Podcasts about Apollo Theatre

Now for a roundup of accessible arts events as RNIB Connect Radio's Toby Davey catches up with Jess Beal from VocalEyes, the national audio description charity providing access to the arts for blind and partially sighted people to share some of the accessible events that are featured in their regular email newsletter. Audio described shows and events included: Retrograde - Saturday 3 May, 7.30pm, Apollo Theatre, Shaftesbury Avenue, London Chicago - Saturday 10 May, 2.30pm, touch tour 1.30pm, Wales Millennium Centre, Cardiff Cruel Intentions - Thursday 15 May, 7.30pm, Hull New Theatre The Play That Goes Wrong - Friday 23 May, 7.30pm, The Duchess Theatre, London Northern Ballet: Jane Eyre - Saturday 24 May, 2.30pm, touch tour 12.15pm, Norwich Theatre Royal To find out more about these and other up-coming described arts events as well as details on how to sign up to the regular VocalEyes What's On email newsletter do visit - https://vocaleyes.co.uk (Image shows the VocalEyes logo. A speech bubble with 'VOCALEYES' written in bold black letters next to it)

Theatre producer Chuchu Nwagu returns to co-host The West End Frame Show!Andrew and Chuchu discuss The Great Gatsby (ENO London Coliseum) as well as the latest news about My Son's A Queer, Six Japan, Paddington The Musical, the 2025 Outer Critics Circle Awards, King of Pangea and more. Andrew and Chuchu also have a discussion about trans allyship in theatre and how our industry can do more to support our trans friends and colleagues.As a producer, Chuchu's West End credits include Red Pitch (Soho Place), Shifters (Duke of York's) and Amelie (Criterion) whilst on Broadway his credits include Arthur Miller's Death of a Salesman and The Roommate (Broadway). Some of Chuchu's other production's have included Sleeping Beauty (Catford), Burlesque The Musical (Manchester/Glasgow), The Big Life! A Ska Musical (Theatre Royal Stratford East), Lenny Henry's August in England (Bush Theatre), Choir Boy (Bristol Old Vic), Dreamgirls (UK & Ireland Tour) and The Wiz (Hope Mill Theatre).Chuchu is currently back in the West End, co-producing Retrograde by Ryan Calais Cameron which has transferred to the Apollo Theatre following its run at the Kiln.Follow Chuchu on Instagram: @cnwaguRetrodgrade runs at the Apollo Theatre until Saturday 14th June. Visit www.nimaxtheatres.com for info and tickets.This podcast is hosted by Andrew Tomlins. @AndrewTomlins32 Thanks for listening!Email: andrew@westendframe.co.ukVisit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

The acclaimed play RETROGRADE, written by Ryan Calais Cameron and originally seen at the Kiln Theatre, has recently opened at the Apollo Theatre in the West End.The play documents a meeting between a young Sidney Poitier and the NBC lawyer who is trying to coerce him into denouncing his community leaders during the age of McCarthyism.Check out this full review for Mickey-Jo's thoughts on this fascinating play and its blistering performances...•00:00 | introduction02:01 | overview / analysis09:20 | how the play works17:29 | performances•About Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 75,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

Dr. Gary Null provides a commentary on "Universal  Healthcare"       Universal Healthcare is the Solution to a Broken Medical System Gary Null, PhD Progressive Radio Network, March 3, 2025 For over 50 years, there has been no concerted or successful effort to bring down medical costs in the American healthcare system. Nor are the federal health agencies making disease prevention a priority. Regardless whether the political left or right sponsors proposals for reform, such measures are repeatedly defeated by both parties in Congress. As a result, the nation's healthcare system remains one of the most expensive and least efficient in the developed world. For the past 30 years, medical bills contributing to personal debt regularly rank among the top three causes of personal bankruptcy. This is a reality that reflects not only the financial strain on ordinary Americans but the systemic failure of the healthcare system itself. The urgent question is: If President Trump and his administration are truly seeking to reduce the nation's $36 trillion deficit, why is there no serious effort to reform the most bloated and corrupt sector of the economy? A key obstacle is the widespread misinformation campaign that falsely claims universal health care would cost an additional $2 trillion annually and further balloon the national debt. However, a more honest assessment reveals the opposite. If the US adopted a universal single-payer system, the nation could actually save up to $20 trillion over the next 10 years rather than add to the deficit. Even with the most ambitious efforts by people like Elon Musk to rein in federal spending or optimize government efficiency, the estimated savings would only amount to $500 billion. This is only a fraction of what could be achieved through comprehensive healthcare reform alone. Healthcare is the largest single expenditure of the federal budget. A careful examination of where the $5 trillion spent annually on healthcare actually goes reveals massive systemic fraud and inefficiency. Aside from emergency medicine, which accounts for only 10-12 percent of total healthcare expenditures, the bulk of this spending does not deliver better health outcomes nor reduce trends in physical and mental illness. Applying Ockham's Razor, the principle that the simplest solution is often the best, the obvious conclusion is that America's astronomical healthcare costs are the direct result of price gouging on an unimaginable scale. For example, in most small businesses, profit margins range between 1.6 and 2.5 percent, such as in grocery retail. Yet the pharmaceutical industrial complex routinely operates on markup rates as high as 150,000 percent for many prescription drugs. The chart below highlights the astronomical gap between the retail price of some top-selling patented pharmaceutical medications and their generic equivalents. Drug Condition Patent Price (per unit) Generic Price Estimated Manufacture Cost Markup Source Insulin (Humalog) Diabetes $300 $30 $3 10,000% Rand (2021) EpiPen Allergic reactions $600 $30 $10 6,000% BMJ (2022) Daraprim Toxoplasmosis $750/pill $2 $0.50 150,000% JAMA (2019) Harvoni Hepatitis C $94,500 (12 weeks) $30,000 $200 47,000% WHO Report (2018) Lipitor Cholesterol $150 $10 $0.50 29,900% Health Affairs (2020) Xarelto Blood Thinner $450 $25 $1.50 30,000% NEJM (2020) Abilify Schizophrenia $800 (30 tablets) $15 $2 39,900% AJMC (2019) Revlimid Cancer $16,000/mo $450 $150 10,500% Kaiser Health News (2021) Humira Arthritis $2,984/dose $400 $50 5,868% Rand (2021) Sovaldi Hepatitis C $1,000/pill $10 $2 49,900% JAMA (2021) Xolair Asthma $2,400/dose $300 $50 4,800% NEJM (2020) Gleevec Leukemia $10,000/mo $350 $200 4,900% Harvard Public Health Review (2020) OxyContin Pain Relief $600 (30 tablets) $15 $0.50 119,900% BMJ (2022) Remdesivir Covid-19 $3,120 (5 doses) N/A $10 31,100% The Lancet (2020) The corruption extends far beyond price gouging. Many pharmaceutical companies convince federal health agencies to fund their basic research and drug development with taxpayer dollars. Yet when these companies bring successful products to market, the profits are kept entirely by the corporations or shared with the agencies or groups of government scientists. On the other hand, the public, who funded the research, receives no financial return. This amounts to a systemic betrayal of the public trust on a scale of hundreds of billions of dollars annually. Another significant contributor to rising healthcare costs is the widespread practice of defensive medicine that is driven by the constant threat of litigation. Over the past 40 years, defensive medicine has become a cottage industry. Physicians