POPULARITY
3 episodes with alice childress
2 episodes with alice childress
3 episodes with alice childress
3 episodes with alice childress
3 episodes with alice childress
3 episodes with alice childress
2 episodes with alice childress
2 episodes with alice childress
2 episodes with alice childress
Tony-winning actor LaChanze makes her directorial debut with a new revival of "Wine in the Wilderness," an Alice Childress play set in the midst of 1964 riot in Harlem. Grantham Coleman stars as Bill, an artist who is working on a triptych on Black womanhood. His final model is Tomorrow Marie, played by Olivia Washington. And soon their meeting will be about much more than art. Coleman, and Washington discuss "Wine in the Wilderness," running at the Classic Stage Company through April 13.
Monstrous Work and Radical Satisfaction: Black Women Writing Under Segregation (U Minnesota Press, 2024) offers new and insightful readings of African American women's writings in the 1930s-1950s, illustrating how these writers centered Black women's satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers' dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women's capacity to locate satisfaction within the domestic and interpersonal. While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people's quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women's completeness, joy, and happiness outside the bounds of normative racial inclusion. 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
Monstrous Work and Radical Satisfaction: Black Women Writing Under Segregation (U Minnesota Press, 2024) offers new and insightful readings of African American women's writings in the 1930s-1950s, illustrating how these writers centered Black women's satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers' dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women's capacity to locate satisfaction within the domestic and interpersonal. While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people's quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women's completeness, joy, and happiness outside the bounds of normative racial inclusion. 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
Monstrous Work and Radical Satisfaction: Black Women Writing Under Segregation (U Minnesota Press, 2024) offers new and insightful readings of African American women's writings in the 1930s-1950s, illustrating how these writers centered Black women's satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers' dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women's capacity to locate satisfaction within the domestic and interpersonal. While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people's quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women's completeness, joy, and happiness outside the bounds of normative racial inclusion. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies
Monstrous Work and Radical Satisfaction: Black Women Writing Under Segregation (U Minnesota Press, 2024) offers new and insightful readings of African American women's writings in the 1930s-1950s, illustrating how these writers centered Black women's satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers' dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women's capacity to locate satisfaction within the domestic and interpersonal. While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people's quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women's completeness, joy, and happiness outside the bounds of normative racial inclusion. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
Monstrous Work and Radical Satisfaction: Black Women Writing Under Segregation (U Minnesota Press, 2024) offers new and insightful readings of African American women's writings in the 1930s-1950s, illustrating how these writers centered Black women's satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers' dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women's capacity to locate satisfaction within the domestic and interpersonal. While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people's quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women's completeness, joy, and happiness outside the bounds of normative racial inclusion. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history
Monstrous Work and Radical Satisfaction: Black Women Writing Under Segregation (U Minnesota Press, 2024) offers new and insightful readings of African American women's writings in the 1930s-1950s, illustrating how these writers centered Black women's satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers' dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women's capacity to locate satisfaction within the domestic and interpersonal. While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people's quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women's completeness, joy, and happiness outside the bounds of normative racial inclusion. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Monstrous Work and Radical Satisfaction: Black Women Writing Under Segregation (U Minnesota Press, 2024) offers new and insightful readings of African American women's writings in the 1930s-1950s, illustrating how these writers centered Black women's satisfaction as radical resistance to the false and incomplete promise of liberal racial integration. Eve Dunbar examines the writings of Ann Petry, Dorothy West, Alice Childress, and Gwendolyn Brooks to show how these women explored self-fulfillment over normative and sanctioned models of national belonging. Paying close attention to literary moments of disruption, miscommunication, or confusion rather than ease, assimilation, or mutual understanding around race and gender, Dunbar tracks these writers' dissatisfaction with American race relations. She shows how Petry, West, Childress, and Brooks redeploy the idea of monstrous work to offer potential modalities for registering Black women's capacity to locate satisfaction within the domestic and interpersonal. While racial integration may satisfy the national idea of equality and inclusion, it has not met the long-term needs of Black people's quest for equity. Dunbar responds, demonstrating how these mid-century women offer new blueprints for Black life by creating narrative models for radical satisfaction: Black women's completeness, joy, and happiness outside the bounds of normative racial inclusion. Learn more about your ad choices. Visit megaphone.fm/adchoices
Hosts Jordan Ealey and Leticia Ridley discuss the contributions made by Alice Childress and the historical and contemporary significance of her play, Trouble in Mind, including the filmed 2021 production at the National Theatre in London.
This episode will discuss the age old questions of what is Black theatre? What is a Black play? How do you know one when you see it? Leticia Ridley and Jordan Ealey provide an overview of the some of the most popular commentary on this question from Black theatre theorists of the past such as W.E.B Dubois, Alain Locke, and Alice Childress.
Part one: Writer Wendy Sanford reveals the origins of her memoir about friendship across race and class and her evolving relationship and collaboration with Mary Norman. Part two: Wendy Sanford reads from These Walls Between us https://www.wendysanford-thesewallsbetweenus.com/ Part three: a SoundSlice from Northern London Hear Wendy talk about the groundbreaking women's health book, "Our Bodies, Ourselves" https://soundcloud.com/peterson-thomas-toscano/female-body?si=6d70fddacd444dd19a0a20097fccb038&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing Like One of the Family by Alice Childress https://www.oxfordreference.com/display/10.1093/oi/authority.20110803100105640;jsessionid=0E3320BF5ACFAC24E87D4B10EB60ED19 The Bubble&Squeak theme song is Worthless. by The jellyrox from the album Bang and a whimper. You can find it on iTunes, Spotify, of wherever you listen to music. To find more great music and new podcasts visit www.rockcandyrecordings.com Feel free to say hi to me Twitter. @p2son Praise for The Walls Between Us: “These Walls Between Us is a powerful book with an important lesson that we all must learn in trying to understand others.” —Reverend John Reynolds, author of The Fight for Freedom: A Memoir of My Years in the Civil Rights Movement “A tender, honest, cringeworthy, and powerful read.” —Debby Irving, Author of Waking Up White, and Finding Myself in the Story of Race "I've never read a memoir that is so consistently courageous." —George Lakey, Author of Dancing with History: A Life for Peace and Justice “Wendy Sanford is doing the work that only she can do!” —Byllye Avery, Founder, Black Women's Health Imperative.
-We evaluate the findings from a recent report published by the UDC on the rise of academic misconduct. We also discuss the ethics of cheating. Read the report about the 2021 – 2022 academic year! -We get excited about Trouble in Mind, a dramedy capturing the day-to-day realities of racism. Buy tickets to the Royal MTC's run until March 11! Fun fact: Trouble in Mind was almost the first play to appear on Broadway that was written by a Black woman. Listen to learn more! Featured in this episode… -Arthur Schafer, professor of philosophy and founding director of the Centre for Professional and Applied Ethics at U of M -Sheryl Zelenitsky, chair of the University Discipline Committee (UDC) -Cherissa Richards, Trouble in Mind director
Dominique speaks with Professor Mary Helen Washington, author of The Other Blacklist: The African American Literary and Cultural Left of the 1950s, and numerous other works. Guest: Mary Helen Washington
This week Dominique and Arminda are joined by legendary lighting designer and historian Kathy A. Perkins about her collaboration with Alice Childress and how she came to edit the anthology of Childress's plays. Guest: Kathy A. Perkins
Host Dominique Rider connects with dramaturg and CLASSIX team member Arminda Thomas to talk through the biography and legacy of Alice Childress. Guest: Arminda Thomas
Playwright, performer, novelist, and cultural critic, Alice Childress looms as an incredibly important but often forgotten figure within the history of our American theater. The breadth of her writing intersects with major movements of Black artistic and political thought, and yet, until recently her work has been relegated to the shadows. For Act 2 of (re)clamation, CLASSIX shines a light on the life, work and legacy of Alice Childress.
