidents feature, but attention to queer and multiracial authors, public women, beauty professionals, and performers complicates the 'Irish whitening' narrative. Thus, 'Irish Princess' Grace Kelly's globally-broadcast ascent to royalty paves the way for 'America's royals,' the Kennedys. The presidencies of the Scots-Irish Jackson and Catholic-Irish Kennedy signalled their respective cohorts' assimilation. Since Gothic literature particularly expresses the complicity that attaining power ('whiteness') entails, subgenres named 'Scots-Irish Gothic' and 'Kennedy Gothic' are identified: in Gothic by Brown, Poe, James, Faulkner, and Welty, the violence of the colonial Irish motherland is visited upon marginalized Americans, including, sometimes, other Irish groupings. History is Gothic in Irish-American narrative because the undead Irish past replays within America's contexts of race. Aidan Beatty is a historian at the Frederick Honors College of the University of Pittsburgh 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

All Bones Considered: Laurel Hill Stories #082, Part 2 Happy 200th Birthday! Henry Hagert: Prosecuting Catto's Accused Killer Octavius Valentine Catto was a pioneering African American leader and activist in Philadelphia during the Reconstruction era, advocating for civil rights, voting rights, and racial integration. His assassination in 1871 during violent election-day riots marked a significant and tragic moment in Black American history. The prosecution of his alleged killer, Frank Kelly, was led by Henry S. Hagert, a distinguished Philadelphia lawyer and district attorney known for his meticulous legal skills.

From her start playing paddle tennis on the streets of Harlem as a young teenager to her eleven Grand Slam tennis wins to her professional golf career, Althea Gibson became the most famous black sportswoman of the mid-twentieth century. In her unprecedented athletic career, she was the first African American to win titles at the French Open, Wimbledon, and the US Open. In this comprehensive biography, Ashley Brown narrates the public career and private struggles of Althea Gibson (1927-2003). Based on extensive archival work and oral histories, Serving Herself: The Life and Times of Althea Gibson (Oxford UP, 2023) sets Gibson's life and choices against the backdrop of the Great Migration, Jim Crow racism, the integration of American sports, the civil rights movement, the Cold War, and second wave feminism. Throughout her life Gibson continuously negotiated the expectations of her supporters and adversaries, including her patrons in the black-led American Tennis Association, the white-led United States Lawn Tennis Association, and the media, particularly the Black press and community's expectations that she selflessly serve as a representative of her race.  An incredibly talented, ultra-competitive, and not always likeable athlete, Gibson wanted to be treated as an individual first and foremost, not as a member of a specific race or gender. She was reluctant to speak openly about the indignities and prejudices she navigated as an African American woman, though she faced numerous institutional and societal barriers in achieving her goals. She frequently bucked conventional norms of femininity and put her career ahead of romantic relationships, making her personal life the subject of constant scrutiny and rumors. Despite her major wins and international recognition, including a ticker tape parade in New York City and the covers of Sports Illustrated and Time, Gibson endeavored to find commercial sponsorship and permanent economic stability. Committed to self-sufficiency, she pivoted from the elite amateur tennis circuit to State Department-sponsored goodwill tours, attempts to find success as a singer and Hollywood actress, the professional golf circuit, a tour with the Harlem Globetrotters and her own professional tennis tour, coaching, teaching children at tennis clinics, and a stint as New Jersey Athletics Commissioner. As she struggled to support herself in old age, she was left with disappointment, recounting her past achievements decades before female tennis players were able to garner substantial earnings. A compelling life and times portrait, Serving Herself offers a revealing look at the rise and fall of a fiercely independent trailblazer who satisfied her own needs and simultaneously set a pathbreaking course for Black athletes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sports

From her start playing paddle tennis on the streets of Harlem as a young teenager to her eleven Grand Slam tennis wins to her professional golf career, Althea Gibson became the most famous black sportswoman of the mid-twentieth century. In her unprecedented athletic career, she was the first African American to win titles at the French Open, Wimbledon, and the US Open. In this comprehensive biography, Ashley Brown narrates the public career and private struggles of Althea Gibson (1927-2003). Based on extensive archival work and oral histories, Serving Herself: The Life and Times of Althea Gibson (Oxford UP, 2023) sets Gibson's life and choices against the backdrop of the Great Migration, Jim Crow racism, the integration of American sports, the civil rights movement, the Cold War, and second wave feminism. Throughout her life Gibson continuously negotiated the expectations of her supporters and adversaries, including her patrons in the black-led American Tennis Association, the white-led United States Lawn Tennis Association, and the media, particularly the Black press and community's expectations that she selflessly serve as a representative of her race.  An incredibly talented, ultra-competitive, and not always likeable athlete, Gibson wanted to be treated as an individual first and foremost, not as a member of a specific race or gender. She was reluctant to speak openly about the indignities and prejudices she navigated as an African American woman, though she faced numerous institutional and societal barriers in achieving her goals. She frequently bucked conventional norms of femininity and put her career ahead of romantic relationships, making her personal life the subject of constant scrutiny and rumors. Despite her major wins and international recognition, including a ticker tape parade in New York City and the covers of Sports Illustrated and Time, Gibson endeavored to find commercial sponsorship and permanent economic stability. Committed to self-sufficiency, she pivoted from the elite amateur tennis circuit to State Department-sponsored goodwill tours, attempts to find success as a singer and Hollywood actress, the professional golf circuit, a tour with the Harlem Globetrotters and her own professional tennis tour, coaching, teaching children at tennis clinics, and a stint as New Jersey Athletics Commissioner. As she struggled to support herself in old age, she was left with disappointment, recounting her past achievements decades before female tennis players were able to garner substantial earnings. A compelling life and times portrait, Serving Herself offers a revealing look at the rise and fall of a fiercely independent trailblazer who satisfied her own needs and simultaneously set a pathbreaking course for Black athletes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Thom Hartmann is the nation's #1 progressive talk radio host and a New York Times bestselling author. His new book is The Last American President: A Broken Man, a Corrupt Party, and a World on the Brink. Hartmann reflects on the first year of Trump 2.0 and the destruction and chaos it has unleashed on American democracy, society, and the world. Yet he insists that despair and surrender are not options as we enter 2026. Drawing on history and the cycles of great social change, Hartmann points to signs of a growing people's movement pushing back against Trumpism, as more Americans wake up to the damage inflicted by the oligarchs, gangster capitalism, and other anti-democratic forces. Ultimately, he believes the American people will prevail and push toward a real social democracy modeled on President Franklin Roosevelt's FAIR Deal. On this special New Year's episode, Chauncey DeVega reflects on how we must keep riding the wave out of the great troubles of 2025 — balancing pessimism and optimism, fear and hope. He urges us not to pretend everything is fine or suppress anger and grief, but to acknowledge those feelings and ask the essential question: "Okay — now what are you going to do?" in 2026. And for those fortunate enough to have had a good year amid so much collective pain, Chauncey emphasizes the obligation to share that energy and to uplift others. By learning from the long Black Freedom Struggle and other pro-democracy movements, the American people can better navigate what promises to be a perilous year ahead. In that spirit, Chauncey shares an essay on the tradition of Watch Night, when enslaved and free African Americans — often in secret and at great risk — gathered on New Year's Eve to count down the minutes until the Emancipation Proclamation took effect on January 1, 1863. WHERE CAN YOU FIND ME? On Twitter: https://twitter.com/chaunceydevega On Facebook: https://www.facebook.com/chauncey.devega My email: chaunceydevega@gmail.com HOW CAN YOU SUPPORT THE CHAUNCEY DEVEGA SHOW? Via Paypal at ChaunceyDeVega.com: Patreon: https://www.patreon.com/thechaunceydevegashow

For more than a century, the cooperative extension service has provided agricultural and educational programming to communities across the United States. From 4-H to nutrition services to economic development, the extension service has played a critical role in improving people's lives. Yet during the extension service's early years in Kentucky, the organization was rigidly segregated. Join us for a discussion with the author of a recent article published in The Register of the Kentucky Historical Society, who will discuss how African Americans in Kentucky used the agricultural extension service to improve farming, build community, and challenge racial segregation. Dr. Jed DeBruin is originally from Athens County in southeastern Appalachian Ohio. He is an Assistant Professor of Geography in the Department of Chemistry and Geosciences at Jacksonville State University in northeastern Appalachian Alabama. Dr. DeBruin has experience teaching many courses, including Introduction to Appalachian Studies, Global Inequalities, and Global Dynamics of Health & Disease. He has also instructed in-person, online, and hybrid courses. Dr. DeBruin aims to have an active classroom where regular writing and discussions occur throughout the course. Regarding his research, Dr. DeBruin works thematically within Black geographies, food and agricultural geographies, and Appalachian Studies. His work focuses on archiving practices with Black agricultural history and oral histories with present-day Black farmers in Appalachia. He has worked closely with the University of Kentucky's Committee on Social Theory, as well as UK's Appalachian Center and Appalachian Studies Program, and these experiences also influence his research practices and community engagement. Hosted by Dr. Allen A. Fletcher, associate editor of The Register of the Kentucky Historical Society and coordinator of our Research Fellows program, which brings in researchers from across the world to conduct research in the rich archival holdings of the Kentucky Historical Society. history.ky.gov/khs-for-me/for-re…earch-fellowships Kentucky Chronicles is presented by the Kentucky Historical Society, with support from the Kentucky Historical Society Foundation. history.ky.gov/about/khs-foundation This episode was recorded and produced by Gregory Hardison, with support and guidance from Dr. Stephanie Lang. Our theme music, “Modern Documentary,” was created by Mood Mode and is used courtesy of Pixabay. To learn more about our publication of The Register of the Kentucky Historical Society, or to learn more about our Research Fellows program, please visit our website: history.ky.gov/ history.ky.gov/khs-podcasts

In this episode of Partnering Leadership, Mahan Tavakoli speaks with Dr. Bernard Harris, a leader whose extraordinary career trajectory—from physician to NASA astronaut to CEO and venture capitalist—offers rare insights into the inner work of leadership. Dr. Harris is the first African American to walk in space, and the author of Embracing Infinite Possibilities: Letting Go of Fear to Find Your Highest Potential. His unique vantage point, shaped by science, space exploration, and C-suite leadership, gives him an extraordinary lens on what really limits potential—not just for individuals, but for teams and entire organizations.This is not a conversation about space missions. It's a candid exploration of the hidden forces that hold even the most accomplished leaders back. Dr. Harris shares how fear, false identity, and overachievement can become barriers disguised as success—and how leaders can finally begin to let go. With disarming honesty, he recounts how constant validation once drove his every move, and how shedding that need was key to unlocking deeper effectiveness and personal alignment.What makes this episode essential for executive listeners is not just the personal story—it's the direct application to business and leadership contexts. Dr. Harris talks about leading teams under pressure, confronting blind spots in senior leadership, and what it really takes to receive feedback at the top. His reflections offer a masterclass in self-awareness and intentional leadership, especially for those navigating high-stakes roles where perception often replaces truth.Whether you're leading a company, serving on a board, or mentoring the next generation of executives, this episode will challenge you to rethink how you define success, strength, and growth. The conversation isn't about doing more—it's about uncovering what's driving your decisions, and whether it's truly aligned with your values and long-term vision.Actionable Takeaways:You'll learn how Dr. Harris overcame fear—not through toughness, but by reframing what failure really means for leaders.Hear how overachievement can be a trap, even when it's applauded—especially for those in senior roles.Discover why most CEOs stop getting meaningful feedback—and what to do to get the truth back on the table.Explore the performance identity leaders develop—and how it can silently limit their ability to lead authentically.Find out what happened when Dr. Harris was told by his team: “You're a micromanager”—and what he did next.Learn why self-awareness is a strategic advantage, not just a personal virtue.Hear Dr. Harris describe how he applies the same mindset that got him into space to running businesses and investing.Explore how internal versus external drivers shape leadership clarity—and how to regain control of your narrative.Understand how success, when unchecked, can become an armor that distances leaders from their teams.Connect with Dr. Bernard HarrisBernard Harris LinkedIn Embracing Infinite Possiblities Connect with Mahan Tavakoli: Mahan Tavakoli Website Mahan Tavakoli on LinkedIn Partnering Leadership Website