order excessive diagnostic tests and unnecessary treatments simply to protect themselves from lawsuits. Study after study has shown that these over-performed procedures not only inflate costs but lead to iatrogenesis or medical injury and death caused by the medical  system and practices itself. The solution is simple: adopting no-fault healthcare coverage for everyone where patients receive care without needing to sue and thereby freeing doctors from the burden of excessive malpractice insurance. A single-payer universal healthcare system could fundamentally transform the entire industry by capping profits at every level — from drug manufacturers to hospitals to medical equipment suppliers. The Department of Health and Human Services would have the authority to set profit margins for medical procedures. This would ensure that healthcare is determined by outcomes, not profits. Additionally, the growing influence of private equity firms and vulture capitalists buying up hospitals and medical clinics across America must be reined in. These equity firms prioritize profit extraction over improving the quality of care. They often slash staff, raise prices, and dictate medical procedures based on what will yield the highest returns. Another vital reform would be to provide free medical education for doctors and nurses in exchange for five years of service under the universal system. Medical professionals would earn a realistic salary cap to prevent them from being lured into equity partnerships or charging exorbitant rates. The biggest single expense in the current system, however, is the private health insurance industry, which consumes 33 percent of the $5 trillion healthcare budget. Health insurance CEOs consistently rank among the highest-paid executives in the country. Their companies, who are nothing more than bean counters, decide what procedures and drugs will be covered, partially covered, or denied altogether. This entire industry is designed to place profits above patients' lives. If the US dismantled its existing insurance-based system and replaced it with a fully reformed national healthcare model, the country could save $2.7 trillion annually while simultaneously improving health outcomes. Over the course of 10 years, those savings would amount to $27 trillion. This could wipe out nearly the entire national debt in a short time. This solution has been available for decades but has been systematically blocked by corporate lobbying and bipartisan corruption in Washington. The path forward is clear but only if American citizens demand a system where healthcare is valued as a public service and not a commodity. The national healthcare crisis is not just a fiscal issue. It is a crucial moral failure of the highest order. With the right reforms, the nation could simultaneously restore its financial health and deliver the kind of healthcare system its citizens have long deserved. American Healthcare: Corrupt, Broken and Lethal Richard Gale and Gary Null Progressive Radio Network, March 3, 2025 For a nation that prides itself on being the world's wealthiest, most innovative and technologically advanced, the US' healthcare system is nothing less than a disaster and disgrace. Not only are Americans the least healthy among the most developed nations, but the US' health system ranks dead last among high-income countries. Despite rising costs and our unshakeable faith in American medical exceptionalism, average life expectancy in the US has remained lower than other OECD nations for many years and continues to decline. The United Nations recognizes healthcare as a human right. In 2018, former UN Secretary General Ban Ki-moon denounced the American healthcare system as "politically and morally wrong." During the pandemic it is estimated that two to three years was lost on average life expectancy. On the other hand, before the Covid-19 pandemic, countries with universal healthcare coverage found their average life expectancy stable or slowly increasing. The fundamental problem in the U.S. is that politics have been far too beholden to the pharmaceutical, HMO and private insurance industries. Neither party has made any concerted effort to reign in the corruption of corporate campaign funding and do what is sensible, financially feasible and morally correct to improve Americans' quality of health and well-being.   The fact that our healthcare system is horribly broken is proof that moneyed interests have become so powerful to keep single-payer debate out of the media spotlight and censored. Poll after poll shows that the American public favors the expansion of public health coverage. Other incremental proposals, including Medicare and Medicaid buy-in plans, are also widely preferred to the Affordable Care Act or Obamacare mess we are currently stuck with.   It is not difficult to understand how the dismal state of American medicine is the result of a system that has been sold out to the free-market and the bottom line interests of drug makers and an inflated private insurance industry. How advanced and ethically sound can a healthcare system be if tens of millions of people have no access to medical care because it is financially out of their reach?  The figures speak for themselves. The U.S. is burdened with a $41 trillion Medicare liability. The number of uninsured has declined during the past several years but still lingers around 25 million. An additional 30-35 million are underinsured. There are currently 65 million Medicare enrollees and 89 million Medicaid recipients. This is an extremely unhealthy snapshot of the country's ability to provide affordable healthcare and it is certainly unsustainable. The system is a public economic failure, benefiting no one except the large and increasingly consolidated insurance and pharmaceutical firms at the top that supervise the racket.   Our political parties have wrestled with single-payer or universal healthcare for decades. Obama ran his first 2008 presidential campaign on a single-payer platform. Since 1985, his campaign health adviser, the late Dr. Quentin Young from the University of Illinois Medical School, was one of the nation's leading voices calling for universal health coverage.  During a private conversation with Dr. Young shortly before his passing in 2016, he conveyed his sense of betrayal at the hands of the Obama administration. Dr. Young was in his 80s when he joined the Obama campaign team to help lead the young Senator to victory on a promise that America would finally catch up with other nations. The doctor sounded defeated. He shared how he was manipulated, and that Obama held no sincere intention to make universal healthcare a part of his administration's agenda. During the closed-door negotiations, which spawned the weak and compromised Affordable Care Act, Dr. Young was neither consulted nor invited to participate. In fact, he told us that he never heard from Obama again after his White House victory.   Past efforts to even raise the issue have been viciously attacked. A huge army of private interests is determined to keep the public enslaved to private insurers and high medical costs. The failure of our healthcare is in no small measure due to it being a fully for-profit operation. Last year, private health insurance accounted for 65 percent of coverage. Consider that there are over 900 private insurance companies in the US. National Health Expenditures (NHE) grew to $4.5 trillion in 2022, which was 17.3 percent of GDP. Older corporate rank-and-file Democrats and Republicans argue that a single-payer or socialized medical program is unaffordable. However, not only is single-payer affordable, it will end bankruptcies due to unpayable medical debt. In addition, universal healthcare, structured on a preventative model, will reduce disease rates at the outset.    