In this new podcast, Paul goes behind the curtain with the cast of Timeline's Latest thought provoking production; “Trouble in Mind.” Here is his review of the show published at www.aroundthetownchicago.com: 5/5 stars…. “Trouble in Mind,” by Alice Childress is troubling and difficult to watch. Not because it isn't an amazing production with incredible performances, because […]
Actor Crystal Dickinson and director Brandon J. Dirden join us to discuss their upcoming production of the Alice Childress play, "Wine in the Wilderness," at Two River Theater in Red Bank, New Jersey. The show runs until November 6.
In this conversation Charisse Burden-Stelly returns to the podcast, and is joined by Jodi Dean to talk about their new book Organize, Fight, Win: Black Communist Women's Political Writing. Charisse Burden-Stelly is an Associate Professor of African American Studies at Wayne State University. Along with Gerald Horne she co-authored W.E.B. Du Bois: A Life In American History. She is a co-editor of the book Reproducing Domination On the Caribbean and the Postcolonial State. She is also the author of the forthcoming book Black Scare / Red Scare. She is a member of Black Alliance for Peace and was previously the co-host of The Last Dope Intellectual podcast. Jodi Dean teaches political, feminist, and media theory in Geneva, New York. She has written or edited thirteen books, including The Communist Horizon, Crowds and Party, and Comrade: An Essay on Political Belonging. She is also a member of the Party for Socialism and Liberation. The first collection of its kind, Organize, Fight, Win brings together three decades of Black Communist women's political writings. In doing so, it highlights the link between Communism and Black liberation. Likewise, it makes clear how Black women fundamentally shaped, and were shaped by, Communist praxis in the twentieth century. Organize, Fight, Win includes writings from card-carrying Communists like Dorothy Burnham, Williana Burroughs, Grace P. Campbell, Alice Childress, Marvel Cooke, Esther Cooper Jackson, Thelma Dale Perkins, Vicki Garvin, Yvonne Gregory, Claudia Jones, Maude White Katz, and Louise Thompson Patterson, and writings by those who organized alongside the Communist Party, like Ella Baker, Charlotta Bass, Thyra Edwards, Lorraine Hansberry, and Dorothy Hunton. Dr. CBS and Dr. Dean introduce the text further in the discussion, and read some excerpts from it along the way as well. In conversation we talk about a number of the interventions made by Black Communist Women that are collected in Organize, Fight, Win. We also talk about how many of these women have often been written about, frequently to further intellectual frameworks that are not the Black Communist analysis and modes of organizing that they themselves espoused. We discuss the interventions these women made in relation to unionization efforts, anti-imperialism, anti-fascism, and the struggle for peace. We also discuss the difference between common manifestations of identitarian politics today and the materialist analysis these Black Communist Women deployed. We also talk about the internal critiques that they leveed against certain positions of the CPUSA, not in attempts to destroy the party, but in dedication to its mission. Organize, Fight, Win is available for pre-order from Verso Books and it will come out on this coming Tuesday. Black Alliance for Peace has a webinar kicking off the International Month of Action Against AFRICOM on Saturday October 1st. We'll include links to those as well as to pre-orders for Socialist Reconstruction: A Better Future all of which are named in the episode. We'll also include links to some previous discussions that relate to topics covered here. And as always if you like what we do, please support our work on patreon. You can become a patron of the show for as little as $1 a month at patreon.com/millennialsarekillingcapitalism. Relevant links: Socialist Reconstruction: A Better Future Black Alliance for Peace webinar on AFRICOM Black Alliance for Peace's International Month of Action Against AFRICOM Our previous conversation with Dr. CBS which provides a lot of useful context on anti-communism and anti-blackness and other terms and frameworks that are relevant to this discussion. Our previous discussion on Lorraine Hansberry's time at Freedom Our conversation with Mary Helen Washington (who was also referenced in the show)
Black Communist women throughout the early to mid-twentieth century fought for and led mass campaigns in the service of building collective power in the fight for liberation. Through concrete materialist analysis of the conditions of Black workers, these women argued that racial and economic equality can only be achieved by overthrowing capitalism. The first collection of its kind, Organize, Fight, Win: Black Communist Women's Political Writing (Verso, 2022) brings together three decades of Black Communist women's political writings. In doing so, it highlights the link between Communism and Black liberation. Likewise, it makes clear how Black women fundamentally shaped, and were shaped by, Communist praxis in the twentieth century. Organize, Fight, Win includes writings from card-carrying Communists like Dorothy Burnham, Williana Burroughs, Grace P. Campbell, Alice Childress, Marvel Cooke, Esther Cooper Jackson, Thelma Dale Perkins, Vicki Garvin, Yvonne Gregory, Claudia Jones, Maude White Katz, and Louise Thompson Patterson, and writings by those who organized alongside the Communist Party, like Ella Baker, Charlotta Bass, Thyra Edwards, Lorraine Hansberry, and Dorothy Hunton. In this interview, I spoke with the editors of this collection, Charisse Burden-Stelly and Jodi Dean. Charisse Burden-Stelly (@blackleftaf) is Associate Professor of Africana Studies and Political Science at Wayne State University. She is the author, with Gerald Horne, of W. E. B. Du Bois: A Life in American History. Jodi Dean (@Jodi7768) is a professor in the Political Science Department at Hobart and William Smith Colleges in Geneva, New York. She has written or edited thirteen books, including recent Verso title Comrade: An Essay on Political Belonging. Catriona Gold (@cat__gold) is a PhD candidate in Geography at University College London, researching security and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in governing Cold War travel. 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
Black Communist women throughout the early to mid-twentieth century fought for and led mass campaigns in the service of building collective power in the fight for liberation. Through concrete materialist analysis of the conditions of Black workers, these women argued that racial and economic equality can only be achieved by overthrowing capitalism. The first collection of its kind, Organize, Fight, Win: Black Communist Women's Political Writing (Verso, 2022) brings together three decades of Black Communist women's political writings. In doing so, it highlights the link between Communism and Black liberation. Likewise, it makes clear how Black women fundamentally shaped, and were shaped by, Communist praxis in the twentieth century. Organize, Fight, Win includes writings from card-carrying Communists like Dorothy Burnham, Williana Burroughs, Grace P. Campbell, Alice Childress, Marvel Cooke, Esther Cooper Jackson, Thelma Dale Perkins, Vicki Garvin, Yvonne Gregory, Claudia Jones, Maude White Katz, and Louise Thompson Patterson, and writings by those who organized alongside the Communist Party, like Ella Baker, Charlotta Bass, Thyra Edwards, Lorraine Hansberry, and Dorothy Hunton. In this interview, I spoke with the editors of this collection, Charisse Burden-Stelly and Jodi Dean. Charisse Burden-Stelly (@blackleftaf) is Associate Professor of Africana Studies and Political Science at Wayne State University. She is the author, with Gerald Horne, of W. E. B. Du Bois: A Life in American History. Jodi Dean (@Jodi7768) is a professor in the Political Science Department at Hobart and William Smith Colleges in Geneva, New York. She has written or edited thirteen books, including recent Verso title Comrade: An Essay on Political Belonging. Catriona Gold (@cat__gold) is a PhD candidate in Geography at University College London, researching security and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in governing Cold War travel. 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