Episode 068: 2022 AIA Whitney M. Young Jr. Honor Award Winners: RIDING THE VORTEXWhat lessons on architecture, practice, and change can we learn from AIA Whitney M. Young Jr. Honor Award Recipients Kathryn Prigmore, Kathy Dixon, Katherine Williams, and Melissa Daniel?Named for civil rights leader Whitney M. Young Jr., the AIA Whitney M. Young Jr. Honor Award distinguishes an architect or architectural organization that embodies social responsibility and actively addresses a relevant issue, such as affordable housing, inclusiveness, or universal access. Architects and design leaders Kathryn Tyler Prigmore, FAIA; Kathy Denise Dixon, FAIA; Katherine Williams, AIA; and Melissa R. Daniel, Assoc. AIA are the winners of this year's award for their leadership in advancing educational programming to support and increase the number of people of color licensed to practice architecture in the U.S.According to the American Institute of Architects, “The number of practicing African-American architects had been a stagnant 2% in recent decades. In the early 1990s, there were just 1,800 licensed African-American architects in the country, and only 30 of them were women. As of the summer of 2021, those numbers have grown to 2,435 and 533, respectively, and VORTEX has been a major catalyst in the 254% growth in African-American women architects.”This episode includes the stories of the VORTEX collaborators, as well as a candid discussion about their careers, what inspires them, and their work to build this program.Guests:Kathryn Prigmore, FAIA, NOMAC, NCARB, LEED AP BD+C, CDT is an architect, educator, and design practice leader with an inimitable understanding of the dynamics that impact the management of firms from the perspective of an architect, academic, and regulator. She has over 40 years of design and management experience for award-winning architectural projects of a wide range of sizes, types and delivery methods executed for private and public clients within diverse practice environments. Her academic leadership includes teaching experience in sustainable design. As an award-winning strategic thinker and planner, she is also a leader in regulatory issues and professional ethics. Kathryn is skilled at growing staff into leaders.Kathy Denise Dixon was born in Baltimore and grew up in Harford County, Maryland. She is a graduate of Howard University School of Architecture and attended UCLA matriculating with a Master's degree in Urban Planning in 1993. Kathy has been a licensed architect since 1998 and started the firm K Dixon Architecture, PLLC in 2003. She acquired legacy firm Walton Madden Cooper Robinson Poness in 2016. Kathy is a past president of the National Organization of Minority Architects and was elevated to Fellow in the American Institute of Architects in 2017. She is also the co-author of the book titled “The Business of Architecture: Your Guide to a Financially Successful Firm” published in December 2017.Katherine Williams, AIA, NOMA, LEED AP is a licensed architect in Northern Virginia and currently a Senior Project Manager at a DC university. Her career path includes work in traditional architecture firms, community development, and managing commercial construction for a general contractor. Katherine has written extensively about the architecture profession, diversity in the industry, and community development. She has served as editor for multiple publications and was the NOMA magazine editor from 2009-2014. She writes at katherinerw.com and

Parking, quite literally, has a death grip on America: each year a handful of Americans are tragically killed by their fellow citizens over parking spots. But even when we don't resort to violence, we routinely do ridiculous things for parking, contorting our professional, social, and financial lives to get a spot. Indeed, in the century since the advent of the car, we have deformed--and in some cases demolished--our homes and our cities in a Sisyphean quest for cheap and convenient car storage. As a result, much of the nation's most valuable real estate is now devoted exclusively to empty and idle vehicles, even as so many Americans struggle to find affordable housing. Parking determines the design of new buildings and the fate of old ones, patterns of traffic and the viability of transit, neighborhood politics and municipal finance, the quality of public space, and even the course of floodwaters. Can this really be the best use of our finite resources and space? Why have we done this to the places we love? Is parking really more important than anything else? These are the questions Slate staff writer Henry Grabar sets out to answer, telling a mesmerizing story about the strange and wonderful superorganism that is the modern American city. In Paved Paradise: How Parking Explains the World (Penguin, 2023), Grabar brilliantly surveys the pain points of the nation's parking crisis, from Los Angeles to Disney World to New York, stopping at every major American city in between. He reveals how the pathological compulsion for car storage has exacerbated some of our most acute problems--from housing affordability to the accelerating global climate disaster--ultimately, lighting the way for us to free our cities from parking's cruel yoke. Brian Hamilton is a Ph.D. candidate at the University of Wisconsin–Madison where he is researching African American environmental history. A Maine native, he lives in Western Massachusetts and chairs the History and Social Science Department at Deerfield Academy. 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