Corporate Democrats argue that Obama's Affordable Care Act (ACA) was a positive step inching the country towards complete public coverage. However, aside from providing coverage to the poorest of Americans, Obamacare turned into another financial anchor around the necks of millions more. According to the health policy research group KFF, the average annual health insurance premium for single coverage is $8,400 and almost $24,000 for a family. In addition, patient out-of-pocket costs continue to increase, a 6.6% increase to $471 billion in 2022. Rather than healthcare spending falling, it has exploded, and the Trump and Biden administrations made matters worse.    Clearly, a universal healthcare program will require flipping the script on the entire private insurance industry, which employed over half a million people last year.  Obviously, the most volatile debate concerning a national universal healthcare system concerns cost. Although there is already a socialized healthcare system in place -- every federal legislator, bureaucrat, government employee and veteran benefits from it -- fiscal Republican conservatives and groups such as the Koch Brothers network are single-mindedly dedicated to preventing the expansion of Medicare and Medicaid. A Koch-funded Mercatus analysis made the outrageous claim that a single-payer system would increase federal health spending by $32 trillion in ten years. However, analyses and reviews by the Congressional Budget Office in the early 1990s concluded that such a system would only increase spending at the start; enormous savings would quickly offset it as the years pass. In one analysis, "the savings in administrative costs [10 percent of health spending] would be more than enough to offset the expense of universal coverage."    Defenders of those advocating for funding a National Health Program argue this can primarily be accomplished by raising taxes to levels comparable to other developed nations. This was a platform Senator Bernie Sanders and some of the younger progressive Democrats in the House campaigned on. The strategy was to tax the highest multimillion-dollar earners 60-70 percent. Despite the outrage of its critics, including old rank-and-file multi-millionaire Democrats like Nancy Pelosi and Chuck Schumer, this is still far less than in the past. During the Korean War, the top tax rate was 91 percent; it declined to 70 percent in the late 1960s. Throughout most of the 1970s, those in the lowest income bracket were taxed at 14 percent. We are not advocating for this strategy because it ignores where the funding is going, and the corruption in the system that is contributing to exorbitant waste.    But Democratic supporters of the ACA who oppose a universal healthcare plan ignore the additional taxes Obama levied to pay for the program. These included surtaxes on investment income, Medicare taxes from those earning over $200,000, taxes on tanning services, an excise tax on medical equipment, and a 40 percent tax on health coverage for costs over the designated cap that applied to flexible savings and health savings accounts. The entire ACA was reckless, sloppy and unnecessarily complicated from the start.    The fact that Obamacare further strengthened the distinctions between two parallel systems -- federal and private -- with entirely different economic structures created a labyrinth of red tape, rules, and wasteful bureaucracy. Since the ACA went into effect, over 150 new boards, agencies and programs have had to be established to monitor its 2,700 pages of gibberish. A federal single-payer system would easily eliminate this bureaucracy and waste.    A medical New Deal to establish universal healthcare coverage is a decisive step in the correct direction. But we must look at the crisis holistically and in a systematic way. Simply shuffling private insurance into a federal Medicare-for-all or buy-in program, funded by taxing the wealthiest of citizens, would only temporarily reduce costs. It will neither curtail nor slash escalating disease rates e. Any effective healthcare reform must also tackle the underlying reasons for Americans' poor state of health. We cannot shy away from examining the social illnesses infecting our entire free-market capitalist culture and its addiction to deregulation. A viable healthcare model would have to structurally transform how the medical economy operates. Finally, a successful medical New Deal must honestly evaluate the best and most reliable scientific evidence in order to effectively redirect public health spending.    For example, Dr. Ezekiel Emanuel, a former Obama healthcare adviser, observed that AIDS-HIV measures consume the most public health spending, even though the disease "ranked 75th on the list of diseases by personal health expenditures." On the other hand, according to the American Medical Association, a large percentage of the nation's $3.4 trillion healthcare spending goes towards treating preventable diseases, notably diabetes, common forms of heart disease, and back and neck pain conditions. In 2016, these three conditions were the most costly and accounted for approximately $277 billion in spending. Last year, the CDC announced the autism rate is now 1 in 36 children compared to 1 in 44 two years ago. A retracted study by Mark Blaxill, an autism activist at the Holland Center and a friend of the authors, estimates that ASD costs will reach $589 billion annually by 2030. There are no signs that this alarming trend will reverse and decline; and yet, our entire federal health system has failed to conscientiously investigate the underlying causes of this epidemic. All explanations that might interfere with the pharmaceutical industry's unchecked growth, such as over-vaccination, are ignored and viciously discredited without any sound scientific evidence. Therefore, a proper medical New Deal will require a systemic overhaul and reform of our federal health agencies, especially the HHS, CDC and FDA. Only the Robert Kennedy Jr presidential campaign is even addressing the crisis and has an inexpensive and comprehensive plan to deal with it. For any medical revolution to succeed in advancing universal healthcare, the plan must prioritize spending in a manner that serves public health and not private interests. It will also require reshuffling private corporate interests and their lobbyists to the sidelines, away from any strategic planning, in order to break up the private interests' control over federal agencies and its revolving door policies. Aside from those who benefit from this medical corruption, the overwhelming majority of Americans would agree with this criticism. However, there is a complete lack of national trust that our legislators, including the so-called progressives, would be willing to undertake such actions.    In addition, America's healthcare system ignores the single most critical initiative to reduce costs - that is, preventative efforts and programs instead of deregulation and closing loopholes designed to protect the drug and insurance industries' bottom line. Prevention can begin with banning toxic chemicals that are proven health hazards associated with current disease epidemics, and it can begin by removing a 1,000-plus toxins already banned in Europe. This should be a no-brainer for any legislator who cares for public health. For example, Stacy Malkan, co-founder of the Campaign for Safe Cosmetics, notes that "the policy approach in the US and Europe is dramatically different" when it comes to chemical allowances in cosmetic products. Whereas the EU has banned 1,328 toxic substances from the cosmetic industry alone, the US has banned only 11. The US continues to allow carcinogenic formaldehyde, petroleum, forever chemicals, many parabens (an estrogen mimicker and endocrine hormone destroyer), the highly allergenic p-phenylenediamine or PBD, triclosan, which has been associated with the rise in antibiotic resistant bacteria, avobenzone, and many others to be used in cosmetics, sunscreens, shampoo and hair dyes.   