Black Communist women throughout the early to mid-twentieth century fought for and led mass campaigns in the service of building collective power in the fight for liberation. Through concrete materialist analysis of the conditions of Black workers, these women argued that racial and economic equality can only be achieved by overthrowing capitalism. The first collection of its kind, Organize, Fight, Win: Black Communist Women's Political Writing (Verso, 2022) brings together three decades of Black Communist women's political writings. In doing so, it highlights the link between Communism and Black liberation. Likewise, it makes clear how Black women fundamentally shaped, and were shaped by, Communist praxis in the twentieth century. Organize, Fight, Win includes writings from card-carrying Communists like Dorothy Burnham, Williana Burroughs, Grace P. Campbell, Alice Childress, Marvel Cooke, Esther Cooper Jackson, Thelma Dale Perkins, Vicki Garvin, Yvonne Gregory, Claudia Jones, Maude White Katz, and Louise Thompson Patterson, and writings by those who organized alongside the Communist Party, like Ella Baker, Charlotta Bass, Thyra Edwards, Lorraine Hansberry, and Dorothy Hunton. In this interview, I spoke with the editors of this collection, Charisse Burden-Stelly and Jodi Dean. Charisse Burden-Stelly (@blackleftaf) is Associate Professor of Africana Studies and Political Science at Wayne State University. She is the author, with Gerald Horne, of W. E. B. Du Bois: A Life in American History. Jodi Dean (@Jodi7768) is a professor in the Political Science Department at Hobart and William Smith Colleges in Geneva, New York. She has written or edited thirteen books, including recent Verso title Comrade: An Essay on Political Belonging. Catriona Gold (@cat__gold) is a PhD candidate in Geography at University College London, researching security and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in governing Cold War travel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Black Communist women throughout the early to mid-twentieth century fought for and led mass campaigns in the service of building collective power in the fight for liberation. Through concrete materialist analysis of the conditions of Black workers, these women argued that racial and economic equality can only be achieved by overthrowing capitalism. The first collection of its kind, Organize, Fight, Win: Black Communist Women's Political Writing (Verso, 2022) brings together three decades of Black Communist women's political writings. In doing so, it highlights the link between Communism and Black liberation. Likewise, it makes clear how Black women fundamentally shaped, and were shaped by, Communist praxis in the twentieth century. Organize, Fight, Win includes writings from card-carrying Communists like Dorothy Burnham, Williana Burroughs, Grace P. Campbell, Alice Childress, Marvel Cooke, Esther Cooper Jackson, Thelma Dale Perkins, Vicki Garvin, Yvonne Gregory, Claudia Jones, Maude White Katz, and Louise Thompson Patterson, and writings by those who organized alongside the Communist Party, like Ella Baker, Charlotta Bass, Thyra Edwards, Lorraine Hansberry, and Dorothy Hunton. In this interview, I spoke with the editors of this collection, Charisse Burden-Stelly and Jodi Dean. Charisse Burden-Stelly (@blackleftaf) is Associate Professor of Africana Studies and Political Science at Wayne State University. She is the author, with Gerald Horne, of W. E. B. Du Bois: A Life in American History. Jodi Dean (@Jodi7768) is a professor in the Political Science Department at Hobart and William Smith Colleges in Geneva, New York. She has written or edited thirteen books, including recent Verso title Comrade: An Essay on Political Belonging. Catriona Gold (@cat__gold) is a PhD candidate in Geography at University College London, researching security and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in governing Cold War travel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies
Black Communist women throughout the early to mid-twentieth century fought for and led mass campaigns in the service of building collective power in the fight for liberation. Through concrete materialist analysis of the conditions of Black workers, these women argued that racial and economic equality can only be achieved by overthrowing capitalism. The first collection of its kind, Organize, Fight, Win: Black Communist Women's Political Writing (Verso, 2022) brings together three decades of Black Communist women's political writings. In doing so, it highlights the link between Communism and Black liberation. Likewise, it makes clear how Black women fundamentally shaped, and were shaped by, Communist praxis in the twentieth century. Organize, Fight, Win includes writings from card-carrying Communists like Dorothy Burnham, Williana Burroughs, Grace P. Campbell, Alice Childress, Marvel Cooke, Esther Cooper Jackson, Thelma Dale Perkins, Vicki Garvin, Yvonne Gregory, Claudia Jones, Maude White Katz, and Louise Thompson Patterson, and writings by those who organized alongside the Communist Party, like Ella Baker, Charlotta Bass, Thyra Edwards, Lorraine Hansberry, and Dorothy Hunton. In this interview, I spoke with the editors of this collection, Charisse Burden-Stelly and Jodi Dean. Charisse Burden-Stelly (@blackleftaf) is Associate Professor of Africana Studies and Political Science at Wayne State University. She is the author, with Gerald Horne, of W. E. B. Du Bois: A Life in American History. Jodi Dean (@Jodi7768) is a professor in the Political Science Department at Hobart and William Smith Colleges in Geneva, New York. She has written or edited thirteen books, including recent Verso title Comrade: An Essay on Political Belonging. Catriona Gold (@cat__gold) is a PhD candidate in Geography at University College London, researching security and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in governing Cold War travel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science
Black Communist women throughout the early to mid-twentieth century fought for and led mass campaigns in the service of building collective power in the fight for liberation. Through concrete materialist analysis of the conditions of Black workers, these women argued that racial and economic equality can only be achieved by overthrowing capitalism. The first collection of its kind, Organize, Fight, Win: Black Communist Women's Political Writing (Verso, 2022) brings together three decades of Black Communist women's political writings. In doing so, it highlights the link between Communism and Black liberation. Likewise, it makes clear how Black women fundamentally shaped, and were shaped by, Communist praxis in the twentieth century. Organize, Fight, Win includes writings from card-carrying Communists like Dorothy Burnham, Williana Burroughs, Grace P. Campbell, Alice Childress, Marvel Cooke, Esther Cooper Jackson, Thelma Dale Perkins, Vicki Garvin, Yvonne Gregory, Claudia Jones, Maude White Katz, and Louise Thompson Patterson, and writings by those who organized alongside the Communist Party, like Ella Baker, Charlotta Bass, Thyra Edwards, Lorraine Hansberry, and Dorothy Hunton. In this interview, I spoke with the editors of this collection, Charisse Burden-Stelly and Jodi Dean. Charisse Burden-Stelly (@blackleftaf) is Associate Professor of Africana Studies and Political Science at Wayne State University. She is the author, with Gerald Horne, of W. E. B. Du Bois: A Life in American History. Jodi Dean (@Jodi7768) is a professor in the Political Science Department at Hobart and William Smith Colleges in Geneva, New York. She has written or edited thirteen books, including recent Verso title Comrade: An Essay on Political Belonging. Catriona Gold (@cat__gold) is a PhD candidate in Geography at University College London, researching security and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in governing Cold War travel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory
Black Communist women throughout the early to mid-twentieth century fought for and led mass campaigns in the service of building collective power in the fight for liberation. Through concrete materialist analysis of the conditions of Black workers, these women argued that racial and economic equality can only be achieved by overthrowing capitalism. The first collection of its kind, Organize, Fight, Win: Black Communist Women's Political Writing (Verso, 2022) brings together three decades of Black Communist women's political writings. In doing so, it highlights the link between Communism and Black liberation. Likewise, it makes clear how Black women fundamentally shaped, and were shaped by, Communist praxis in the twentieth century. Organize, Fight, Win includes writings from card-carrying Communists like Dorothy Burnham, Williana Burroughs, Grace P. Campbell, Alice Childress, Marvel Cooke, Esther Cooper Jackson, Thelma Dale Perkins, Vicki Garvin, Yvonne Gregory, Claudia Jones, Maude White Katz, and Louise Thompson Patterson, and writings by those who organized alongside the Communist Party, like Ella Baker, Charlotta Bass, Thyra Edwards, Lorraine Hansberry, and Dorothy Hunton. In this interview, I spoke with the editors of this collection, Charisse Burden-Stelly and Jodi Dean. Charisse Burden-Stelly (@blackleftaf) is Associate Professor of Africana Studies and Political Science at Wayne State University. She is the author, with Gerald Horne, of W. E. B. Du Bois: A Life in American History. Jodi Dean (@Jodi7768) is a professor in the Political Science Department at Hobart and William Smith Colleges in Geneva, New York. She has written or edited thirteen books, including recent Verso title Comrade: An Essay on Political Belonging. Catriona Gold (@cat__gold) is a PhD candidate in Geography at University College London, researching security and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in governing Cold War travel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history
Black Communist women throughout the early to mid-twentieth century fought for and led mass campaigns in the service of building collective power in the fight for liberation. Through concrete materialist analysis of the conditions of Black workers, these women argued that racial and economic equality can only be achieved by overthrowing capitalism. The first collection of its kind, Organize, Fight, Win: Black Communist Women's Political Writing (Verso, 2022) brings together three decades of Black Communist women's political writings. In doing so, it highlights the link between Communism and Black liberation. Likewise, it makes clear how Black women fundamentally shaped, and were shaped by, Communist praxis in the twentieth century. Organize, Fight, Win includes writings from card-carrying Communists like Dorothy Burnham, Williana Burroughs, Grace P. Campbell, Alice Childress, Marvel Cooke, Esther Cooper Jackson, Thelma Dale Perkins, Vicki Garvin, Yvonne Gregory, Claudia Jones, Maude White Katz, and Louise Thompson Patterson, and writings by those who organized alongside the Communist Party, like Ella Baker, Charlotta Bass, Thyra Edwards, Lorraine Hansberry, and Dorothy Hunton. In this interview, I spoke with the editors of this collection, Charisse Burden-Stelly and Jodi Dean. Charisse Burden-Stelly (@blackleftaf) is Associate Professor of Africana Studies and Political Science at Wayne State University. She is the author, with Gerald Horne, of W. E. B. Du Bois: A Life in American History. Jodi Dean (@Jodi7768) is a professor in the Political Science Department at Hobart and William Smith Colleges in Geneva, New York. She has written or edited thirteen books, including recent Verso title Comrade: An Essay on Political Belonging. Catriona Gold (@cat__gold) is a PhD candidate in Geography at University College London, researching security and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in governing Cold War travel. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Black Communist women throughout the early to mid-twentieth century fought for and led mass campaigns in the service of building collective power in the fight for liberation. Through concrete materialist analysis of the conditions of Black workers, these women argued that racial and economic equality can only be achieved by overthrowing capitalism. The first collection of its kind, Organize, Fight, Win: Black Communist Women's Political Writing (Verso, 2022) brings together three decades of Black Communist women's political writings. In doing so, it highlights the link between Communism and Black liberation. Likewise, it makes clear how Black women fundamentally shaped, and were shaped by, Communist praxis in the twentieth century. Organize, Fight, Win includes writings from card-carrying Communists like Dorothy Burnham, Williana Burroughs, Grace P. Campbell, Alice Childress, Marvel Cooke, Esther Cooper Jackson, Thelma Dale Perkins, Vicki Garvin, Yvonne Gregory, Claudia Jones, Maude White Katz, and Louise Thompson Patterson, and writings by those who organized alongside the Communist Party, like Ella Baker, Charlotta Bass, Thyra Edwards, Lorraine Hansberry, and Dorothy Hunton. In this interview, I spoke with the editors of this collection, Charisse Burden-Stelly and Jodi Dean. Charisse Burden-Stelly (@blackleftaf) is Associate Professor of Africana Studies and Political Science at Wayne State University. She is the author, with Gerald Horne, of W. E. B. Du Bois: A Life in American History. Jodi Dean (@Jodi7768) is a professor in the Political Science Department at Hobart and William Smith Colleges in Geneva, New York. She has written or edited thirteen books, including recent Verso title Comrade: An Essay on Political Belonging. Catriona Gold (@cat__gold) is a PhD candidate in Geography at University College London, researching security and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in governing Cold War travel. Learn more about your ad choices. Visit megaphone.fm/adchoices
Black Communist women throughout the early to mid-twentieth century fought for and led mass campaigns in the service of building collective power in the fight for liberation. Through concrete materialist analysis of the conditions of Black workers, these women argued that racial and economic equality can only be achieved by overthrowing capitalism. The first collection of its kind, Organize, Fight, Win: Black Communist Women's Political Writing (Verso, 2022) brings together three decades of Black Communist women's political writings. In doing so, it highlights the link between Communism and Black liberation. Likewise, it makes clear how Black women fundamentally shaped, and were shaped by, Communist praxis in the twentieth century. Organize, Fight, Win includes writings from card-carrying Communists like Dorothy Burnham, Williana Burroughs, Grace P. Campbell, Alice Childress, Marvel Cooke, Esther Cooper Jackson, Thelma Dale Perkins, Vicki Garvin, Yvonne Gregory, Claudia Jones, Maude White Katz, and Louise Thompson Patterson, and writings by those who organized alongside the Communist Party, like Ella Baker, Charlotta Bass, Thyra Edwards, Lorraine Hansberry, and Dorothy Hunton. In this interview, I spoke with the editors of this collection, Charisse Burden-Stelly and Jodi Dean. Charisse Burden-Stelly (@blackleftaf) is Associate Professor of Africana Studies and Political Science at Wayne State University. She is the author, with Gerald Horne, of W. E. B. Du Bois: A Life in American History. Jodi Dean (@Jodi7768) is a professor in the Political Science Department at Hobart and William Smith Colleges in Geneva, New York. She has written or edited thirteen books, including recent Verso title Comrade: An Essay on Political Belonging. Catriona Gold (@cat__gold) is a PhD candidate in Geography at University College London, researching security and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in governing Cold War travel. Learn more about your ad choices. Visit megaphone.fm/adchoices