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight's show features Asian Refugees United and Lavender Phoenix in conversation about art, culture, and organizing, and how artists help us imagine and build liberation. Important Links: Lavender Phoenix: Website | Instagram Asian Refugees United: Website | Instagram | QTViệt Cafe Collective Transcript: Cheryl: Hey everyone. Good evening. You tuned in to APEX Express. I'm your host, Cheryl, and tonight is an AACRE Night. AACRE, which is short for Asian Americans for Civil Rights and Equality is a network made up of 11 Asian American social justice organizations who work together to build long-term movements for justice. Across the AACRE network, our groups are organizing against deportations, confronting anti-blackness, xenophobia, advancing language justice, developing trans and queer leaders, and imagine new systems of safety and care. It's all very good, very important stuff. And all of this from the campaigns to the Organizing to Movement building raises a question that I keep coming back to, which is, where does art live In all of this, Acts of resistance do not only take place in courtrooms or city halls. It takes place wherever people are still able to imagine. It is part of how movements survive and and grow. Art is not adjacent to revolution, but rather it is one of its most enduring forms, and tonight's show sits in that very spirit, and I hope that by the end of this episode, maybe you'll see what I mean. I;d like to bring in my friends from Lavender Phoenix, a trans queer API organization, building people power in the Bay Area, who are also a part of the AACRE Network. This summer, Lavender Phoenix held a workshop that got right to the heart of this very question that we're sitting with tonight, which is what is the role of the artist in social movements? As they were planning the workshop, they were really inspired by a quote from Toni Cade Bambara, who in an interview from 1982 said, as a cultural worker who belongs to an oppressed people, my job is to make the revolution irresistible. So that raises a few questions worth slowing down for, which are, who was Toni Cade Bambara? What does it mean to be a cultural organizer and why does that matter? Especially in this political moment? Lavender Phoenix has been grappling with these questions in practice, and I think they have some powerful answers to share. So without further ado, I'd like to introduce you to angel who is a member of Lavender Phoenix. Angel: My name is Angel. I use he and she pronouns, and I'm part of the communications committee at LavNix. So, let's explore what exactly is the meaning of cultural work.  Cultural workers are the creators of narratives through various forms of artistic expression, and we literally drive the production of culture. Cultural work reflects the perspectives and attitudes of artists and therefore the people and communities that they belong to. Art does not exist in a vacuum. You may have heard the phrase before. Art is always political. It serves a purpose to tell a story, to document the times to perpetuate and give longevity to ideas. It may conform to the status quo or choose to resist it. I wanted to share a little bit about one cultural worker who's made a really big impact and paved the way for how we think about cultural work and this framework. Toni Cade Bambara was a black feminist, cultural worker, writer, and organizer whose literary work celebrated black art, culture and life, and radically supported a movement for collective liberation. She believed that it's the artist's role to serve the community they belong to, and that an artist is of no higher status than a factory worker, social worker, or teacher. Is the idea of even reframing art making as cultural work. Reclaimed the arts from the elite capitalist class and made clear that it is work, it does not have more value than or take precedence over any other type of movement work. This is a quote from an interview from 1982 when Toni Cade Bambara said, as a cultural worker who belongs to an oppressed people, my job is to make revolution irresistible. But in this country, we're not encouraged and equipped at any particular time to view things that way. And so the artwork or the art practice that sells that capitalist ideology is considered art. And anything that deviates from that is considered political, propagandist, polemical, or didactic, strange, weird, subversive or ugly. Cheryl: After reading that quote, angel then invited the workshop participants to think about what that means for them. What does it mean to make the revolution irresistible? After giving people a bit of time to reflect, angel then reads some of the things that were shared in the chat. Angel: I want my art to point out the inconsistencies within our society to surprised, enraged, elicit a strong enough reaction that they feel they must do something. Cheryl: Another person said, Angel: I love that art can be a way of bridging relationships. Connecting people together, building community. Cheryl: And someone else said. Angel: I want people to feel connected to my art, find themselves in it, and have it make them think and realize that they have the ability to do something themselves. Cheryl: I think what is rather striking in these responses that Angel has read aloud to what it means to make art that makes the revolution irresistible isn't just aesthetics alone, but rather its ability to help us connect and communicate and find one another to enact feelings and responses in each other. It's about the way it makes people feel implicated and connected and also capable of acting. Tony Cade Bambara when she poses that the role of cultural workers is to make the revolution irresistible is posing to us a challenge to tap into our creativity and create art that makes people unable to return comfortably to the world as is, and it makes revolution necessary, desirable not as an abstract idea, but as something people can want and move towards  now I'm going to invite Jenica, who is the cultural organizer at Lavender Phoenix to break down for us why we need cultural work in this political moment. . Speaker: Jenica: So many of us as artists have really internalized the power of art and are really eager to connect it to the movement.  This section is about answering this question of why is cultural work important.  Cultural work plays a really vital role in organizing and achieving our political goals, right? So if our goal is to advance radical solutions to everyday people, we also have to ask ourselves how are we going to reach those peoples? Ideas of revolution and liberation are majorly inaccessible to the masses, to everyday people. Families are being separated. Attacks on the working class are getting worse and worse. How are we really propping up these ideas of revolution, especially right in America, where propaganda for the state, for policing, for a corrupt government runs really high. Therefore our messaging in political organizing works to combat that propaganda. So in a sense we have to make our own propaganda. So let's look at this term together. Propaganda is art that we make that accurately reflects and makes people aware of the true nature of the conditions of their oppression and inspires them to take control of transforming this condition. We really want to make art that seeks to make the broader society aware of its implications in the daily violences, facilitated in the name of capitalism, imperialism, and shows that error of maintaining or ignoring the status quo. So it's really our goal to arm people with the tools to better struggle against their own points of views, their ways of thinking, because not everyone is already aligned with like revolution already, right? No one's born an organizer. No one's born 100% willing to be in this cause. So, we really focus on the creative and cultural processes, as artists build that revolutionary culture. Propaganda is really a means of liberation. It's an instrument to help clarify information education and a way to mobilize our people. And not only that, our cultural work can really model to others what it's like to envision a better world for ourselves, right? Our imagination can be so expansive when it comes to creating art. As organizers and activists when we create communication, zines, et cetera, we're also asking ourselves, how does this bring us one step closer to revolution? How are we challenging the status quo? So this is exactly what our role as artists is in this movement. It's to create propaganda that serves two different purposes. One, subvert the enemy and cultivate a culture that constantly challenges the status quo. And also awaken and mobilize the people. How can we, through our art, really uplift the genuine interests of the most exploited of people of the working class, of everyday people who are targets of the state and really empower those whose stories are often kept outside of this master narrative. Because when they are talked about, people in power will often misrepresent marginalized communities. An example of this, Lavender Phoenix, a couple years ago took up this campaign called Justice for Jaxon Sales. Trigger warning here, hate crime, violence against queer people and death. Um, so Jaxon Sales was a young, queer, Korean adoptee living in the Bay Area who went on a blind like dating app date and was found dead the next morning in a high-rise apartment in San Francisco. Lavender Phoenix worked really closely and is still connected really closely with Jaxon's parents, Jim and Angie Solas to really fight, and organize for justice for Jaxon and demand investigation into what happened to him and his death, and have answers for his family. I bring that up, this campaign because when his parents spoke to the chief medical examiner in San Francisco, they had told his family Jaxon died of an accidental overdose he was gay. Like gay people just these kinds of drugs. So that was the narrative that was being presented to us from the state. Like literally, their own words: he's dead because he's gay. And our narrative, as we continue to organize and support his family, was to really address the stigma surrounding drug use. Also reiterating the fact that justice was deserved for Jaxon, and that no one should ever have to go through this. We all deserve to be safe, that a better world is possible. So that's an example of combating the status quo and then uplifting the genuine interest of our people and his family. One of our key values at Lavender Phoenix is honoring our histories, because the propaganda against our own people is so intense. I just think about the everyday people, the working class, our immigrant communities and ancestors, other queer and trans people of color that really fought so hard to have their story told. So when we do this work and think about honoring our histories, let's also ask ourselves what will we do to keep those stories alive? Cheryl: We're going to take a quick music break and listen to some music by Namgar, an international ethno music collective that fuses traditional Buryat and Mongolian music with pop, jazz, funk, ambient soundscapes, and art- pop. We'll be back in just a moment with more after we listen to “part two” by Namgar.    Cheryl: Welcome back.  You are tuned in to APEX express on 94.1 KPFA and 89.3 KPFB B in Berkeley and online at kpfa.org.  That song you just heard was “part two” by Namgar, an incredible four- piece Buryat- Mongolian ensemble that is revitalizing and preserving the Buryat language and culture through music. For those just tuning in tonight's episode of APEX Express is all about the role of the artist in social movements. We're joined by members of Lavender Phoenix, often referred to as LavNix, which is a grassroots organization in the Bay Area building Trans and queer API Power. You can learn more about their work in our show notes. We talked about why cultural work is a core part of organizing. We grounded that conversation in the words of Toni Cade Bambara, who said in a 1982 interview, as a cultural worker who belongs to an oppressed people, my job is to make revolution irresistible. We unpacked what that looks like in practice and lifted up Lavender Phoenix's Justice for Jaxon Sales campaign as a powerful example of cultural organizing, which really demonstrates how art and narrative work and cultural work are essential to building power Now Jenica from Levner Phoenix is going to walk us through some powerful examples of cultural organizing that have occurred in social movements across time and across the world. Speaker: Jenica: Now we're going to look at some really specific examples of powerful cultural work in our movements. For our framework today, we'll start with an international example, then a national one, a local example, and then finally one from LavNix. As we go through them, we ask that you take notes on what makes these examples, impactful forms of cultural work. How does it subvert the status quo? How is it uplifting the genuine interest of the people? Our international example is actually from the Philippines. Every year, the Corrupt Philippines president delivers a state of the nation address to share the current conditions of the country. However, on a day that the people are meant to hear about the genuine concrete needs of the Filipino masses, they're met instead with lies and deceit that's broadcasted and also built upon like years of disinformation and really just feeds the selfish interests of the ruling class and the imperialist powers. In response to this, every year, BAYAN, which is an alliance in the Philippines with overseas chapters here in the US as well. Their purpose is to fight for the national sovereignty and genuine democracy in the Philippines, they hold a Peoples' State of the Nation Address , or PSONA, to protest and deliver the genuine concerns and demands of the masses. So part of PSONA are effigies. Effigies have been regular fixtures in protest rallies, including PSONA. So for those of you who don't know, an effigy is a sculptural representation, often life size of a hated person or group. These makeshift dummies are used for symbolic punishment in political protests, and the figures are often burned. In the case of PSONA, these effigies are set on fire by protestors criticizing government neglect, especially of the poor. Lisa Ito, who is a progressive artists explained that the effigy is constructed not only as a mockery of the person represented, but also of the larger system that his or her likeness embodies. Ito pointed out that effigies have evolved considerably as a form of popular protest art in the Philippines, used by progressive people's movements, not only to entertain, but also to agitate, mobilize and capture the sentiments of the people. This year, organizers created this effigy that they titled ‘ZomBBM,' ‘Sara-nanggal' . This is a play on words calling the corrupt president of the Philippines, Bongbong Marcos, or BBM, a zombie. And the vice president Sara Duterte a Manananggal, which is a, Filipino vampire to put it in short, brief words. Organizers burnt this effigy as a symbol of DK and preservation of the current ruling class. I love this effigy so much. You can see BBM who's depicted like his head is taken off and inside of his head is Trump because he's considered like a puppet president of the Philippines just serving US interests. Awesome. I'm gonna pass it to Angel for our national perspective. Angel: Our next piece is from the national perspective and it was in response to the AIDS crisis. The global pandemic of HIV AIDS began in 1981 and continues today. AIDS is the late stage of HIV infection, human immunodeficiency virus, and this crisis has been marked largely by government indifference, widespread stigma against gay people, and virtually no federal funding towards research or services for everyday people impacted. There was a really devastating lack of public attention about the seriousness of HIV. The Ronald Reagan administration treated the crisis as a joke because of its association with gay men, and Reagan didn't even publicly acknowledge AIDS until 19 85, 4 years into the pandemic. Thousands of HIV positive people across backgrounds and their supporters organize one of the most influential patient advocacy groups in history. They called themselves the AIDS Coalition to Unleash Power or ACT up. They ultimately organize and force the government and the scientific community to fundamentally change the way medical research is conducted. Paving the way for the discovery of a treatment that today keeps alive, an estimated half million HIV positive Americans and millions more worldwide. Sarah Schulman, a writer and former member of ACT Up, wrote a list of ACT UPS achievements, including changing the CDC C'S definition of aids to include women legalizing needle exchange in New York City and establishing housing services for HIV positive unhoused people. To highlight some cultural work within ACT Up, the AIDS activist artist Collective Grand Fury formed out of ACT Up and CR and created works for the public sphere that drew attention to the medical, moral and public issues related to the AIDS crisis. Essentially, the government was fine with the mass deaths and had a large role in the active killing off of people who are not just queer, but people who are poor working class and of color. We still see parallels in these roadblocks. Today, Trump is cutting public healthcare ongoing, and in recent memory, the COVID crisis, the political situation of LGBTQ people then and now is not divorced from this class analysis. So in response, we have the AIDS Memorial Quilt, this collective installation memorializes people who died in the US from the AIDS crisis and from government neglect. Each panel is dedicated to a life lost and created by hand by their friends, family, loved ones, and community. This artwork was originally conceived by Cleve Jones in SF for the 1985 candlelight March, and later it was expanded upon and displayed in Washington DC in 1987. Its enormity demonstrated the sheer number at which queer folk were killed in the hiv aids crisis, as well as created a space in the public for dialogue about the health disparities that harm and silence our community. Today, it's returned home to San Francisco and can be accessed through an interactive online archive. 50,000 individual panels and around a hundred thousand names make up the patchwork quilt, which is insane, and it's one of the largest pieces of grassroots community art in the world. Moving on to a more local perspective. In the Bay Area, we're talking about the Black Panther Party. So in October of 1966 in Oakland, California, Huey Newton and Bobby Seale founded the Black Panther Party for self-defense. The Panthers practiced militant self-defense of black communities against the US government and fought to establish socialism through organizing and community-based programs. The Black Panthers began by organizing arm patrols of black people to monitor the Oakland Police Department and challenge rampant rampant police brutality. At its peak, the party had offices in 68 cities and thousands of members. The party's 10 point program was a set of demands, guidelines, and values, calling for self-determination, full employment of black people, and the end of exploitation of black workers housing for all black people, and so much more. The party's money programs directly addressed their platform as they instituted a free B Breakfast for Children program to address food scarcity Founded community health clinics to address the lack of adequate, adequate healthcare for black people and treat sickle cell anemia, tuberculosis, and HIV aids and more. The cultural work created by the Black Panther Party included the Black Panther Party newspaper known as the Black Panther. It was a four page newsletter in Oakland, California in 1967. It was the main publication of the party and was soon sold in several large cities across the US as well as having an international readership. The Black Panther issue number two. The newspaper, distributed information about the party's activities and expressed through articles, the ideology of the Black Panther Party, focusing on both international revolutions as inspiration and contemporary racial struggles of African Americans across the United States. Solidarity with other resistance movements was a major draw for readers. The paper's international section reported on liberation struggles across the world. Under Editor-in-Chief, David Du Bois, the stepson of WEB Du Bois, the section deepened party support for revolutionary efforts in South Africa and Cuba. Copies of the paper traveled abroad with students and activists and were tra translated into Hebrew and Japanese. It reflected that the idea of resistance to police oppression had spread like wildfire. Judy Juanita, a former editor in Chief Ads, it shows that this pattern of oppression was systemic. End quote. Paper regularly featured fiery rhetoric called out racist organizations and was unabashed in its disdain for the existing political system. Its first cover story reported on the police killing of Denzel Doel, a 22-year-old black man in Richmond, California. In all caps, the paper stated, brothers and sisters, these racist murders are happening every day. They could happen to any one of us. And it became well known for its bold cover art, woodcut style images of protestors, armed panthers, and police depicted as bloodied pigs. Speaker: Jenica: I'm gonna go into the LavNix example of cultural work that we've done. For some context, we had mentioned that we are taking up this campaign called Care Not Cops. Just to give some brief background to LavNix, as systems have continued to fail us, lavender Phoenix's work has always been about the safety of our communities. We've trained people in deescalation crisis intervention set up counseling networks, right? Then in 2022, we had joined the Sales family to fight for justice for Jaxon Sales. And with them we demanded answers for untimely death from the sheriff's department and the medical examiner. Something we noticed during that campaign is that every year we watch as people in power vote on another city budget that funds the same institutions that hurt our people and steal money from our communities. Do people know what the budget is for the San Francisco Police Department? Every year, we see that city services and programs are gutted. Meanwhile, this year, SFPD has $849 million, and the sheriff has $345 million. So, honestly, policing in general in the city is over $1 billion. And they will not experience any cuts. Their bloated budgets will remain largely intact. We've really been watching, Mayor Lurie , his first months and like, honestly like first more than half a year, with a lot of concern. We've seen him declare the unlawful fentanyl state of emergency, which he can't really do, and continue to increase police presence downtown. Ultimately we know that mayor Lurie and our supervisors need to hear from us everyday people who demand care, not cops. So that leads me into our cultural work. In March of this year, lavender Phoenix had collaborated with youth organizations across the city, youth groups from Chinese Progressive Association, PODER, CYC, to host a bilingual care, not cops, zine making workshop for youth. Our organizers engaged with the youth with agitating statistics on the egregious SFPD budget, and facilitated a space for them to warm up their brains and hearts to imagine a world without prisons and policing. And to really further envision one that centers on care healing for our people, all through art. What I really learned is that working class San Francisco youth are the ones who really know the city's fascist conditions the most intimately. It's clear through their zine contributions that they've really internalized these intense forms of policing in the schools on the streets with the unhoused, witnessing ice raids and fearing for their families. The zine was really a collective practice with working class youth where they connected their own personal experiences to the material facts of policing in the city, the budget, and put those experiences to paper.   Cheryl: Hey everyone. Cheryl here. So we've heard about Effigies in the Philippines, the AIDS Memorial Quilt, the Black Panther Party's newspaper, the Black Panther and Lavender Phoenix's Care Cop zine. Through these examples, we've learned about cultural work and art and narrative work on different scales internationally, nationally, locally and organizationally. With lavender Phoenix. What we're seeing is across movements across time. Cultural work has always been central to organizing. We're going to take another music break, but when we return, I'll introduce you to our next speaker. Hai, from Asian Refugees United, who will walk us through, their creative practice, which is food, as a form of cultural resistance, and we'll learn about how food ways can function as acts of survival, resistance, and also decolonization. So stay with us more soon when we return.   Cheryl: And we're back!!. You're listening to APEX express on 94.1 KPFA, 89.3 KPFB in Berkeley. 88.1. KFCF in Fresno and online@kpfa.org. That was “Juniper” by Minjoona, a project led by Korean American musician, Jackson Wright.  huge thanks to Jackson and the whole crew behind that track.  I am here with Hai from Asian Refugees United, who is a member QTViet Cafe Collective. A project under Asian Refugees United. QTViet Viet Cafe is a creative cultural hub that is dedicated to queer and trans viet Liberation through ancestral practices, the arts and intergenerational connection. This is a clip from what was a much longer conversation. This episode is all about the role of the artist in social movements and I think Hai brings a very interesting take to the conversation. Hai (ARU): I think that what is helping me is one, just building the muscle. So when we're so true to our vision and heart meets mind and body. So much of what QTViet Cafe is, and by extension Asian refugees and like, we're really using our cultural arts and in many ways, whether that's movement or poetry or written word or song or dance. And in many ways I've had a lot of experience in our food ways, and reclaiming those food ways. That's a very embodied experience. We're really trying to restore wholeness and health and healing in our communities, in our bodies and our minds and our families and our communities that have been displaced because of colonization, imperialism, capitalism. And so how do we restore, how do we have a different relationship and how do we restore? I think that from moving from hurt to healing is life and art. And so we need to take risk and trying to define life through art and whatever means that we can to make meaning and purpose and intention. I feel like so much of what art is, is trying to make meaning of the hurt in order to bring in more healing in our lives. For so long, I think I've been wanting a different relationship to food. For example, because I grew up section eight, food stamps, food bank. My mom and my parents doing the best they could, but also, yeah, grew up with Viet food, grew up with ingredients for my parents making food, mostly my mom that weren't necessarily all the best. And I think compared to Vietnam, where it's easier access. And there's a different kind of system around, needs around food and just easier access, more people are involved around the food system in Vietnam I think growing up in Turtle Island and seeing my parents struggle not just with food, but just with money and jobs it's just all connected. And I think that impacted my journey and. My own imbalance around health and I became a byproduct of diabetes and high cholesterol and noticed that in my family. So when I noticed, when I had type two diabetes when I was 18, made the conscious choice to, I knew I needed to have some type of, uh, I need to have a different relationship to my life and food included and just like cut soda, started kind of what I knew at the time, exercising as ways to take care of my body. And then it's honestly been now a 20 year journey of having a different relationship to not just food, but health and connection to mind, body, spirit. For me, choosing to have a different relationship in my life, like that is a risk. Choosing to eat something different like that is both a risk and an opportunity. For me that's like part of movement building like you have to. Be so in tune with my body to notice and the changes that are needed in order to live again. When I noticed, you know, , hearing other Viet folks experiencing diet related stuff and I think knowing what I know also, like politically around what's happening around our food system, both for the vie community here and also in Vietnam, how do we, how can this regular act of nourishing ourselves both be not just in art, something that should actually just honestly be an everyday need and an everyday symbol of caregiving and caretaking and care that can just be part of our everyday lives. I want a world where, it's not just one night where we're tasting the best and eating the best and being nourished, just in one Saturday night, but that it's just happening all the time because we're in right relationship with ourselves and each other and the earth that everything is beauty and we don't have to take so many risks because things are already in its natural divine. I think it takes being very conscious of our circumstances and our surroundings and our relationships with each other for that to happen. I remember reading in my early twenties, reading the role of, bring Coke basically to Vietnam during the war. I was always fascinated like, why are, why is Coke like on Viet altars all the time? And I always see them in different places. Whenever I would go back to Vietnam, I remember when I was seven and 12. Going to a family party and the classic shiny vinyl plastic, floral like sheet on a round table and the stools, and then these beautiful platters of food. But I'm always like, why are we drinking soda or coke and whatever else? My dad and the men and then my family, like drinking beer. And I was like, why? I've had periods in my life when I've gotten sick, physically and mentally sick. Those moments open up doors to take the risk and then also the opportunity to try different truth or different path. When I was 23 and I had just like crazy eczema and psoriasis and went back home to my parents for a while and I just started to learn about nourishing traditions, movement. I was Very critical of the us traditional nutrition ideas of what good nutrition is and very adamantly like opposing the food pyramid. And then in that kind of research, I was one thinking well, they're talking about the science of broths and like soups and talking about hard boiling and straining the broth and getting the gunk on the top. And I'm like, wait, my mom did that. And I was starting to connect what has my mom known culturally that now like science is catching up, you know? And then I started just reading, you know, like I think that my mom didn't know the sign mom. I was like, asked my mom like, did you know about this? And she's like, I mean, I just, this is, is like what ba ngoai said, you know? And so I'm like, okay, so culturally this, this is happening scientifically. This is what's being shared. And then I started reading about the politics of US-centric upheaval of monocultural agriculture essentially. When the US started to do the industrial Revolution and started to basically grow wheat and soy and just basically make sugar to feed lots of cows and create sugar to be put in products like Coke was one of them. And, and then, yeah, that was basically a way for the US government to make money from Vietnam to bring that over, to Vietnam. And that was introduced to our culture. It's just another wave of imperialism and colonization. And sadly, we know what, overprocessed, like refined sugars can do to our health. And sadly, I can't help but make the connections with what happened. In many ways, food and sugar are introduced through these systems of colonization and imperialism are so far removed from what we ate pre colonization. And so, so much of my journey around food has been, you know, it's not even art, it's just like trying to understand, how do we survive and we thrive even before so many. And you know, in some ways it is art. 'cause I making 40 pounds of cha ga for event, , the fish cake, like, that's something that, that our people have been doing for a long time and hand making all that. And people love the dish and I'm really glad that people enjoyed it and mm, it's like, oh yeah, it's art. But it's what people have been doing to survive and thrive for long, for so long, you know? , We have the right to be able to practice our traditional food ways and we have the right for food sovereignty and food justice. And we have the right to, by extension, like have clean waters and hospitable places to live and for our animal kin to live and for our plant kin to be able to thrive. bun cha ga, I think like it's an artful hopeful symbol of what is seasonal and relevant and culturally symbolic of our time. I think that, yes, the imminent, violent, traumatic war that are happening between people, in Vietnam and Palestine and Sudan. Honestly, like here in America. That is important. And I think we need to show, honestly, not just to a direct violence, but also very indirect violence on our bodies through the food that we're eating. Our land and waters are living through indirect violence with just like everyday pollutants and top soil being removed and industrialization. And so I think I'm just very cognizant of the kind of everyday art ways, life ways, ways of being that I think that are important to be aware of and both practice as resistance against the forces that are trying to strip away our livelihood every day. Cheryl: We just heard from Hai of Asian refugees United who shared about how food ways function as an embodied form of cultural work that is rooted in memory and also survival and healing. Hai talked about food as a practice and art that is lived in the body and is also shaped by displacement and colonization and capitalism and imperialism. I shared that through their journey with QTV at Cafe and Asian Refugees United. High was able to reflect on reclaiming traditional food ways as a way to restore health and wholeness and relationship to our bodies and to our families, to our communities, and to the earth. High. Also, traced out illness and imbalance as deeply connected to political systems that have disrupted ancestral knowledge and instead introduced extractive food systems and normalized everyday forms of soft violence through what we consume and the impact it has on our land. And I think the most important thing I got from our conversation was that high reminded us that nourishing ourselves can be both an act of care, an art form, and an act of resistance. And what we call art is often what people have always done to survive and thrive Food. For them is a practice of memory, and it's also a refusal of erasure and also a very radical vision of food sovereignty and healing and collective life outside of colonial violence and harm. As we close out tonight's episode, I want to return to the question that has guided us from the beginning, which is, what is the role of the artist in social movements? What we've heard tonight from Tony Cade Bambara call to make revolution irresistible to lavender Phoenix's cultural organizing here, internationally to Hai, reflections on food ways, and nourishing ourselves as resistance. It is Really clear to me. Art is not separate from struggle. It is how people make sense of systems of violence and carry memory and also practice healing and reimagining new worlds in the middle of ongoing violence. Cultural work helps our movements. Endure and gives us language when words fail, or ritual when grief is heavy, and practices that connect us, that reconnect us to our bodies and our histories and to each other. So whether that's through zines, or songs or murals, newspapers, or shared meals, art is a way of liberation again and again. I wanna thank all of our speakers today, Jenica, Angel. From Lavender Phoenix. Hi, from QTV Cafe, Asian Refugees United, And I also wanna thank you, our listeners for staying with us. You've been listening to Apex Express on KPFA. Take care of yourselves, take care of each other, and keep imagining the world that we're trying to build. That's important stuff. Cheryl Truong (she/they): Apex express is produced by Miko Lee, Paige Chung, Jalena Keane-Lee, Preeti Mangala Shekar. Shekar, Anuj Vaidya, Kiki Rivera, Swati Rayasam, Nate Tan, Hien Nguyen, Nikki Chan, and Cheryl Truong  Cheryl Truong: Tonight's show was produced by me, cheryl. Thanks to the team at KPFA for all of their support. And thank you for listening!  The post APEX Express – January 1, 2026 – The Role of the Artist in Social Movements appeared first on KPFA.