Next, the food Americans consume can be reevaluated for its health benefits. There should be no hesitation to tax the unhealthiest foods, such as commercial junk food, sodas and candy relying on high fructose corn syrup, products that contain ingredients proven to be toxic, and meat products laden with dangerous chemicals including growth hormones and antibiotics. The scientific evidence that the average American diet is contributing to rising disease trends is indisputable. We could also implement additional taxes on the public advertising of these demonstrably unhealthy products. All such tax revenue would accrue to a national universal health program to offset medical expenditures associated with the very illnesses linked to these products. Although such tax measures would help pay for a new medical New Deal, it may be combined with programs to educate the public about healthy nutrition if it is to produce a reduction in the most common preventable diseases. In fact, comprehensive nutrition courses in medical schools should be mandatory because the average physician receives no education in this crucial subject.  In addition, preventative health education should be mandatory throughout public school systems.   Private insurers force hospitals, clinics and private physicians into financial corners, and this is contributing to prodigious waste in money and resources. Annually, healthcare spending towards medical liability insurance costs tens of billions of dollars. In particular, this economic burden has taxed small clinics and physicians. It is well past the time that physician liability insurance is replaced with no-fault options. Today's doctors are spending an inordinate amount of money to protect themselves. Legions of liability and trial lawyers seek big paydays for themselves stemming from physician error. This has created a culture of fear among doctors and hospitals, resulting in the overly cautious practice of defensive medicine, driving up costs and insurance premiums just to avoid lawsuits. Doctors are forced to order unnecessary tests and prescribe more medications and medical procedures just to cover their backsides. No-fault insurance is a common-sense plan that enables physicians to pursue their profession in a manner that will reduce iatrogenic injuries and costs. Individual cases requiring additional medical intervention and loss of income would still be compensated. This would generate huge savings.    No other nation suffers from the scourge of excessive drug price gouging like the US. After many years of haggling to lower prices and increase access to generic drugs, only a minute amount of progress has been made in recent years. A 60 Minutes feature about the Affordable Care Act reported an "orgy of lobbying and backroom deals in which just about everyone with a stake in the $3-trillion-a-year health industry came out ahead—except the taxpayers.” For example, Life Extension magazine reported that an antiviral cream (acyclovir), which had lost its patent protection, "was being sold to pharmacies for 7,500% over the active ingredient cost. The active ingredient (acyclovir) costs only 8 pennies, yet pharmacies are paying a generic maker $600 for this drug and selling it to consumers for around $700." Other examples include the antibiotic Doxycycline. The price per pill averages 7 cents to $3.36 but has a 5,300 percent markup when it reaches the consumer. The antidepressant Clomipramine is marked up 3,780 percent, and the anti-hypertensive drug Captopril's mark-up is 2,850 percent. And these are generic drugs!    Medication costs need to be dramatically cut to allow drug manufacturers a reasonable but not obscene profit margin. By capping profits approximately 100 percent above all costs, we would save our system hundreds of billions of dollars. Such a measure would also extirpate the growing corporate misdemeanors of pricing fraud, which forces patients to pay out-of-pocket in order to make up for the costs insurers are unwilling to pay.    Finally, we can acknowledge that our healthcare is fundamentally a despotic rationing system based upon high insurance costs vis-a-vis a toss of the dice to determine where a person sits on the economic ladder. For the past three decades it has contributed to inequality. The present insurance-based economic metrics cast millions of Americans out of coverage because private insurance costs are beyond their means. Uwe Reinhardt, a Princeton University political economist, has called our system "brutal" because it "rations [people] out of the system." He defined rationing as "withholding something from someone that is beneficial." Discriminatory healthcare rationing now affects upwards to 60 million people who have been either priced out of the system or under insured. They make too much to qualify for Medicare under Obamacare, yet earn far too little to afford private insurance costs and premiums. In the final analysis, the entire system is discriminatory and predatory.    However, we must be realistic. Almost every member of Congress has benefited from Big Pharma and private insurance lobbyists. The only way to begin to bring our healthcare program up to the level of a truly developed nation is to remove the drug industry's rampant and unnecessary profiteering from the equation.     How did Fauci memory-hole a cure for AIDS and get away with it?   By Helen Buyniski   Over 700,000 Americans have died of AIDS since 1981, with the disease claiming some 42.3 million victims worldwide. While an HIV diagnosis is no longer considered a certain death sentence, the disease looms large in the public imagination and in public health funding, with contemporary treatments running into thousands of dollars per patient annually.   But was there a cure for AIDS all this time - an affordable and safe treatment that was ruthlessly suppressed and attacked by the US public health bureaucracy and its agents? Could this have saved millions of lives and billions of dollars spent on AZT, ddI and failed HIV vaccine trials? What could possibly justify the decision to disappear a safe and effective approach down the memory hole?   The inventor of the cure, Gary Null, already had several decades of experience creating healing protocols for physicians to help patients not responding well to conventional treatments by the time AIDS was officially defined in 1981. Null, a registered dietitian and board-certified nutritionist with a PhD in human nutrition and public health science, was a senior research fellow and Director of Anti-Aging Medicine at the Institute of Applied Biology for 36 years and has published over 950 papers, conducting groundbreaking experiments in reversing biological aging as confirmed with DNA methylation testing. Additionally, Null is a multi-award-winning documentary filmmaker, bestselling author, and investigative journalist whose work exposing crimes against humanity over the last 50 years has highlighted abuses by Big Pharma, the military-industrial complex, the financial industry, and the permanent government stay-behind networks that have come to be known as the Deep State.   