“Freedom, Now!” This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait—in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards—for their long-deferred liberation. In Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation (NYU Press, 2022), Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as “Black patience.” Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. 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
“Freedom, Now!” This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait—in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards—for their long-deferred liberation. In Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation (NYU Press, 2022), Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as “Black patience.” Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. 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
“Freedom, Now!” This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait—in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards—for their long-deferred liberation. In Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation (NYU Press, 2022), Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as “Black patience.” Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Support the Echo Offstage Podcast by making a tax-deductible donation to our PayPal! Or you can sponsor an episode (or a season) of Echo Offstage.Find out more about Echo Theatre! FB: https://www.facebook.com/echotheatredallasTwitter: @echodallasInsta: @echotheatredallasKeep up with Kathy A. Perkins on her website!Mentioned in the episode:Howard University TheatreBlack Theater NetworkAlice ChildressTrouble in Mind (Broadway)Smith CollegeRoberta UnoNew WORLD Theater (formerly Third World Theater)Wedding Band (Steppenwolf)Charles Randolph-WrightNational Black Theater FestivalTelling Our Stories of Home - edited by KathyShirely Prendergast-----------------------------------Echo Offstage is a production of Echo Theatre Dallas, a non-profit theatre dedicated to solely producing work by women+ playwrights.Host: Catherine WhitemanProducer & Podcast Manager: Eric BergEditor & Audio Engineer: Jonathan VillalobosGraphics & Social Media Manager: Lauren FloydExecutive Producer: Kateri Cale, Managing & Artistic DirectorTheme Music: Len Barnett with Brent Nance
“Freedom, Now!” This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait—in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards—for their long-deferred liberation. In Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation (NYU Press, 2022), Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as “Black patience.” Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
“Freedom, Now!” This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait—in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards—for their long-deferred liberation. In Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation (NYU Press, 2022), Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as “Black patience.” Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
“Freedom, Now!” This rallying cry became the most iconic phrase of the Civil Rights Movement, challenging the persistent command that Black people wait—in the holds of slave ships and on auction blocks, in segregated bus stops and schoolyards—for their long-deferred liberation. In Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation (NYU Press, 2022), Julius B. Fleming Jr. argues that, during the Civil Rights Movement, Black artists and activists used theater to energize this radical refusal to wait. Participating in a vibrant culture of embodied political performance that ranged from marches and sit-ins to jail-ins and speeches, these artists turned to theater to unsettle a violent racial project that Fleming refers to as “Black patience.” Inviting the likes of James Baldwin, Lorraine Hansberry, Alice Childress, Douglas Turner Ward, Duke Ellington, and Oscar Brown Jr. to the stage, Black Patience illuminates how Black artists and activists of the Civil Rights era used theater to expose, critique, and repurpose structures of white supremacy. In this bold rethinking of the Civil Rights Movement, Fleming contends that Black theatrical performance was a vital technology of civil rights activism, and a crucial site of Black artistic and cultural production. Mickell Carter is a doctoral student in the department of history at Auburn University. She can be reached at mzc0152@auburn.edu and on twitter @MickellCarter. Learn more about your ad choices. Visit megaphone.fm/adchoices
If you're interested in learning about the playwright and novelist who achieved several firsts in the theater world and penned the classic "A Hero Ain't Nothin' but a Sandwich", then my Alice Childress Black History Facts profile is for you. Show notes and sources are available at http://noirehistoir.com/blog/alice-childress.
In this episode we interview Dr. Mary Helen Washington. Mary Helen Washington is an accomplished African-American literary scholar and the editor and author of many books including Midnight Birds and Black-eyed Susans: Stories by and about Black Women, Invented Lives: Narratives of Black Women 1860-1960, Memories of Kin, and the book we focus on in this discussion on The Other Blacklist: The African-American Literary and Cultural Left of the 1950s. Mary Helen Washington is also a Distinguished Professor in the English Department at the University of Maryland, College Park. She previously served as the president of the American Studies Association. Washington worked for many years developing Black Studies programs, including in Detroit where she has stated she was “part of the ground troops helping in the activities of the Dodge Revolutionary Union Movement (DRUM), an”I offshoot of the League of Revolutionary Black Workers.” In this conversation we specifically focus on the work of Gwendolyn Brooks prior to her joining the Black Arts Movement in the late 1960's, within the Black cultural and literary left that Washington analyzes in The Other Blacklist. Mary Helen Washington situates Brooks within this Black cultural milieu as a member of the South Side Community Art Center in Chicago's Bronzeville neighborhood and as someone who was connected and had relationships to Black communists, and other communists and progressives as well as to cultural institutions and magazines of the Popular Front. Washington highlights Brooks' attentiveness to working class concerns and critiques of racism both interpersonally and institutionally in her writing as far back as the 1940's. She also highlights Brooks' work in dialogue with critiques reflected by other communist and progressive Black women of her era, including Claudia Jones, Lorraine Hansberry and Alice Childress. In doing so, Washington argues that Brooks' work offers early blueprints for Black Left Feminism operating within her poetry, essays and her novel Maud Martha. The discussion is also firmly attentive to the racial politics and the anticommunism of the 1950's, in which racially radical or progressive analyses were automatically cause for suspicion, surveillance, and potentially repression. Additionally, Mary Helen Washington talks about other important figures from her book The Other Blacklist including other communist and leftwing Black figures of the 1950's including visual artist Charles White, and authors Lloyd Brown, Alice Childress, and Frank London Brown. We want to thank all of the patrons who support our show. We are funded solely by our listeners and patrons. You can become a patron of the show for as little as $1 a month or 10.80 per year at patreon.com/millennialsarekillingcapitalism.