Parking, quite literally, has a death grip on America: each year a handful of Americans are tragically killed by their fellow citizens over parking spots. But even when we don't resort to violence, we routinely do ridiculous things for parking, contorting our professional, social, and financial lives to get a spot. Indeed, in the century since the advent of the car, we have deformed--and in some cases demolished--our homes and our cities in a Sisyphean quest for cheap and convenient car storage. As a result, much of the nation's most valuable real estate is now devoted exclusively to empty and idle vehicles, even as so many Americans struggle to find affordable housing. Parking determines the design of new buildings and the fate of old ones, patterns of traffic and the viability of transit, neighborhood politics and municipal finance, the quality of public space, and even the course of floodwaters. Can this really be the best use of our finite resources and space? Why have we done this to the places we love? Is parking really more important than anything else? These are the questions Slate staff writer Henry Grabar sets out to answer, telling a mesmerizing story about the strange and wonderful superorganism that is the modern American city. In Paved Paradise: How Parking Explains the World (Penguin, 2023), Grabar brilliantly surveys the pain points of the nation's parking crisis, from Los Angeles to Disney World to New York, stopping at every major American city in between. He reveals how the pathological compulsion for car storage has exacerbated some of our most acute problems--from housing affordability to the accelerating global climate disaster--ultimately, lighting the way for us to free our cities from parking's cruel yoke. Brian Hamilton is a Ph.D. candidate at the University of Wisconsin–Madison where he is researching African American environmental history. A Maine native, he lives in Western Massachusetts and chairs the History and Social Science Department at Deerfield Academy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Parking, quite literally, has a death grip on America: each year a handful of Americans are tragically killed by their fellow citizens over parking spots. But even when we don't resort to violence, we routinely do ridiculous things for parking, contorting our professional, social, and financial lives to get a spot. Indeed, in the century since the advent of the car, we have deformed--and in some cases demolished--our homes and our cities in a Sisyphean quest for cheap and convenient car storage. As a result, much of the nation's most valuable real estate is now devoted exclusively to empty and idle vehicles, even as so many Americans struggle to find affordable housing. Parking determines the design of new buildings and the fate of old ones, patterns of traffic and the viability of transit, neighborhood politics and municipal finance, the quality of public space, and even the course of floodwaters. Can this really be the best use of our finite resources and space? Why have we done this to the places we love? Is parking really more important than anything else? These are the questions Slate staff writer Henry Grabar sets out to answer, telling a mesmerizing story about the strange and wonderful superorganism that is the modern American city. In Paved Paradise: How Parking Explains the World (Penguin, 2023), Grabar brilliantly surveys the pain points of the nation's parking crisis, from Los Angeles to Disney World to New York, stopping at every major American city in between. He reveals how the pathological compulsion for car storage has exacerbated some of our most acute problems--from housing affordability to the accelerating global climate disaster--ultimately, lighting the way for us to free our cities from parking's cruel yoke. Brian Hamilton is a Ph.D. candidate at the University of Wisconsin–Madison where he is researching African American environmental history. A Maine native, he lives in Western Massachusetts and chairs the History and Social Science Department at Deerfield Academy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy

Parking, quite literally, has a death grip on America: each year a handful of Americans are tragically killed by their fellow citizens over parking spots. But even when we don't resort to violence, we routinely do ridiculous things for parking, contorting our professional, social, and financial lives to get a spot. Indeed, in the century since the advent of the car, we have deformed--and in some cases demolished--our homes and our cities in a Sisyphean quest for cheap and convenient car storage. As a result, much of the nation's most valuable real estate is now devoted exclusively to empty and idle vehicles, even as so many Americans struggle to find affordable housing. Parking determines the design of new buildings and the fate of old ones, patterns of traffic and the viability of transit, neighborhood politics and municipal finance, the quality of public space, and even the course of floodwaters. Can this really be the best use of our finite resources and space? Why have we done this to the places we love? Is parking really more important than anything else? These are the questions Slate staff writer Henry Grabar sets out to answer, telling a mesmerizing story about the strange and wonderful superorganism that is the modern American city. In Paved Paradise: How Parking Explains the World (Penguin, 2023), Grabar brilliantly surveys the pain points of the nation's parking crisis, from Los Angeles to Disney World to New York, stopping at every major American city in between. He reveals how the pathological compulsion for car storage has exacerbated some of our most acute problems--from housing affordability to the accelerating global climate disaster--ultimately, lighting the way for us to free our cities from parking's cruel yoke. Brian Hamilton is a Ph.D. candidate at the University of Wisconsin–Madison where he is researching African American environmental history. A Maine native, he lives in Western Massachusetts and chairs the History and Social Science Department at Deerfield Academy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Parking, quite literally, has a death grip on America: each year a handful of Americans are tragically killed by their fellow citizens over parking spots. But even when we don't resort to violence, we routinely do ridiculous things for parking, contorting our professional, social, and financial lives to get a spot. Indeed, in the century since the advent of the car, we have deformed--and in some cases demolished--our homes and our cities in a Sisyphean quest for cheap and convenient car storage. As a result, much of the nation's most valuable real estate is now devoted exclusively to empty and idle vehicles, even as so many Americans struggle to find affordable housing. Parking determines the design of new buildings and the fate of old ones, patterns of traffic and the viability of transit, neighborhood politics and municipal finance, the quality of public space, and even the course of floodwaters. Can this really be the best use of our finite resources and space? Why have we done this to the places we love? Is parking really more important than anything else? These are the questions Slate staff writer Henry Grabar sets out to answer, telling a mesmerizing story about the strange and wonderful superorganism that is the modern American city. In Paved Paradise: How Parking Explains the World (Penguin, 2023), Grabar brilliantly surveys the pain points of the nation's parking crisis, from Los Angeles to Disney World to New York, stopping at every major American city in between. He reveals how the pathological compulsion for car storage has exacerbated some of our most acute problems--from housing affordability to the accelerating global climate disaster--ultimately, lighting the way for us to free our cities from parking's cruel yoke. Brian Hamilton is a Ph.D. candidate at the University of Wisconsin–Madison where he is researching African American environmental history. A Maine native, he lives in Western Massachusetts and chairs the History and Social Science Department at Deerfield Academy. Learn more about your ad choices. Visit megaphone.fm/adchoices

Parking, quite literally, has a death grip on America: each year a handful of Americans are tragically killed by their fellow citizens over parking spots. But even when we don't resort to violence, we routinely do ridiculous things for parking, contorting our professional, social, and financial lives to get a spot. Indeed, in the century since the advent of the car, we have deformed--and in some cases demolished--our homes and our cities in a Sisyphean quest for cheap and convenient car storage. As a result, much of the nation's most valuable real estate is now devoted exclusively to empty and idle vehicles, even as so many Americans struggle to find affordable housing. Parking determines the design of new buildings and the fate of old ones, patterns of traffic and the viability of transit, neighborhood politics and municipal finance, the quality of public space, and even the course of floodwaters. Can this really be the best use of our finite resources and space? Why have we done this to the places we love? Is parking really more important than anything else? These are the questions Slate staff writer Henry Grabar sets out to answer, telling a mesmerizing story about the strange and wonderful superorganism that is the modern American city. In Paved Paradise: How Parking Explains the World (Penguin, 2023), Grabar brilliantly surveys the pain points of the nation's parking crisis, from Los Angeles to Disney World to New York, stopping at every major American city in between. He reveals how the pathological compulsion for car storage has exacerbated some of our most acute problems--from housing affordability to the accelerating global climate disaster--ultimately, lighting the way for us to free our cities from parking's cruel yoke. Brian Hamilton is a Ph.D. candidate at the University of Wisconsin–Madison where he is researching African American environmental history. A Maine native, he lives in Western Massachusetts and chairs the History and Social Science Department at Deerfield Academy. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this Christmas Eve message, we explore the deeper story behind Go Tell It on the Mountain—a song born among enslaved African-Americans, carried through generations, and rooted in Luke 2. We trace the angel's announcement of “good news of great joy for all the people,” and consider why Christians speak so openly and urgently about Jesus. When good news creates great joy, it gets shared.You'll hear a vivid retelling of the shepherds' encounter, the physiological contrast between fear and joy, the gospel's claim that God welcomes the unworthy, and a clear call to give your next year to following Jesus with His people. The same God who broke into the night sky breaks into lives today.In this message, we wrestle with questions like:· What makes the Christian message “Good News” rather than advice or pressure?· Why does the angel link the arrival of Jesus with “great joy”?· How does Luke 2 show that Christmas is truly “for all the people”?· What does the origin of Go Tell It on the Mountain reveal about hope in suffering?· What could happen if someone gave Jesus and His Church the next year of their life?Support our mission and learn more atwww.alloflife.churchGive to the work of the gospel herewww.alloflife.churchcenter.com/giving

Once upon a time, there was an inventor and entrepreneur named Madam C.J. Walker. She was the child of slaves, the first in her family to be born free, thanks to the Emancipation Proclamation. As a child, she had to work in the cotton fields to help support her family. Later, as a teenaged orphan, she became a washerwoman, backbreaking work considered one of the worst and most difficult jobs a woman could have. But she dreamed of more -- for herself and her daughter. When, due to an illness, her hair began to fall out, she created a hair care regimen specifically for African-American women. It worked! She crisscrossed the country going door to door to sell her products and eventually built a beauty empire with sales representatives in every state. The formula grew to be so popular she became the first self-made female millionaire in America, and her products are still for sale today. About the Narrator Poorna Jagannathan is an actress and the producer of "Nirbhaya" ('Fearless'), the critically-acclaimed play written and directed by Yael Farber. Based on real-life events, the play breaks the silence around sexual violence and was called by The Telegraph as one of the "most powerful pieces of theater you'll ever see.” Jagannathan gained international recognition for her portrayal of a journalist in the 2011 Bollywood film "Delhi Belly" and has appeared as series regular on HBO's "The Night Of" and Netflix's "Gypsy." In 2018 she was a member of the ensemble cast of HBO's "Room 104," created by the Duplass brothers. Most recently, Jagannathan plays Nalini Vishwakumar in Mindy Kaling's comedy series "Never Have I Ever." Credits This episode of Good Night Stories for Rebel Girls is produced by Elena Favilli and Francesca Cavallo, with writing and operation support by Darby Maloney and Elyssa Dudley. Sound Design and Original Theme Music by Elettra Bargiacchi. [This episode originally aired in April 2018.]

Step into 2026 inspired, empowered, and ready to dream bigger with this special holiday edition of Women Road Warriors. Hosts Shelley Johnson and Kathy Tuccaro bring together three extraordinary female icons whose stories prove that resilience, reinvention, and purpose have no expiration date.Country music trailblazers Chapel Hart share how they broke barriers as independent African American artists—turning rejection into rocket fuel while building success on their own terms and setting their sights on global impact.Hollywood icon Ruta Lee, whose career spans more than seven decades, reflects on a life shaped by courage and grace—from starring alongside legends like Frank Sinatra to orchestrating a real-life Cold War rescue to save her grandmother from Siberia.Rounding out the episode, Jean Peelen, author of Feisty, proves it's never too late to reinvent yourself. Now in her 80s, Jean shares wisdom from a remarkable life that includes seven careers—federal civil rights attorney, broadcasting executive, politician, model, Survivor finalist, and author.This uplifting New Year special delivers powerful perspective, fearless energy, and real-world inspiration to help listeners step confidently into 2026—no matter their age, stage, or dream.www.chapelhart.comwww.rutalee.comwww.oldwomenwhowrite.comwww.womenroadwarriors.com#DreamBigger #2026Goals #Trailblazers #Icons #CelebrityInterviews #RutaLee #ChapelHart #JeanPeelen #NewYearInspiration #WomenRoadWarriors

In this episode of I'm an Artist, Not a Salesman, host Luis Guzman sits down with Richard Davis, a self-described Wall Street middleman whose story cuts far deeper than finance headlines and market chatter. What unfolds is a raw, layered conversation about ambition, identity, risk, loss, and the real cost of chasing success in high-stakes environments.Richard's journey begins far from trading floors and boardrooms. Raised in a working-class household in East Texas, he watched discipline, work ethic, and resilience shape his early mindset. Those lessons followed him through college, early business experiments, truck driving, and eventually into the world of stocks, investor relations, and public markets. His rise was not clean or predictable. It was earned through missteps, sharp turns, and moments that forced hard reflection.As the conversation deepens, Richard breaks down how financial literacy is rarely taught where it matters most, and why access, relationships, and visibility often outweigh raw intelligence. He shares how building platforms like Investors Voice and later FloorStocks came from recognizing gaps between retail investors, creators, and companies. The goal was never hype. It was connection, clarity, and transparency in a system that often avoids all three.The episode also explores the personal cost of rapid success. From becoming one of the youngest African Americans to take a company public, to navigating excess, ego, divorce, and a near-fatal wake-up call, Richard speaks candidly about what wealth exposes rather than fixes. Fatherhood, health, and purpose reshaped how he measures success today.Key themes and topics covered include:Building wealth from nontraditional pathsThe hidden mechanics of Wall Street and investor visibilityWhy relationships often matter more than credentialsThe difference between lifestyle wealth and lasting wealthMarket cycles, volatility, and today's investing climateLessons learned from failure, excess, and reinventionCreating platforms that humanize finance and leadershipRather than offering stock tips or shortcuts, this episode focuses on mindset, accountability, and long-term thinking. Richard challenges listeners to look beyond surface-level wins and ask deeper questions about why they want success, what they are willing to trade for it, and how they plan to sustain it once it arrives.Luis guides the conversation with curiosity and respect, allowing space for reflection without glamorizing the grind. The result is a grounded, honest discussion that speaks to entrepreneurs, creatives, investors, and anyone navigating ambition in an uncertain world.If this episode resonates, take a moment to support the show. Subscribe to I'm an Artist, Not a Salesman on Apple Podcasts, Spotify, and YouTube. Follow the podcast on Instagram for behind-the-scenes clips, guest highlights, and upcoming episodes. Share this conversation with someone building, rebuilding, or questioning their next move. Your engagement helps these stories reach the people who need them most.