Null was contacted in 1974 by Dr. Stephen Caiazza, a physician working with a subculture of gay men in New York living the so-called “fast track” lifestyle, an extreme manifestation of the gay liberation movement that began with the Stonewall riots. Defined by rampant sexual promiscuity and copious use of illegal and prescription drugs, including heavy antibiotic use for a cornucopia of sexually-transmitted diseases, the fast-track never included more than about two percent of gay men, though these dominated many of the bathhouses and clubs that defined gay nightlife in the era. These patients had become seriously ill as a result of their indulgence, generally arriving at the clinic with multiple STDs including cytomegalovirus and several types of herpes and hepatitis, along with candida overgrowth, nutritional deficiencies, gut issues, and recurring pneumonia. Every week for the next 10 years, Null would counsel two or three of these men - a total of 800 patients - on how to detoxify their bodies and de-stress their lives, tracking their progress with Caiazza and the other providers at weekly feedback meetings that he credits with allowing the team to quickly evaluate which treatments were most effective. He observed that it only took about two years on the “fast track” for a healthy young person to begin seeing muscle loss and the recurrent, lingering opportunistic infections that would later come to be associated with AIDS - while those willing to commit to a healthier lifestyle could regain their health in about a year.    It was with this background that Null established the Tri-State Healing Center in Manhattan in 1980, staffing the facility with what would eventually run to 22 certified health professionals to offer safe, natural, and effective low- and no-cost treatments to thousands of patients with HIV and AIDS-defining conditions. Null and his staff used variations of the protocols he had perfected with Caiazza's patients, a multifactorial patient-tailored approach that included high-dose vitamin C drips, intravenous ozone therapy, juicing and nutritional improvements and supplementation, aspects of homeopathy and naturopathy with some Traditional Chinese Medicine and Ayurvedic practices. Additional services offered on-site included acupuncture and holistic dentistry, while peer support groups were also held at the facility so that patients could find community and a positive environment, healing their minds and spirits while they healed their bodies.   “Instead of trying to kill the virus with antiretroviral pharmaceuticals designed to stop viral replication before it kills patients, we focused on what benefits could be gained by building up the patients' natural immunity and restoring biochemical integrity so the body could fight for itself,” Null wrote in a 2014 article describing the philosophy behind the Center's approach, which was wholly at odds with the pharmaceutical model.1   Patients were comprehensively tested every week, with any “recovery” defined solely by the labs, which documented AIDS patient after patient - 1,200 of them - returning to good health and reversing their debilitating conditions. Null claims to have never lost an AIDS patient in the Center's care, even as the death toll for the disease - and its pharmaceutical standard of care AZT - reached an all-time high in the early 1990s. Eight patients who had opted for a more intensive course of treatment - visiting the Center six days a week rather than one - actually sero-deconverted, with repeated subsequent testing showing no trace of HIV in their bodies.   As an experienced clinical researcher himself, Null recognized that any claims made by the Center would be massively scrutinized, challenging as they did the prevailing scientific consensus that AIDS was an incurable, terminal illness. He freely gave his protocols to any medical practitioner who asked, understanding that his own work could be considered scientifically valid only if others could replicate it under the same conditions. After weeks of daily observational visits to the Center, Dr. Robert Cathcart took the protocols back to San Francisco, where he excitedly reported that patients were no longer dying in his care.    Null's own colleague at the Institute of Applied Biology, senior research fellow Elana Avram, set up IV drip rooms at the Institute and used his intensive protocols to sero-deconvert 10 patients over a two-year period. While the experiment had been conducted in secret, as the Institute had been funded by Big Pharma since its inception half a century earlier, Avram had hoped she would be able to publish a journal article to further publicize Null's protocols and potentially help AIDS patients, who were still dying at incredibly high rates thanks to Burroughs Wellcome's noxious but profitable AZT. But as she would later explain in a 2019 letter to Null, their groundbreaking research never made it into print - despite meticulous documentation of their successes - because the Institute's director and board feared their pharmaceutical benefactors would withdraw the funding on which they depended, given that Null's protocols did not involve any patentable or otherwise profitable drugs. When Avram approached them about publication, the board vetoed the idea, arguing that it would “draw negative attention because [the work] was contrary to standard drug treatments.” With no real point in continuing experiments along those lines without institutional support and no hope of obtaining funding from elsewhere, the department she had created specifically for these experiments shut down after a two-year followup with her test subjects - all of whom remained alive and healthy - was completed.2   While the Center was receiving regular visits by this time from medical professionals and, increasingly, black celebrities like Stokely Carmichael and Isaac Hayes, who would occasionally perform for the patients, the news was spreading by word of mouth alone - not a single media outlet had dared to document the clinic that was curing AIDS patients for free. Instead, they gave airtime to Anthony Fauci, director of the National Institute of Allergies and Infectious Diseases, who had for years been spreading baseless, hysteria-fueling claims about HIV and AIDS to any news outlet that would put him on. His claim that children could contract the virus from “ordinary household conduct” with an infected relative proved so outrageous he had to walk it back,3 and he never really stopped insisting the deadly plague associated with gays and drug users was about to explode like a nuclear bomb among the law-abiding heterosexual population. Fauci by this time controlled all government science funding through NIAID, and his zero-tolerance approach to dissent on the HIV/AIDS front had already seen prominent scientists like virologist Peter Duesberg stripped of the resources they needed for their work because they had dared to question his commandment: There is no cause of AIDS but HIV, and AZT is its treatment. Even the AIDS activist groups, which by then had been coopted by Big Pharma and essentially reduced to astroturfing for the toxic failed chemotherapy drug AZT backed by the institutional might of Fauci's NIAID,4 didn't seem to want to hear that there was a cure. Unconcerned with the irrationality of denouncing the man touting his free AIDS cure as an  “AIDS denier,” they warned journalists that platforming Null or anyone else rejecting the mainstream medical line would be met with organized demands for their firing.    Determined to breach the institutional iron curtain and get his message to the masses, Null and his team staged a press conference in New York, inviting scientists and doctors from around the world to share their research on alternative approaches to HIV and AIDS in 1993. To emphasize the sound scientific basis of the Center's protocols and encourage guests to adopt them into their own practices, Null printed out thousands of abstracts in support of each nutrient and treatment being used. However, despite over 7,000 invitations sent three times to major media, government figures, scientists, and activists, almost none of the intended audience members showed up. Over 100 AIDS patients and their doctors, whose charts exhaustively documented their improvements using natural and nontoxic modalities over the preceding 12 months, gave filmed testimonials, declaring that the feared disease was no longer a death sentence, but the conference had effectively been silenced. Bill Tatum, publisher of the Amsterdam News, suggested Null and his patients would find a more welcoming audience in his home neighborhood of Harlem - specifically, its iconic Apollo Theatre. For three nights, the theater was packed to capacity. Hit especially hard by the epidemic and distrustful of a medical system that had only recently stopped being openly racist (the Tuskegee syphilis experiment only ended in 1972), black Americans, at least, did not seem to care what Anthony Fauci would do if he found out they were investigating alternatives to AZT and death.    