This week, host Isaac Butler talks to theater director Awoye Timpo and dramaturg Arminda Thomas. In the interview, Awoye and Arminda start by defining the roles of director and dramaturg and explaining why they work so well together. They also discuss their group CLASSIX, which aims to revive the work of Black playwrights and to “explode” the classical canon. Then Awoye and Arminda talk about their latest play Wedding Band, written by the mid-twentieth-century playwright Alice Childress. After the interview, Isaac and co-host June Thomas discuss the pleasures of archival research and the challenges of directing a play that was written during an earlier time period. In the exclusive Slate Plus segment, Awoye explains what it's like to direct child actors, especially in a play that contains very adult subject matter. Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get benefits like zero ads on any Slate podcast, bonus episodes of shows like Slow Burn and Big Mood, Little Mood—and you'll be supporting the work we do here on Working. Sign up now at slate.com/workingplus. -- Thanks Avast.com! Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, host Isaac Butler talks to theater director Awoye Timpo and dramaturg Arminda Thomas. In the interview, Awoye and Arminda start by defining the roles of director and dramaturg and explaining why they work so well together. They also discuss their group CLASSIX, which aims to revive the work of Black playwrights and to “explode” the classical canon. Then Awoye and Arminda talk about their latest play Wedding Band, written by the mid-twentieth-century playwright Alice Childress. After the interview, Isaac and co-host June Thomas discuss the pleasures of archival research and the challenges of directing a play that was written during an earlier time period. In the exclusive Slate Plus segment, Awoye explains what it's like to direct child actors, especially in a play that contains very adult subject matter. Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get benefits like zero ads on any Slate podcast, bonus episodes of shows like Slow Burn and Big Mood, Little Mood—and you'll be supporting the work we do here on Working. Sign up now at slate.com/workingplus. -- Thanks Avast.com! Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, host Isaac Butler talks to theater director Awoye Timpo and dramaturg Arminda Thomas. In the interview, Awoye and Arminda start by defining the roles of director and dramaturg and explaining why they work so well together. They also discuss their group CLASSIX, which aims to revive the work of Black playwrights and to “explode” the classical canon. Then Awoye and Arminda talk about their latest play Wedding Band, written by the mid-twentieth-century playwright Alice Childress. After the interview, Isaac and co-host June Thomas discuss the pleasures of archival research and the challenges of directing a play that was written during an earlier time period. In the exclusive Slate Plus segment, Awoye explains what it's like to direct child actors, especially in a play that contains very adult subject matter. Send your questions about creativity and any other feedback to working@slate.com or give us a call at (304) 933-9675. Podcast production by Cameron Drews. If you enjoy this show, please consider signing up for Slate Plus. Slate Plus members get benefits like zero ads on any Slate podcast, bonus episodes of shows like Slow Burn and Big Mood, Little Mood—and you'll be supporting the work we do here on Working. Sign up now at slate.com/workingplus. -- Thanks Avast.com! Learn more about your ad choices. Visit megaphone.fm/adchoices
Director and Founder of CLASSIX Awoye Timpo sits down with Mary & Shannon (amidst directing Alice Childress' Wedding Band at TFANA!) to talk about her work –– and what makes Efua Sutherland's Foriwa a classic.CLASSIX was created by theatre director Awoye Timpo to explode the classical canon through an exploration of Black performance history and dramatic works by Black writers.https://www.theclassix.org/*Note: we will link to Reclamation, the podcast Awoye mentions, as soon as it's publicly released! Check back here soon!*ExpandTheCanon.comSupport this podcast at — https://redcircle.com/this-is-a-classic-the-expand-the-canon-theatre-podcast/donations
Lots to look forward to -- including SPECIAL GUESTS and a DISCOUNT CODE! Alice Childress' Wedding Band (from our 2020 List!) is being produced at Theatre for a New Audience in Brooklyn this April & May. Use code PigPal65 for discount tickets. We chat with director Awoye Timpo, who also leads Classix (https://www.theclassix.org/our-vision) about Alice Childress and why she's a classic!Support this podcast at — https://redcircle.com/this-is-a-classic-the-expand-the-canon-theatre-podcast/donations
Kathy A. Perkins discusses her career in lighting design, and how she came to balance professional work with academic publishing and teaching. You can find & purchase all of Kathy's books here. To read a great interview between Kathy and Roundabout's teaching artist Artist Nafeesa Monroe about Alice Childress, Kathy's books about Black American theatre professionals, and her work on Trouble in Mind, click here. Black Theatre History Podcast RSS
SEEN: Feb 2, 2022 Trouble in Mind By Alice Childress Directed by Delicia Turner Sonnenberg A thrilling new production of a too-often neglected American classic. New York, 1955. A leading Black actress and a multiracial cast rehearse a challenging new Broadway play set in the South. Backstage rivalries and showbiz egos cause excitement of their own, but artistic differences between the cast and the White director soon bubble to the surface, revealing the truths that American drama covers over and the ways in which even well-meaning people can harm others under the guise of helping. The New York Times recently called Alice Childress's groundbreaking Trouble in Mind “a rich, unsettling play that lingers in one's memory long after its conclusion.” Contains strong language.
Lighting Designer, Kathy A. Perkins joins host, Carol Jenkins to discuss her latest work and debut on Broadway for Alice Childress, "Trouble in Mind".
Michael Zegen is an actor who may be most well known for his various roles on TV, including Joel Maisel, on The Marvelous Mrs. Maisel, and Damien Keefe, on Rescue Me, in addition to various recurring roles on Boardwalk Empire, The Walking Dead, How To Make It In America, and Girls. Michael made his Broadway debut in Ivo Van Hove's Tony Award winning A View From The Bridge starring opposite Mark Strong in 2015. Other theatre credits include creating the role of Liam in Bad Jews off-Broadway, and Bob & Carol & Ted & Alice, and The Spoils, both with The New Group. His film credits include The Seagull, Frances Ha, Brooklyn, Adventureland, and Taking Woodstock. You can currently catch Michael back on the Broadway stage in the breakout play Trouble In Mind. Michael chats about his newest role as Al Manners in Trouble In Mind, calling the production bittersweet as Alice Childress (the black female playwright) was never able to see her dream of having a play on Broadway come to fruition while she was alive. He opens up about what he finds so satisfying about performing on stage, but why ultimately he's not particular about the medium (film, TV, theatre), as long as he's doing good work with great people. Michael also shares some of his first impressions from the early days of filming The Marvelous Mrs. Maisel, and what's it's been like to witness the show get bigger and bigger every year. In this episode, we talk about: The history behind Trouble In Mind One of his first gigs being on The Letterman Show An early crash course in learning about getting an agent What he does in his very spare downtime Goals and aspirations for his writing Connect with Michael: IG @michaelzegen Twitter: @zegenmichael Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Thank you to our friends Jukebox The Ghost for our intro and outro music. You can find them on Instagram, Twitter, and Facebook @jukeboxtheghost or via the web via jukeboxtheghost.com. Learn more about your ad choices. Visit megaphone.fm/adchoices
This episode brings us to a conversation on the latest Roundabout Theatre Company production of Alice Chldress' TROUBLE IN MIND at the American Airlines Theatre in NYC. This 1955 play makes its gripping debut on Broadway 66 years later in a moving story that discusses racism and issues that take place in the NYC Theatre Scene. Richie and Jeff discuss how this play works so well for a modern audience today, and how this wonderfully written play (along with stellar performances) is an eye opening lesson for all, and how we can all work harder for the future of the theatre industry.Share with us, your thoughts, on TROUBLE IN MIND! on our Instagram page. @halfhourpodcast*This podcast will include spoilers*Thanks for listening! Please leave us a review with what you think about the podcast. Follow us on Instagram: @halfhourpodcastVisit our website: www.twoworldsentertainmentllc.com
If you want to take on the pandemic, privilege, and systemic racism with grace and heart… then you need to look to Alice Childress. A compassionate yet candid look at the complexities of prejudice, Wedding Band focuses on love and the forces that try to tear it down. The play follows Julia, a Black woman, through the complexities of an interracial relationship in 1918 Charleston, South Carolina. This generous community of Black women navigate an Influenza outbreak, war abroad, and war at home.ExpandTheCanon.combit.ly/HedgepigMembershipsThis episode is hosted by Mary Candler and Shannon Corenthin, and the scene is performed by Terra Chaney and Javan Nelson.Support this podcast at — https://redcircle.com/this-is-a-classic-the-expand-the-canon-theatre-podcast/donations
In this episode we interview Dr. Soyica Diggs Colbert about her recently published book, Radical Vision: A Biography of Lorraine Hansberry. Most well known as the playwright behind A Raisin In The Sun, Hansberry was a journalist and editor for Paul Robeson's Freedom, which covered domestic and international politics and social movements from a Black Radical perspective in the 1950's. In the 50's Hansberry was firmly embedded in a radical milieu that included Robeson, Du Bois, William Patterson, Claudia Jones, and Alice Childress among others in the Popular Front left of the era. An anti-imperialist activist and supporter of anti-colonial movements, Hansberry's radical past was obscured or unknown in the press reports following the success of her play A Raisin In The Sun. Colbert's work discusses the breadth of the radical journalism, organizing and thought that exists within Hansberry's archive and how it weaves into her more well known published work. We talk to Colbert about Hansberry's internationalism, her comrades, her friends, and her theoretical contributions as a Black Queer Radical, in a 1950's and early 60's era when anti-black racism, McCarthyism, patriarchy and homophobia meant that Hansberry's most radical contributions were delivered under multiple forms of duress and at times anonymity. Nevertheless, her contributions to Black Internationalism, the Civil Rights Movement, and the politics of gender and sexuality were all substantial and prototypical of the elaborations of Black Left Feminism that would evolve after her untimely death at just 34 years of age. We will include in the show notes, links to the archives of the publication Freedom and links to some of Lorraine Hansberry's speeches and recorded interviews. Lastly August is upon us, and we're getting ready to make some announcements and have some more big episodes in the coming weeks. We are about 150 patrons short of hitting 1,000 patrons, which is our new goal. So if you have not become a patron of the show, please do, you can join for as little as $1 a month.