Host Melinda Marsalis talks with Jefferson St. Tap Room's Will Vance about New Years Eve and how to celebrate at home while keeping the magic of New Years. 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      

Renue Healthcare https://Renue.Healthcare/ToddYour journey to a better life starts at Renue Healthcare. Visit https://Renue.Healthcare/Todd Bulwark Capital https://KnowYourRiskPodcast.comBe confident in your portfolio with Bulwark! Schedule your free Know Your Risk Portfolio review. Go to KnowYourRiskPodcast.com today. Alan's Soaps https://www.AlansArtisanSoaps.comUse coupon code TODD to save an additional 10% off the bundle price.Bonefrog https://BonefrogCoffee.com/ToddThe new GOLDEN AGE is here!  Use code TODD at checkout to receive 10% off your first purchase and 15% on subscriptions.LISTEN and SUBSCRIBE at:The Todd Herman Show - Podcast - Apple PodcastsThe Todd Herman Show | Podcast on SpotifyWATCH and SUBSCRIBE at: Todd Herman - The Todd Herman Show - YouTube23 Year Old: “I Am Your Journalism, Now!”  // Does Erika Kirk Remember What Charlie Taught About Culture? // A Famous Rabbi Pretends to Explain Jesus to ChristiansEpisode Links:This is insane… This kid is doing more journalism than CNN and 60 Minutes have done in years. Minnesota "daycares" that are empty at Noon and have all of the windows covered.Something not mentioned is Nick Shirley later confirmed there are 14 Somali "healthcare" companies in this one building. Let me repeat that, 14 shady healthcare companies registered to one Minneapolis building not doing anything but stealing our tax money“When I listen to people talk about getting rid of all muslims in this country, as an African American, I say, ‘what about white Christians?'”While he lived, Charlie Kirk was 100% against the anti-Christian cultural influences from people like Nicki Minaj. Here in his own words. So "they" killed him and then made Minaj a Turning Point star in clear violation of his stated wishes. How deep does this rabbit hole go?Wow. Nikki Minaj makes a surprise appearance at TPUSA's AmFest, where she is interviewed by Erika Kirk. The singer-rapper has been facing backlash from Democrats and leftists after she expressed support for the US admin's advocacy for persecuted Christians.On Christmas Jews and Christians join together with Jesus as bridge. For Jews he was a mortal man who hated Roman tyranny and was murdered by Tiberius. For Christians he was the portal to monotheism, the Torah, and love of IsraelUCC 'pastor' explains that Jesus wasn't actually born of a virgin because: "The word 'virgin' in the first century had more to do with a woman who made decisions independent of a spouse. That's the way I like to think of it, that Jesus was born to an independent woman.Released on the Church of England's official Instagram page, the *main character* in the Christmas story is not Jesus, but Mary.

*This episode was originally published on 8/25/2025. In this week’s episode, Dr. Robert Smith Jr. and H.B. Charles Jr. join me as we discuss “Preaching in the African-American Tradition.” Robert The post Preaching in the African-American Tradition appeared first on Preaching and Preachers Institute.