PBS journalist Tony Brown, having obtained a copy of the video of patient testimonials from the failed press conference, was among a handful of black journalists who began visiting the Center to investigate the legitimacy of Null's claims. Satisfied they had something significant to offer his audience, Brown invited eight patients - along with Null himself - onto his program over the course of several episodes to discuss the work. It was the first time these protocols had received any attention in the media, despite Null having released nearly two dozen articles and multiple documentaries on the subject by that time. A typical patient on one program, Al, a recovered IV drug user who was diagnosed with AIDS at age 32, described how he “panicked,” saw a doctor and started taking AZT despite his misgivings - only to be forced to discontinue the drug after just a few weeks due to his condition deteriorating rapidly. Researching alternatives brought him to Null, and after six months of “detoxing [his] lifestyle,” he observed his initial symptoms - swollen lymph nodes and weight loss - begin to reverse, culminating with sero-deconversion. On Bill McCreary's Channel 5 program, a married couple diagnosed with HIV described how they watched their T-cell counts increase as they cut out sugar, caffeine, smoking, and drinking and began eating a healthy diet. They also saw the virus leave their bodies.   For HIV-positive viewers surrounded by fear and negativity, watching healthy-looking, cheerful “AIDS patients” detail their recovery while Null backed up their claims with charts must have been balm for the soul. But the TV programs were also a form of outreach to the medical community, with patients' charts always on hand to convince skeptics the cure was scientifically valid. Null brought patients' charts to every program, urging them to keep an open mind: “Other physicians and public health officials should know that there's good science in the alternative perspective. It may not be a therapy that they're familiar with, because they're just not trained in it, but if the results are positive, and you can document them…” He challenged doubters to send in charts from their own sero-deconverted patients on AZT, and volunteered to debate proponents of the orthodox treatment paradigm - though the NIH and WHO both refused to participate in such a debate on Tony Brown's Journal, following Fauci's directive prohibiting engagement with forbidden ideas.    Aside from those few TV programs and Null's own films, suppression of Null's AIDS cure beyond word of mouth was total. The 2021 documentary The Cost of Denial, produced by the Society for Independent Journalists, tells the story of the Tri-State Healing Center and the medical paradigm that sought to destroy it, lamenting the loss of the lives that might have been saved in a more enlightened society. Nurse practitioner Luanne Pennesi, who treated many of the AIDS patients at the Center, speculated in the film that the refusal by the scientific establishment and AIDS activists to accept their successes was financially motivated. “It was as if they didn't want this information to get out. Understand that our healthcare system as we know it is a corporation, it's a corporate model, and it's about generating revenue. My concern was that maybe they couldn't generate enough revenue from these natural approaches.”5   Funding was certainly the main disciplinary tool Fauci's NIAID used to keep the scientific community in line. Despite the massive community interest in the work being done at the Center, no foundation or institution would defy Fauci and risk getting itself blacklisted, leaving Null to continue funding the operation out of his pocket with the profits from book sales. After 15 years, he left the Center in 1995, convinced the mainstream model had so thoroughly been institutionalized that there was no chance of overthrowing it. He has continued to counsel patients and advocate for a reappraisal of the HIV=AIDS hypothesis and its pharmaceutical treatments, highlighting the deeply flawed science underpinning the model of the disease espoused by the scientific establishment in 39 articles, six documentaries and a 700-page textbook on AIDS, but the Center's achievements have been effectively memory-holed by Fauci's multi-billion-dollar propaganda apparatus.     FRUIT OF THE POISONOUS TREE   To understand just how much of a threat Null's work was to the HIV/AIDS establishment, it is instructive to revisit the 1984 paper, published by Dr. Robert Gallo of the National Cancer Institute, that established HIV as the sole cause of AIDS. The CDC's official recognition of AIDS in 1981 had done little to quell the mounting public panic over the mysterious illness afflicting gay men in the US, as the agency had effectively admitted it had no idea what was causing them to sicken and die. As years passed with no progress determining the causative agent of the plague, activist groups like Gay Men's Health Crisis disrupted public events and threatened further mass civil disobedience as they excoriated the NIH for its sluggish allocation of government science funding to uncovering the cause of the “gay cancer.”6 When Gallo published his paper declaring that the retrovirus we now know as HIV was the sole “probable” cause of AIDS, its simple, single-factor hypothesis was the answer to the scientific establishment's prayers. This was particularly true for Fauci, as the NIAID chief was able to claim the hot new disease as his agency's own domain in what has been described as a “dramatic confrontation” with his rival Sam Broder at the National Cancer Institute. After all, Fauci pointed out, Gallo's findings - presented by Health and Human Services Secretary Margaret Heckler as if they were gospel truth before any other scientists had had a chance to inspect them, never mind conduct a full peer review - clearly classified AIDS as an infectious disease, and not a cancer like the Kaposi's sarcoma which was at the time its most visible manifestation. Money and media attention began pouring in, even as funding for the investigation of other potential causes of AIDS dried up. Having already patented a diagnostic test for “his” retrovirus before introducing it to the world, Gallo was poised for a financial windfall, while Fauci was busily leveraging the discovery into full bureaucratic empire of the US scientific apparatus.   While it would serve as the sole basis for all US government-backed AIDS research to follow - quickly turning Gallo into the most-cited scientist in the world during the 1980s,7 Gallo's “discovery” of HIV was deeply problematic. The sample that yielded the momentous discovery actually belonged to Prof. Luc Montagnier of the French Institut Pasteur, a fact Gallo finally admitted in 1991, four years after a lawsuit from the French government challenged his patent on the HIV antibody test, forcing the US government to negotiate a hasty profit-sharing agreement between Gallo's and Montagnier's labs. That lawsuit triggered a cascade of official investigations into scientific misconduct by Gallo, and evidence submitted during one of these probes, unearthed in 2008 by journalist Janine Roberts, revealed a much deeper problem with the seminal “discovery.” While Gallo's co-author, Mikulas Popovic, had concluded after numerous experiments with the French samples that the virus they contained was not the cause of AIDS, Gallo had drastically altered the paper's conclusion, scribbling his notes in the margins, and submitted it for publication to the journal Science without informing his co-author.   