The BFI podcast returns, rewound and restarted with a new format: four sections, four stories from across the British Film Institute. This episode we talk to Greta Gerwig about bringing home Lady Bird; find out from another 2018 Oscar-nominee, Three Billboards Outside Ebbings, Missouri editor Jon Gregory, what in his work makes the cut; preview the BFI Southbank's upcoming Working Class Heroes season; and dig into the archive to hear some vintage waffle from Ingmar Bergman regular Max von Sydow.This episode of the BFI podcast includes short clips from the following: - Lady Bird. Directed by Greta Gerwig and released by A24 in 2017. - Paper Moon. Directed by Peter Bogdanovich and released by Paramount Pictures in 1973. - The Seventh Seal. Directed by Ingmar Bergman and released by AB Svensk Filmindustri in 1957. - The Greatest Story Ever Told. Directed by George Stevens and released by United Artists in 1965. - Three Billboards Outside Ebbing, Missouri. Directed by Martin McDonagh and released by Fox Searchlight Pictures in 2017. - Naked. Directed by Mike Leigh and released by Thin Man Films in 1993.This episode of the BFI podcast includes audio clips from the following: - Throwback Jack, released in 2013. Written and performed by Tim Garland.- Alice Childress, released in 1995. Written by Ben Folds and Anna Goodman and performed by Ben Folds Five. - It's a Feel Thing, released in 2011. Written and performed by Tim Garland.- Village Outback, released in 2013. Written and performed by Terry Divine-King. - Smoke, released in 2016. Written and performed by Bob Bradley and Neil Harland. See acast.com/privacy for privacy and opt-out information.
Today we celebrate author and playwright Alice Childress
A Way with Words — language, linguistics, and callers from all over
This week on "A Way with Words": Constructing imaginary languages and deconstructing the lingo of Hollywood. For example, would you rather live in a world with no adjectives . . . or no verbs--and why? Also, who in the world is that terrible director Alan Smithee [SMITH-ee] who made several decades' worth of crummy films? Actually, if a movie director has his work wrested away from him and doesn't like the final product, he may insist on a pseudonym, and Alan gets a lot of the blame. Also, backpackers and medical personnel must pay close attention to "insensible losses" -- although they may not be what you think. Plus, cuttin' a head shine, insensible losses, fulsome, apoptosis, and a whole slew of ways to refer to that nasty brown ice pack that's been jammed around some of your car wheels all winter.FULL DETAILSLet's play a round of linguistic Would You Rather: Would you prefer that everyone talk in language that uses only verbs or only adjectives? Grant and Martha both had the same preference. See if you agree.An East Tennessee caller wonders the phrase cutting a head shine, meaning "pull off a caper" or "behave in a boisterous, comical manner." Cutting a head shine derives from an alternate use of shine, meaning "trick," and head, a term used in Appalachia meaning "most remarkable, striking, or entertaining." A similar phrase, cutting a dido, is used not only in the South and South Midlands, but through much of New England as well.We recently spoke about the phrase I've slept since then, for "I don't remember." A Texas listener wrote to say that where she lives, the phrase is I've blinked since then.A caller in Tegucigalpa, Honduras, says that when his grandfather was asked how he was doing, he'd reply, Running like a pickle seeder, meaning "doing really well." The joke, of course, is that there's no such thing as a pickle seeder. After all, what would be the point of taking seeds out of pickles?On our Facebook group someone asked, "Does anyone else get frustrated by the second p in apoptosis?" Now you know there's a second p in apoptosis, which of course you already knew is also known as programmed cell death.Quiz Guy John Chaneski invites us to a party where all the adults have professions that match their children's names. For example, if dad is a barber, or if mom is a recording engineer, what would they name their boys?Ever seen a great film by the director Alan Smithee? Chances are the answer is no, since Alan Smithee is a pseudonym going back to 1968 that's used by directors who've had their work wrestled from them and no longer want visible credit for the (often embarrassing) final product. An actress from Los Angeles shares this term, plus the backstory of The Eastwood Rule, which has to do with the time Clint Eastwood had a director fired only to then take over as the director himself. After that happened in 1967, the Directors Guild has disallowed it from happening again.The word fulsome has undergone some real semantic changes over the years. It used to mean "excessive, overly full" in a negative way, but it's come to have positive connotations for some, who think it means "copious" or "abundant." It's a word that requires careful use--if you use it all--because without proper context it can be confusing. Insensible losses, in the world of medicine, are things your body loses which you simply don't sense. A prime example is the water vapor you see coming out of your body when you exhale in cold weather, but aren't aware of when it's warmer out.The very conversational phrase yeah, no, is a common way people signify that they agree with only part of a statement. It's like saying, I hear you, but ultimately I disagree.The saying, I ain't lost nothin' over there is a dismissive way to say Why in the world would I bother going to that place? A similar version you ain't lost nothin' down there, appears in the play Trouble in Mind, by Alice Childress, the first African-American woman to have a play professionally produced in New York City, and first woman to win an Obie for Best Play.A recent call from a video editor looking for a fancy word to refer to extracting video from a computer drew a huge response from listeners trying to help. The suggestions they offered include cull, evict, expunge, expede, disassemble, de-vid, and (in case they were working on Windows operating systems) defenestrate.A married couple has invented a lovely word to mean "I sympathize" that doesn't sound quite so stilted. They simply say, salma. It's an example of the private language couples develop.What do you call the dirty frozen solid pack of brown snow that gets jammed in the wheel of a car in certain parts of the world this time of year? Try crud, car crud, fenderbergs, carnacles, snow goblins, tire turds, or chunkers. In the same vein as Billy Badass and Ricky Rescue, most people have dealt with a Mickey Morenyou. He's that guy who walks onto your turf and still seems to believe he knows more than you.The mealtime admonition Someone has to finish this up so the sun shines tomorrow, comes from a German saying that goes back at least 150 years.This episode was hosted by Martha Barnette and Grant Barrett.--A Way with Words is funded by its listeners: http://waywordradio.org/donateGet your language question answered on the air! Call or write with your questions at any time:Email: words@waywordradio.orgPhone: United States and Canada toll-free (877) WAY-WORD/(877) 929-9673London +44 20 7193 2113Mexico City +52 55 8421 9771Donate: http://waywordradio.org/donateSite: http://waywordradio.org/Podcast: http://waywordradio.org/podcast/Forums: http://waywordradio.org/discussion/Newsletter: http://waywordradio.org/newsletter/Twitter: http://twitter.com/wayword/Skype: skype://waywordradio Copyright 2016, Wayword LLC.