Today we have the pleasure of sharing an episode from one of our favorite podcasts, the Lit Ladies Podcast. Here is more about their show: We are three writers and moms exploring how to live out our faith in our literary lives. We span the country—from the coasts to the Midwest—and with different stages of life, careers, and favorite genres, we are sure to cover the literary landscape. In every episode, we'll discuss books we love, reading life, and writing craft, using the Bible as our guide for beauty, goodness, and truth. New episodes drop every other Friday! Historical Fiction, War Stories, and What We Sip While We Read This Lit Ladies Podcast crossover with the Historical Bookworm team covers why historical fiction matters, how war settings shape stories, and what everyone is reading right now. Key takeaways Historical fiction makes history personal, which helps you see how everyday people lived. Accuracy matters most when it grounds the characters and the social pressures of the era. War settings work best when the focus stays on human cost, resilience, and the ripple effects on families. Reading older books can mean meeting older blind spots, which calls for discernment instead of reflexive dismissal. Lesser-known conflicts can add fresh perspective, especially when anchored in solid research. Welcome to the crossover Karissa: Hello and welcome to the Lit Ladies Podcast. Today we’re doing a special crossover episode with our friends KyLee Woodley and Darcy Fornier and their historical fiction podcast. We’re so excited to have you here today. Darcy: So excited to be here. We have so much fun hanging out with you guys. KyLee: Thanks for the invite. Glad to be here. Karissa: KyLee Woodley is a podcaster and author of the Outlaw Hearts series, adventure romances set in the American Wild West. Darcy Fornier is a podcaster and author of The Crown and the Axe, and they are both the hosts of the Historical Bookworm podcast, which is in its fifth season. It’s for lovers of inspirational historical fiction, and the show features author interviews, bookish and historical segments, and a wide variety of guests, from Christy Award-winners to high-quality indie authors. Favorite reading beverages Karissa: Before we jump in today, I want to know what is everyone’s favorite reading beverage of choice? Christie: I usually drink water, or else I don’t really drink anything because I’m too busy speed reading. But today for the podcast, since we’re doing it in the morning, I get to drink coffee. Darcy: Usually coffee. If I said anything else, my sisters would say I was lying. But I also enjoy hot chocolate or tea. Anything hot. I’m not going to be drinking lemonade even in the summer. KyLee: The nice thing about being in the South is that the AC is always blasting. So it’s hot cocoa, coffee, soup, any time of the day. My current favorite beverage to go with my reading, which I seldom read, but audiobooks, big on audiobooks these days, is the Iced Pecan Crunch Oat Milk Latte. I don’t usually go to Starbucks. I find their coffee very bitter, but this is a blonde espresso. I get it without the foam. It’s too sweet and it takes up too much in my cup. Karissa: I like to drink herbal tea. That’s my main comfort drink. Why historical fiction Karissa: What draws you to historical fiction? KyLee: For me, I like the nostalgia. I grew up very sheltered. We didn’t have a TV until I was 12. My mom would just drop us off at the library, then go shopping, then pick us up whenever. We always had audiobooks or books on tape. When we did get a TV, it was black and white. We watched a lot of black and white shows. For me, I remember those good times with old classic films and literature. There’s also this idea of, “What was.” Historical and fantasy are best friends because there’s that sense of wonder. But historical is like, this really did happen. This was really true. I like to dig into history and see who someone was, and go back to where they were if that’s possible. I love to research the way people lived and thought, the things they invented, and how resourceful they were. Darcy: Mine is similar. It’s about the people that came before, and how their stories influenced our lives today. You can go to historical sites and almost touch the lives that they had there. We tend to study history as the big overview. This person was king, these wars happened, all this stuff. Historical fiction lets you dive into what it was like for the day-to-day person. Even if you’re writing about a king, you’re asking what motivated him and what it felt like. People are people as long as they’ve lived. Karissa: That’s my favorite part too. How did people actually live, what challenges did they face, and what did they wear? KyLee: I also like when an author challenges what we accept as historical norms. Bring out something different that we wouldn’t expect. Like a female rancher who ran a ranch with hundreds of cowboys. I heard on a podcast that there was an African-American college in Waco in the 1860s. I had never heard of that. I want to learn the things that go against what people believe as a whole. I want to see the people who were counterculture in their time. Christie: Whoever wins writes the history book. There’s so much that was lived and done that you don’t know about because it was shut down, or the history books made it seem nice and clean. Favorite eras and the appeal of time travel Karissa: Christie, do you have a favorite era to read or write about? Christie: I haven’t read much historical in a while. I used to read a lot of Jen Turano because her voice is funny, witty, and sharp. For an era, late 1800s to 1940s. If there’s too much work to live, it pulls me out. I’m modern. I don’t want to learn about churning butter. Darcy: A few modern conveniences is okay. Christie: I would do a castle, like medieval, every now and then. KyLee: That’s what’s fun about time travel or slip time. You get the comparison. Especially time travel, when someone modern comes into the past and you see how they react to everything. Karissa: I just discovered Gabrielle Meyer. It’s sort of time travel. KyLee: In those books, the women exist in two timelines until a certain age. Then they have to choose which timeline they’ll live in. What’s fun is that she explores different eras. You get contrast between two past timelines, like the Civil War and the 1920s. Christie: I’d choose the ’20s, not the war. Karissa: I love the Victorian era and the Regency era. I also love reading classics written in the period. You get the perspective of someone who lived in that era and took so much for granted. Darcy: If you read Jane Austen, she doesn’t explain everything because her readers would understand it. Then you read a Regency novel by a modern author, and they explain everything. It’s cool to do both. Karissa: Darcy and KyLee, do you have favorite time periods? Darcy: Medieval is my favorite to read in and write in. Then the Regency era, then the American West. I probably read mostly Westerns. Some people say cowboys are the truest heirs to medieval knights. There are similarities in how unlawful it could feel. There was law in both places, but it only extended so far. Christie: I watch black and white westerns with my mom. The body count is wild. They’re just shooting people in the street and it’s cool. I would never want to live back then. KyLee: I overanalyze it too. It’s set in the 1800s, but it was made in the ’40s or ’50s. So I’m thinking about their worldview and ideologies, and how that shaped what they presented. Christie: They’re pretty racist. Sometimes I’m like, how is this still on TV? Darcy: Everything we write is a product of our time. It’s just more glaring the further back you go. KyLee: I started Gone with the Wind. It’s too long for my taste. Some language made me pause. Karissa: We never see the sins of our own era. Our descendants will look back and see the sins of today. Darcy: Grace Livingstone Hill wrote in the late 1800s and early 1900s. You see elements of racism and classism, and ideas like bloodline influencing character. Looking through modern eyes, it’s horrible. She’s still one of my favorites because her stories are sweet and encouraging in faith, but you see how even a good person is a product of their time. KyLee: That’s why it’s important to be kind. I’m not going to stop reading her because I can see flaws. Don’t throw the baby out with the bathwater. Karissa: That comes up in English teaching too. How do you teach classics responsibly without canceling them completely? War settings in historical fiction Karissa: I wanted to talk about books set during wars. We see a lot set with the backdrop of World War II. Do you have a favorite war setting to read about, and any favorite books? KyLee: I’ve always been drawn to the Civil War. When I was growing up, there were quite a few Civil War movies and books in the Christian genre. The brother against brother aspect pulls me in. As an adult, I look at the events that led up to it and grimace, hoping history doesn’t repeat itself. More recently, the Franco-Prussian War, partly because some of my ancestors' sisters came over during that time. It only lasted about a year. France declared it, and France lost. Their people suffered. Germany demanded huge remunerations in gold. By today’s standards, I did the math before we started, it was about 84 to 95 billion dollars. (FACT CHECK – In today’s purchasing power, estimates for that 5 billion francs generally range between $80 billion and $100 billion USD.) France had promised not to tax people during the war, but afterward they charged back taxes. There was a civil uprising in Paris, and a week-long massacre called the Bloody Week. That history comes into book one of the Outlaw Heart series. It’s lesser known French history. My people were German, and my characters are French, but I was fascinated by it. You don’t hear about that war as much. Darcy: That’s obscure for Americans because it didn’t affect us directly, so it doesn’t make it into our history books. But it made a huge difference in Europe. KyLee: My dad’s side always wrote Prussia on census records, not Germany. That led me to dig into where Prussia was and how that history unfolded. Writing trauma and war without being gratuitous Karissa: What challenges did you find writing about something so difficult in a way that worked for your story? KyLee: The main character in book one, Lorraine, lived through the Bloody Week. She’s in America now. I looked at where she is as an immigrant and how she tries to settle when there is nothing left for her in France. People were rounded up, imprisoned, and shipped off to New Caledonia, a penal colony near Australia, I believe. No trial. Later, there were pardons, but many people were still imprisoned because they were never tried, and their names were never even taken down. Lorraine is haunted by the past and has post-traumatic stress disorder. She refuses to speak English even though she understands it. She holds tightly to French roots, clothing, and food, and stays close to other French people. Jesse challenges her to put down roots in a country where she feels like an alien. That Bible phrase kept coming up to me, be kind to the immigrant, the alien, the foreigner. Remember when you were in Egypt and you were a stranger in a strange land. For research, I relied on as many documents as I could find, plus academic papers written about the Bloody Week and why it happened. I want to respect history and the people who lived it. Karissa: I love how you included the war because we feel the weight she carries without putting everything on the page in an overly graphic way. Christie: The Bandit’s Redemption is the first in the series. It has such a pretty cover too. Darcy: It’s such a good one. Darcy's pick: World War II Karissa: Darcy, do you have a favorite war setting? Darcy: Probably World War II, because it’s so vast. You have the European theater and the Pacific theater, plus the home front in America and Britain. Every time I pick up a World War II book, it’s like, “I did not know that.” The Civil War is hard for me. I grew up in Georgia, and in some places it feels like it happened this century. It was my country. World War II lets me detach a bit more. I did read one Civil War book by Rosanna M. White that was fabulous, Dreams of Savannah. It handled the loyalty conflict very gracefully. Karissa: What makes a good war book? Christie: Accuracy doesn’t matter much to me because I’m not going to catch mistakes. I want characters and their journeys, battles and close calls, romance, and a happy ending. Darcy: I appreciate historical facts because I want to be grounded in the setting. But if I’m reading fiction, I’m there for story and characters. I want to see what the war is doing to them, to their society, to their family, and how it changes their lives. KyLee: I want it at the character level too. I also like seeing people on both sides. I want everyday heroes, and small choices that mattered. I also love surprising historical technology I didn’t know about. Karissa: Accuracy matters to me, but not at the expense of story. I just want what happens to feel believable for the era. In Regency romances, for example, two people being alone in a room can be a big deal. A kiss behind a barn could ruin lives. Darcy: Historical characters in books sometimes have a modern disregard for societal pressure, which is inaccurate. We all feel societal pressure today too. It’s just different pressures. When classics meet modern retellings Christie: Karissa, you like reading the Brontës because they wrote in that time. Do they have stolen kisses, or is it different because they were writing then? Karissa: If it’s Emily and Wuthering Heights, it’s more dramatic and Gothic. With Jane Eyre, I think it’s more bound by the era. Darcy: If someone did a modern retelling, I think they’d put stolen kisses in. KyLee: It depends on the character and how they were raised. There were orphanages and homes for widows who were pregnant, and women who had gotten pregnant outside marriage. There are records showing pregnancies starting before marriage dates in some places in the 1700s. On the whole, the societal expectation mattered. So you need to look at your character. If she’s proper and ladylike, she probably won’t have modern levels of physical intimacy. Karissa has proofread my stuff and told me, this would never happen. She was right. It pushes you to be creative. Make the little things special too. Karissa: What might seem small to us might be very steamy to someone in the Regency era. Like touching a hand without a glove. Darcy: He’ll be proposing within the week. War book recommendations and lesser-known conflicts Christie: I read The Ice Swan by J'nell Ciesielski. That was during the Russian Revolution in 1917. I remember really liking that one. Darcy: Rosemary Sutcliff does this well in her books about Britain after Rome officially withdrew. It spans generations. The first is The Eagle of the Ninth. It’s technically YA and she wrote in the 1950s or ’60s. Sword at Sunset is an adult book with some adult content. She personalizes the conflict and shows conflicting loyalties, and friendships across cultures. It’s history, not fantasy. Karissa: Between Shades of Gray by Ruta Sepetys. Not to be confused with anything else. It’s YA historical set during World War II, but it focuses on Stalin’s reign and deportations to Siberia. It takes place in Lithuania and the Baltic states, where there were multiple occupations. It’s about a girl whose family is sent to a prison camp. I studied abroad in Lithuania, so that history sticks with me. Ruta Sepetys researches a lot and her books are well done. Kelly mentioned The Women by Kristin Hannah, set during the Vietnam War. Darcy: I had someone tell me she read The Women three times because it was so good. It's on my list. My sister highly recommends Kristin Hannah. She read The Nightingale and said it was worth the pain. Christie: I need happy ones. I can only do one super tearjerker a year. What everyone is currently reading KyLee: I borrowed The Dark of the Moon by Fiona Valpy. I’ve read The Dressmaker’s Gift and The Beekeeper’s Promise by her. They're World War II, like French resistance. Melanie Dobson does this well too, like The Curator’s Daughter, a time slip about a woman married to a Nazi soldier. I like books that feel sobering, like they changed my life. I also borrowed Angel from the East by Barbara A. Curtis. I borrowed The Winter Rose by Melanie Dobson, a World War II story about a lady who helps rescue Jewish children. Darcy: I just finished The Bounty Hunter’s Surrender by KyLee Woodley. I had never read it cover to cover. I helped brainstorm, and apparently the villain is my fault. I enjoyed it so much. I’m also reading a contemporary by Becky Wade, Turn to Me, in her Misty River romance series set in Northeast Georgia. I know exactly what she’s describing. Christie: I’m reading The Couple Next Door by Shari Lapena. Karissa: I'm listening to the audiobook of Long Bright River by Liz Moore. It’s about a police officer in Philadelphia. Her sister struggles with addiction, then goes missing. There are flashbacks and a modern timeline, plus mysterious murders. I can't stop listening. Where to find Historical Bookworm and Lit Ladies KyLee: You can connect with us at HistoricalBookworm.com. You can find me at KyLeeWoodley.com and Darcy at DarcyFornier.com Darcy: I’m most active on Instagram, DarcyFornierWriter Karissa: Thank you for joining us today on our literary journey. If you love the podcast, share it with a friend and rate and review. And don’t forget to follow us on social media at Lit Ladies Pod. Our quote today is from Barbara Tuchman: “Books are the carriers of civilization. Without books, history is silent, literature dumb, science crippled. Thought and speculation are at a standstill.”

On this week’s In Black America, producer and host John L. Hanson, Jr. presents a tribute to the late John Hope Franklin, a noted scholar of African American history, whose career of more than 60 years in scholarship, teaching and advocacy included a distinguished professorship at Duke University, helping prepare the landmark Supreme Court case […] The post John Hope Franklin, Jr. (Ep. 05, 2026 re-broadcast) appeared first on KUT & KUTX Studios -- Podcasts.

Episode Notes Dr. Anne Rotich, Director of Undergraduate Programs in the Department of African American and African Studies, informs us about her J-term course, Swahili Cultures Then and Now, which takes the students across the globe to Kenya. Dr. Rotich discusses the new knowledge and informational experiences students gain through her course, traveling around Kenya, and how she provides opportunities for cultural immersion. She also analyzes the benefits of studying abroad and how students can most insightfully learn about other cultures.

The Watch Night Service is a tradition the grew out of slavery, yet still is an important part of how, for many African Americans, is the only way that a new year should be brought in. The practice, called “Freedom Night” or named the Watch Night Service, began in 1862, when anxious slaves were waiting on confirmation of their freedom based on the Emancipation Proclamation. Today, the service continues in the church with prayers of gratitude for another year and blessings over what's to come. 

Congressman Jim Clyburn is a legendary statesman whose influence spans from advising presidents to serving as a beacon of change and unity in American politics. Representing South Carolina, he is not only a champion of justice and progress but has also shaped the course of history with his powerful endorsements and unyielding voice. With deep roots in the civil rights movement and a life devoted to public service, Congressman Clyburn's impact resonates across generations—especially inspiring young leaders and change-makers to envision what's possible through mentorship, storytelling, and unwavering purpose. Takeaways: Legacy and Representation: Congressman Clyburn's new book, The First Eight, uncovers the overlooked history of the eight African Americans who served in Congress from South Carolina before him, proving the power of representation and the importance of knowing one's history. Mentorship by Example: Though Clyburn didn't personally know his forerunners, their stories and those of his own father provided mentorship from afar—showing that guidance and inspiration often transcend direct relationships. Power of Storytelling: Clyburn emphasizes the importance of learning outside traditional education, absorbing wisdom from lived experiences, and communicating with passion and inclusivity—skills he encourages the next generation to develop for real impact. Sound Bytes: “No, before I was first, there were eight.” “Robert Smalls is the most consequential South Carolinian, bar none.” “There's a certain amount of education that you gotta get outside of the books.” Connect & Discover Jim: Instagram: @clyburnsc06 Facebook: @ClyburnforCongress X:  @RepJamesClyburn YouTube: @RepJamesClyburn Website: Congressman James E. Clyburn Book: The First Eight: A Personal History of the Pioneering Black Congressmen Who Shaped a Nation

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 conception of "racial justice" as a goal or end for non-violent action. 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

This is the first day of Kwanzaa, a celebration of African American culture and heritage along with seven guiding principles, such as unity, purpose, and self-determination. Light the kinara with us as we share some of our favorite Kwanzaa memories from our annual Colorado Matters Holiday Extravaganzas! Plus, my conversation from August with Denver musical artist Such, whose passion to help others has been a guiding principle in her life. 