After Roberts shared her discovery with contacts in the scientific community, 37 scientific experts wrote to the journal demanding that Gallo's career-defining HIV paper be retracted from Science for lacking scientific integrity.8 Their call, backed by an endorsement from the 2,600-member scientific organization Rethinking AIDS, was ignored by the publication and by the rest of mainstream science despite - or perhaps because of - its profound implications.   That 2008 letter, addressed to Science editor-in-chief Bruce Alberts and copied to American Association for the Advancement of Science CEO Alan Leshner, is worth reproducing here in its entirety, as it utterly dismantles Gallo's hypothesis - and with them the entire HIV is the sole cause of AIDS dogma upon which the contemporary medical model of the disease rests:   On May 4, 1984 your journal published four papers by a group led by Dr. Robert Gallo. We are writing to express our serious concerns with regard to the integrity and veracity of the lead paper among these four of which Dr. Mikulas Popovic is the lead author.[1] The other three are also of concern because they rely upon the conclusions of the lead paper .[2][3][4]  In the early 1990s, several highly critical reports on the research underlying these papers were produced as a result of governmental inquiries working under the supervision of scientists nominated by the National Academy of Sciences and the Institute of Medicine. The Office of Research Integrity of the US Department of Health and Human Services concluded that the lead paper was “fraught with false and erroneous statements,” and that the “ORI believes that the careless and unacceptable keeping of research records...reflects irresponsible laboratory management that has permanently impaired the ability to retrace the important steps taken.”[5] Further, a Congressional Subcommittee on Oversight and Investigations led by US Representative John D. Dingell of Michigan produced a staff report on the papers which contains scathing criticisms of their integrity.[6]  Despite the publically available record of challenges to their veracity, these papers have remained uncorrected and continue to be part of the scientific record.  What prompts our communication today is the recent revelation of an astonishing number of previously unreported deletions and unjustified alterations made by Gallo to the lead paper. There are several documents originating from Gallo's laboratory that, while available for some time, have only recently been fully analyzed. These include a draft of the lead paper typewritten by Popovic which contains handwritten changes made to it by Gallo.[7] This draft was the key evidence used in the above described inquiries to establish that Gallo had concealed his laboratory's use of a cell culture sample (known as LAV) which it received from the Institut Pasteur.  These earlier inquiries verified that the typed manuscript draft was produced by Popovic who had carried out the recorded experiment while his laboratory chief, Gallo, was in Europe and that, upon his return, Gallo changed the document by hand a few days before it was submitted to Science on March 30, 1984. According to the ORI investigation, “Dr. Gallo systematically rewrote the manuscript for what would become a renowned LTCB [Gallo's laboratory at the National Cancer Institute] paper.”[5]  This document provided the important evidence that established the basis for awarding Dr. Luc Montagnier and Dr. Francoise Barré-Sinoussi the 2008 Nobel Prize in Medicine for the discovery of the AIDS virus by proving it was their samples of LAV that Popovic used in his key experiment. The draft reveals that Popovic had forthrightly admitted using the French samples of LAV renamed as Gallo's virus, HTLV-III, and that Gallo had deleted this admission, concealing their use of LAV.  However, it has not been previously reported that on page three of this same document Gallo had also deleted Popovic's unambiguous statement that, "Despite intensive research efforts, the causative agent of AIDS has not yet been identified,” replacing it in the published paper with a statement that said practically the opposite, namely, “That a retrovirus of the HTLV family might be an etiologic agent of AIDS was suggested by the findings.”  It is clear that the rest of Popovic's typed paper is entirely consistent with his statement that the cause of AIDS had not been found, despite his use of the French LAV. Popovic's final conclusion was that the culture he produced “provides the possibility” for detailed studies. He claimed to have achieved nothing more. At no point in his paper did Popovic attempt to prove that any virus caused AIDS, and it is evident that Gallo concealed these key elements in Popovic's experimental findings.  It is astonishing now to discover these unreported changes to such a seminal document. We can only assume that Gallo's alterations of Popovic's conclusions were not highlighted by earlier inquiries because the focus at the time was on establishing that the sample used by Gallo's lab came from Montagnier and was not independently collected by Gallo. In fact, the only attention paid to the deletions made by Gallo pertains to his effort to hide the identity of the sample. The questions of whether Gallo and Popovic's research proved that LAV or any other virus was the cause of AIDS were clearly not considered.  Related to these questions are other long overlooked documents that merit your attention. One of these is a letter from Dr. Matthew A. Gonda, then Head of the Electron Microscopy Laboratory at the National Cancer Institute, which is addressed to Popovic, copied to Gallo and dated just four days prior to Gallo's submission to Science.[8] In this letter, Gonda remarks on samples he had been sent for imaging because “Dr Gallo wanted these micrographs for publication because they contain HTLV.” He states, “I do not believe any of the particles photographed are of HTLV-I, II or III.” According to Gonda, one sample contained cellular debris, while another had no particles near the size of a retrovirus. Despite Gonda's clearly worded statement, Science published on May 4, 1984 papers attributed to Gallo et al with micrographs attributed to Gonda and described unequivocally as HTLV-III.  In another letter by Gallo, dated one day before he submitted his papers to Science, Gallo states, “It's extremely rare to find fresh cells [from AIDS patients] expressing the virus... cell culture seems to be necessary to induce virus,” a statement which raises the possibility he was working with a laboratory artifact. [9]  Included here are copies of these documents and links to the same. The very serious flaws they reveal in the preparation of the lead paper published in your journal in 1984 prompts our request that this paper be withdrawn. It appears that key experimental findings have been concealed. We further request that the three associated papers published on the same date also be withdrawn as they depend on the accuracy of this paper.  For the scientific record to be reliable, it is vital that papers shown to be flawed, or falsified be retracted. Because a very public record now exists showing that the Gallo papers drew unjustified conclusions, their withdrawal from Science is all the more important to maintain integrity. Future researchers must also understand they cannot rely on the 1984 Gallo papers for statements about HIV and AIDS, and all authors of papers that previously relied on this set of four papers should have the opportunity to consider whether their own conclusions are weakened by these revelations.      