A Way with Words — language, linguistics, and callers from all over
This week on "A Way with Words": Constructing imaginary languages and deconstructing the lingo of Hollywood. For example, would you rather live in a world with no adjectives . . . or no verbs--and why? Also, who in the world is that terrible director Alan Smithee [SMITH-ee] who made several decades' worth of crummy films? Actually, if a movie director has his work wrested away from him and doesn't like the final product, he may insist on a pseudonym, and Alan gets a lot of the blame. Also, backpackers and medical personnel must pay close attention to "insensible losses" -- although they may not be what you think. Plus, cuttin' a head shine, insensible losses, fulsome, apoptosis, and a whole slew of ways to refer to that nasty brown ice pack that's been jammed around some of your car wheels all winter.FULL DETAILSLet's play a round of linguistic Would You Rather: Would you prefer that everyone talk in language that uses only verbs or only adjectives? Grant and Martha both had the same preference. See if you agree.An East Tennessee caller wonders the phrase cutting a head shine, meaning "pull off a caper" or "behave in a boisterous, comical manner." Cutting a head shine derives from an alternate use of shine, meaning "trick," and head, a term used in Appalachia meaning "most remarkable, striking, or entertaining." A similar phrase, cutting a dido, is used not only in the South and South Midlands, but through much of New England as well.We recently spoke about the phrase I've slept since then, for "I don't remember." A Texas listener wrote to say that where she lives, the phrase is I've blinked since then.A caller in Tegucigalpa, Honduras, says that when his grandfather was asked how he was doing, he'd reply, Running like a pickle seeder, meaning "doing really well." The joke, of course, is that there's no such thing as a pickle seeder. After all, what would be the point of taking seeds out of pickles?On our Facebook group someone asked, "Does anyone else get frustrated by the second p in apoptosis?" Now you know there's a second p in apoptosis, which of course you already knew is also known as programmed cell death.Quiz Guy John Chaneski invites us to a party where all the adults have professions that match their children's names. For example, if dad is a barber, or if mom is a recording engineer, what would they name their boys?Ever seen a great film by the director Alan Smithee? Chances are the answer is no, since Alan Smithee is a pseudonym going back to 1968 that's used by directors who've had their work wrestled from them and no longer want visible credit for the (often embarrassing) final product. An actress from Los Angeles shares this term, plus the backstory of The Eastwood Rule, which has to do with the time Clint Eastwood had a director fired only to then take over as the director himself. After that happened in 1967, the Directors Guild has disallowed it from happening again.The word fulsome has undergone some real semantic changes over the years. It used to mean "excessive, overly full" in a negative way, but it's come to have positive connotations for some, who think it means "copious" or "abundant." It's a word that requires careful use--if you use it all--because without proper context it can be confusing. Insensible losses, in the world of medicine, are things your body loses which you simply don't sense. A prime example is the water vapor you see coming out of your body when you exhale in cold weather, but aren't aware of when it's warmer out.The very conversational phrase yeah, no, is a common way people signify that they agree with only part of a statement. It's like saying, I hear you, but ultimately I disagree.The saying, I ain't lost nothin' over there is a dismissive way to say Why in the world would I bother going to that place? A similar version you ain't lost nothin' down there, appears in the play Trouble in Mind, by Alice Childress, the first African-American woman to have a play professionally produced in New York City, and first woman to win an Obie for Best Play.A recent call from a video editor looking for a fancy word to refer to extracting video from a computer drew a huge response from listeners trying to help. The suggestions they offered include cull, evict, expunge, expede, disassemble, de-vid, and (in case they were working on Windows operating systems) defenestrate.A married couple has invented a lovely word to mean "I sympathize" that doesn't sound quite so stilted. They simply say, salma. It's an example of the private language couples develop.What do you call the dirty frozen solid pack of brown snow that gets jammed in the wheel of a car in certain parts of the world this time of year? Try crud, car crud, fenderbergs, carnacles, snow goblins, tire turds, or chunkers. In the same vein as Billy Badass and Ricky Rescue, most people have dealt with a Mickey Morenyou. He's that guy who walks onto your turf and still seems to believe he knows more than you.The mealtime admonition Someone has to finish this up so the sun shines tomorrow, comes from a German saying that goes back at least 150 years.This episode was hosted by Martha Barnette and Grant Barrett.--A Way with Words is funded by its listeners: http://waywordradio.org/donateGet your language question answered on the air! Call or write with your questions at any time:Email: words@waywordradio.orgPhone: United States and Canada toll-free (877) WAY-WORD/(877) 929-9673London +44 20 7193 2113Mexico City +52 55 8421 9771Donate: http://waywordradio.org/donateSite: http://waywordradio.org/Podcast: http://waywordradio.org/podcast/Forums: http://waywordradio.org/discussion/Newsletter: http://waywordradio.org/newsletter/Twitter: http://twitter.com/wayword/Skype: skype://waywordradio Copyright 2015, Wayword LLC.
Rebroadcast of interview with MARGO HALL, from July 26, 2010 re: Aurora Theatre Company's 19th season opening play, Thursday-Friday, AUG 26-27, through SEPT 26, 2010, Alice Childress's vibrant, humorous, and heartbreaking look at racism through the lens of the theater, TROUBLE IN MIND. Set during the early years of the Civil Rights movement, this disconcerting yet disarmingly funny look at the inequalities of American life in the 1950's highlights the half-truths we tell ourselves about race relations and societal progress in America. First produced in 1955, TROUBLE IN MIND follows a cast of black and white actors attempting to mount a production of a “progressive” new play. The play-within-the-play, entitled Chaos in Belleville, an anti-lynching drama set in the South, written by a white writer and directed by a white director, marks the first opportunity for Wiletta Mayer, a gifted African American actress, to play a leading lady on Broadway. But what compromises must she make to succeed? Robin Stanton (Speech & Debate, Betrayed, Permanent Collection) directs this play about race, identity, and opportunity, featuring Bay Area favorite Margo Hall in her Aurora Theatre Company debut. We close with another rebroadcast. This from AUG 20, where we open with the Dreams, as in DREAM GIRLS which also opens tonight in San Francisco, at the Curran Theatre. We also speak to Friends of the Negro Spirituals awardees this year, get an update on the Oscar Grant case and hear about a fundraiser last week, AUG 20 and other upcoming events from Oscar's Uncle Bobby. We close with John Santos, who shares a new musical project which debuts part 1 AUG 21-22 weekend.
Aurora Theatre Company opens its 19th season with Alice Childress's vibrant, humorous, and heartbreaking look at racism through the lens of the theater, TROUBLE IN MIND. Set during the early years of the Civil Rights movement, this disconcerting yet disarmingly funny look at the inequalities of American life in the 1950's highlights the half-truths we tell ourselves about race relations and societal progress in America. First produced in 1955, TROUBLE IN MIND follows a cast of black and white actors attempting to mount a production of a “progressive” new play. The play-within-the-play, entitled Chaos in Belleville, an anti-lynching drama set in the South, written by a white writer and directed by a white director, marks the first opportunity for Wiletta Mayer, a gifted African American actress, to play a leading lady on Broadway. But what compromises must she make to succeed? Robin Stanton (Speech & Debate, Betrayed, Permanent Collection) directs this play about race, identity, and opportunity, featuring Bay Area favorite Margo Hall in her Aurora Theatre Company debut.
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