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 discussion of how non-violent direct action is supposed to work, and what effects it is intended to have on aggressors, the larger public, and the oppressed community 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

Send us a textIn Part 2 of our series on John B. McLendon, we move from the "Secret Game" of the 1940s to the public dominance of the 1950s. In 1954, McLendon arrived at the NAIA tournament in Kansas City with a non-negotiable demand: his team would eat in the same restaurants and sleep in the same hotels as the white teams.This episode covers the rise of Tennessee A&I (now Tennessee State), the first college basketball team in history to win three consecutive national championships (1957-1959).In this episode:The Ultimatum: How McLendon used the NAIA tournament to force the integration of Kansas City hotels and restaurants in 1954.The Dynasty: The story of the first college "Three-Peat," led by the legendary Dick Barnett and his "Fallback Baby" jump shot.The Cost of Integration: How the success of HBCUs led to Predominantly White Institutions (PWIs) recruiting Black talent, draining the very programs that built it.Breaking Barriers: McLendon becoming the first African American head coach of a pro team (Cleveland Pipers) and a PWI (Cleveland State).From the NAIA tournament to the birth of the fast break as a global standard, this is how the "side door" became the front door.Support the showDid you know we are one of the Top 30 Collage Podcasts in the World! https://podcast.feedspot.com/college_basketball_podcasts/?feedid=5529823&_src=f1_featured_email Support the Pod or Binge the Entire Season Now! https://www.buzzsprout.com/1269236/support https://youtube.com/@IconicSeasons Connect on Social https://www.instagram.com/ncaaiconicseasons/

Encore! Encore! This December Janet, John, (and Pen) wanted to revist the astounding life of the director of A Warm December, an extremely talented actor, activist, and diplomat... Sidney Poitier! Born in Miami, Florida on February 20th in 1927, this Bahamian-American actor changed the game for black actors forever in the motion-picture industry by becoming the African American to win the Academy Award for best actor and the first Black movie star. Even though he seemed destined for the stage and stardom, Poitier worked hard to amass such a massive career in Hollywood. He got his start in the American Negro Theatre after applying for the second time after a previous rejection because of his accent (which he worked on changing to American pronounciation for six months). While studying acting, he made his Broadway debut in Lyrsistrata in 1946. His first film role was as Dr. Luther Brooks, a hospital's only Black doctor who treats a bigoted white cirminal, in No Way Out (1950). His refusal to play into racial sterotypes helped create inroads for Black people into American media culture. He later starred, worked in, and directed many films such as, Porgy and Bess (1959), A Raisin in the Sun (1961), and A Patch of Blue (1965), A Warm December (1973), Uptown Saturday Night (1974), and Stir Crazy (1980).  He also went onto winning  the Academy Award for Best Actor for Lilies of the Field (1963). He also received a Grammy Award, two Golden Globe Awards, and a British Academy Film Award! Join us as we revist Tribute 10 Mini-Sode: Sidney Poitier!   To learn more about this episode and others, visit the official Cinema Sounds & Secrets website!  

A few years ago, Trymaine Lee, though fit and only 38, nearly died of a heart attack. When his then five-year-old daughter, Nola, asked her daddy why, he realized that to answer her honestly, he had to confront what almost killed him—the weight of being a Black man in America; of bearing witness, as a journalist, to relentless Black death; and of a family history scarred by enslavement, lynching, the Great Migration, the also insidious racism of the North, and gun violence that stole the lives of two great-uncles, a grandfather, a stepbrother, and two cousins.In this powerful narrative, Lee weaves together three strands: the long and bloody history of African Americans and guns; his work as a chronicler of gun violence, tallying the costs and riches generated by both the legal and illegal gun industries; and his own life story. With unflinching honesty he takes readers on a journey, from almost being caught up in gun violence as a young man, to tracing the legacy of the Middle Passage in Ghana through his ancestors' footsteps, to confronting the challenges of representing his people in an overwhelmingly white and often hostile media world, and most importantly, to celebrating the enduring strength of his family and community.In A Thousand Ways to Die (St. Martin's Press, 2025) Lee answers Nola and all who seek a more just America. He shares the hard truths and complexities of the Black experience, but he also celebrates the beauty and resilience that is Nola's legacy. In this episode we discuss the work of Dana Tenille Weeks. You can hear her talk about the reimagination of future at Episode 22 of her podcast, The Rest of Us. Find Trymaine Lee at his website and on Instagram. Host Sullivan Summer is at her website, Instagram, and on Substack. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

The Bigger Picture Also -On this week's Not All Hood Weekly Drop, Candace Kelley sits down with Dr. Dabenga (American University), author of Lies About Black People, to unpack rising fears around dual citizenship, naturalization, and denaturalization. They discuss claims circulating about policies that could pressure dual citizens to “choose” a nationality, and what that would mean for millions of Black and Brown people, especially families with older relatives and inconsistent historical records. Dr. Dabenga argues this moment fits a broader pattern of escalating enforcement—moving from border messaging to interior targeting—raising concerns about ICE encounters, documentation demands, and “lawless” enforcement behavior. Candace and Dr. Dabenga also break down practical protection steps: don't go anywhere with unidentified agents, ask bystanders to record everything, understand what kinds of warrants are required, and build a family plan for emergencies. They also broaden the conversation to diaspora identity—why people pursue dual citizenship for safety, opportunity, and connection—and how media narratives can shape misunderstandings between African Americans and Africans. This is an urgent, real-world conversation about immigration enforcement, civil rights, due process, and community preparedness—with history, context, and tools you can actually use. Across Netflix, iHeartRadio, Warner Bros., and Paramount, the signal is clear: Media is consolidating quietly, not loudly. Partnerships are the new acquisitions, and acquisitions are increasingly about IP, audience, and infrastructure—not prestige. This week reinforces that the next wave of media power won't come from who makes the most content—but from who controls distribution, data, and direct audience relationships. ----------------------------------------------------------------------------------------------------- Not All Hood (NAH) podcast takes a look at the lived experiences and identities of Black people in America. Infused with pop culture, music, and headlining news, the show addresses the evolution, exhilaration, and triumphs of being rooted in a myriad of versions of Black America. Hosted by Malcolm-Jamal Warner, and Candace O.Kelley Executive Producer: Layne Fontes Producer & Creative Director: Troy W. Harris, Jr. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

DEI killed meritocracy—and white men in America have paid the price. Victor Davis Hanson breaks down a recent, controversial article from Compact Magazine, which examines how white males have been increasingly excluded from fields like entertainment, journalism, and academia over the past several decades. Hanson explores the effects of early affirmative action, post-George Floyd hiring practices, and who bears responsibility for these changes on today's episode of “Victor Davis Hanson: In a Few Words.” “I do blame the older white hierarchy, mostly liberal professors, liberal journalists, liberal directors, liberal actors, liberal screenwriters. They all had nice cushy jobs. They earned them. Then they decided in their utopian generosity that they were going to admit people into their guilds without the same criterion that they had had because it made them feel better. “In other words, they didn't accept Tom Sowell's or Shelby Steele's advice or Jason Riley's that says, when you do that, you're going to encourage mediocrity and opportunist, and you're going to deprecate the work of African Americans or Hispanics that are very talented. But that's what you're going to do just to gratify your own sense of ego and shame. And that's exactly what happened.” (0:00) Introduction (0:21) Compact Article (0:57) Affirmative Action and Its Impact (2:50) Meritocracy Loss (4:12) Blame and Responsibility (5:54) Consequences of Lower Standards (7:07) Conclusion We need your help to ensure The Daily Signal can continue to counter the liberal media's lies with the truth. Support The Daily Signal's work today by becoming a Signal Elite Supporter.    Your tax-deductible monthly gift will help: 

In this holiday edition of Selective Ignorance, Mandii B is joined by super producer A-King and journalist Jayson Rodriguez for a layered, reflective conversation unpacking the cultural, emotional, and commercial realities of the holiday season. The episode opens with a warm introduction to the holidays and the shifting energy that comes with this time of year [00:00], setting the tone for a discussion rooted in nostalgia, cultural awareness, and modern-day realities. The hosts reflect on childhood Christmas memories and past holiday crazes, revisiting the toys, traditions, and moments that defined earlier eras [02:47], before examining how Christmas hits differently in adulthood—especially when navigating single life, expectations, and social pressure during the season [06:05]. From there, the conversation expands into cultural perspectives on how Christmas is celebrated across communities, highlighting both shared traditions and meaningful differences [08:56]. A deeper historical lens is applied as the crew breaks down the origins and evolution of Christmas, unpacking how religion, capitalism, and culture have reshaped the holiday over time [12:05]. That history connects directly to a discussion on Christmas crazes, consumer trends, and the role of marketing, questioning what gets lost when tradition becomes transactional [14:57]. The symbolism of Santa Claus and cultural identity is also explored, challenging how myths are constructed and who they are designed to serve [18:07]. As the episode progresses, the conversation turns toward historical revisionism and dominant cultural narratives, examining how certain stories are amplified while others are erased [37:37]. This naturally leads into a candid discussion about Black identity, the African American experience, and cultural inclusion during the holidays [39:34], followed by a thoughtful breakdown of Kwanzaa as a cultural alternative that emphasizes community, heritage, and self-determination [42:58]. Lighter moments balance the depth as the hosts touch on sports as part of holiday traditions [46:35], before diving into the timeless role of Christmas movies and holiday music in shaping seasonal mood and memory [54:41]. The conversation then turns to celebrity commentary and controversies surrounding Christmas, highlighting how public figures influence cultural debates during the season [01:00:51]. As the episode winds down, Mandii, A-King, and Jayson discuss the realities of navigating family plans and emotional boundaries during the holidays [01:01:19], along with the often-overlooked workplace dynamics, expectations, and burnout that come with end-of-year professional life [01:05:36]. The episode closes with reflective energy, positioning the holiday season as both a moment of pause and a bridge into the new year ahead. No Holes Barred: A Dual Manifesto Of Sexual Exploration And Power” w/ Tempest X!Sale Link Follow the host on Social MediaMandii B Instagram/X @fullcourtpumps Follow the show on Social MediaInstagram @selectiveignorancepodTiktok @selective.ignoranceX/Twitter @selectiveig_podSee omnystudio.com/listener for privacy information.

In 1872, President Ulysses S. Grant was stopped for recklessly driving his carriage through Washington D.C. One published account says that the officer, an African American named William West, warned Grant, “Your fast driving, sir . . . is endangering the lives of the people who have to cross the street.” Grant apologized but the next night was racing carriages again. West stopped Grant’s horses. “I am very sorry, Mr. President, to have to do it, for you are the chief of the nation and I am nothing but a policeman, but duty is duty.” West arrested the president. I admire this brave man for doing his duty. So did Grant. He praised West and made sure he kept his job. God also was pleased, for He hates the injustice of favoritism. He says, “Believers in our glorious Lord Jesus Christ must not show favoritism” (James 2:1). That includes not giving special favors to the rich and powerful, leaving only leftovers for the poor (vv. 2-4). Instead, we’re called to love our neighbor as ourselves. If we play favorites, serving our platinum club neighbors rather than the less privileged, we “sin and are convicted by the law as lawbreakers” (v. 9). God didn’t play favorites with us. He loved us when we had nothing to offer, when we were “without hope and without God in the world” (Ephesians 2:12). With His help, we can love all people equally.

Curtis Sliwa fills in for Mark Simone. Who is currently the most respected Black figure within the Black community? Curtis offers his own perspective, noting that a former President often comes to mind. Additionally, he mentioned the annual Polish parade, encouraging listeners to check it out. Curtis takes your calls to discuss various topics, including recent happenings at Curtis's former radio station and their own views on influential Black leaders.

Curtis Sliwa fills in for Mark Simone. Who is currently the most respected Black figure within the Black community? Curtis offers his own perspective, noting that a former President often comes to mind. Additionally, he mentioned the annual Polish parade, encouraging listeners to check it out. Curtis takes your calls to discuss various topics, including recent happenings at Curtis's former radio station and their own views on influential Black leaders.See omnystudio.com/listener for privacy information.

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.