Gallo's handwritten revision, submitted without his colleague's knowledge despite multiple experiments that failed to support the new conclusion, was the sole foundation for the HIV=AIDS hypothesis. Had Science published the manuscript the way Popovic had typed it, there would be no AIDS “pandemic” - merely small clusters of people with AIDS. Without a viral hypothesis backing the development of expensive and deadly pharmaceuticals, would Fauci have allowed these patients to learn about the cure that existed all along?   Faced with a potential rebellion, Fauci marshaled the full resources under his control to squelch the publication of the investigations into Gallo and restrict any discussion of competing hypotheses in the scientific and mainstream press, which had been running virus-scare stories full-time since 1984. The effect was total, according to biochemist Dr. Kary Mullis, inventor of the polymerase chain reaction (PCR) procedure. In a 2009 interview, Mullis recalled his own shock when he attempted to unearth the experimental basis for the HIV=AIDS hypothesis. Despite his extensive inquiry into the literature, “there wasn't a scientific reference…[that] said ‘here's how come we know that HIV is the probable cause of AIDS.' There was nothing out there like that.”9 This yawning void at the core of HIV/AIDS “science" turned him into a strident critic of AIDS dogma - and those views made him persona non grata where the scientific press was concerned, suddenly unable to publish a single paper despite having won the Nobel Prize for his invention of the PCR test just weeks before.  10   DISSENT BECOMES “DENIAL”   While many of those who dissent from the orthodox HIV=AIDS view believe HIV plays a role in the development of AIDS, they point to lifestyle and other co-factors as being equally if not more important. Individuals who test positive for HIV can live for decades in perfect health - so long as they don't take AZT or the other toxic antivirals fast-tracked by Fauci's NIAID - but those who developed full-blown AIDS generally engaged in highly risky behaviors like extreme promiscuity and prodigious drug abuse, contracting STDs they took large quantities of antibiotics to treat, further running down their immune systems. While AIDS was largely portrayed as a “gay disease,” it was only the “fast track” gays, hooking up with dozens of partners nightly in sex marathons fueled by “poppers” (nitrate inhalants notorious for their own devastating effects on the immune system), who became sick. Kaposi's sarcoma, one of the original AIDS-defining conditions, was widespread among poppers-using gay men, but never appeared among IV drug users or hemophiliacs, the other two main risk groups during the early years of the epidemic. Even Robert Gallo himself, at a 1994 conference on poppers held by the National Institute on Drug Abuse, would admit that the previously-rare form of skin cancer surging among gay men was not primarily caused by HIV - and that it was immune stimulation, rather than suppression, that was likely responsible.11 Similarly, IV drug users are often riddled with opportunistic infections as their habit depresses the immune system and their focus on maintaining their addiction means that healthier habits - like good nutrition and even basic hygiene - fall by the wayside.    Supporting the call for revising the HIV=AIDS hypothesis to include co-factors is the fact that the mass heterosexual outbreaks long predicted by Fauci and his ilk in seemingly every country on Earth have failed to materialize, except - supposedly - in Africa, where the diagnostic standard for AIDS differs dramatically from those of the West. Given the prohibitively high cost of HIV testing for poor African nations, the WHO in 1985 crafted a diagnostic loophole that became known as the “Bangui definition,” allowing medical professionals to diagnose AIDS in the absence of a test using just clinical symptoms: high fever, persistent cough, at least 30 days of diarrhea, and the loss of 10% of one's body weight within two months. Often suffering from malnutrition and without access to clean drinking water, many of the inhabitants of sub-Saharan Africa fit the bill, especially when the WHO added tuberculosis to the list of AIDS-defining illnesses in 1993 - a move which may be responsible for as many as one half of African “AIDS” cases, according to journalist Christine Johnson. The WHO's former Chief of Global HIV Surveillance, James Chin, acknowledged their manipulation of statistics, but stressed that it was the entire AIDS industry - not just his organization - perpetrating the fraud. “There's the saying that, if you knew what sausages are made of, most people would hesitate to sort of eat them, because they wouldn't like what's in it. And if you knew how HIV/AIDS numbers are cooked, or made up, you would use them with extreme caution,” Chin told an interviewer in 2009.12   With infected numbers stubbornly remaining constant in the US despite Fauci's fearmongering projections of the looming heterosexually-transmitted plague, the CDC in 1993 broadened its definition of AIDS to include asymptomatic (that is, healthy) HIV-positive people with low T-cell counts - an absurd criteria given that an individual's T-cell count can fluctuate by hundreds within a single day. As a result, the number of “AIDS cases” in the US immediately doubled. Supervised by Fauci, the NIAID had been quietly piling on diseases into the “AIDS-related” category for years, bloating the list from just two conditions - pneumocystis carinii pneumonia and Kaposi's sarcoma - to 30 so fast it raised eyebrows among some of science's leading lights. Deeming the entire process “bizarre” and unprecedented, Kary Mullis wondered aloud why no one had called the AIDS establishment out: “There's something wrong here. And it's got to be financial.”13   Indeed, an early CDC public relations campaign was exposed by the Wall Street Journal in 1987 as having deliberately mischaracterized AIDS as a threat to the entire population so as to garner increased public and private funding for what was very much a niche issue, with the risk to average heterosexuals from a single act of sex “smaller than the risk of ever getting hit by lightning.” Ironically, the ads, which sought to humanize AIDS patients in an era when few Americans knew anyone with the disease and more than half the adult population thought infected people should be forced to carry cards warning of their status, could be seen as a reaction to the fear tactics deployed by Fauci early on.14   It's hard to tell where fraud ends and incompetence begins with Gallo's HIV antibody test. Much like Covid-19 would become a “pandemic of testing,” with murder victims and motorcycle crashes lumped into “Covid deaths” thanks to over-sensitized PCR tests that yielded as many as 90% false positives,15 HIV testing is fraught with false positives - and unlike with Covid-19, most people who hear they are HIV-positive still believe they are receiving a death sentence. Due to the difficulty of isolating HIV itself from human samples, the most common diagnostic tests, ELISA and the Western Blot, are designed to detect not the virus but antibodies to it, upending the traditional medical understanding that the presence of antibodies indicates only exposure - and often that the body has actually vanquished the pathogen. Patients are known to test positive for HIV antibodies in the absence of the virus due to at least 70 other conditions, including hepatitis, lupus, rheumatoid arthritis, syphilis, recent vaccination or even pregnancy. (https://www.chcfl.org/diseases-that-can-cause-a-false-positive-hiv-test/) Positive results are often followed up with a PCR “viral load” test, even though the inventor of the PCR technique Kary Mullis famously condemned its misuse as a tool for diagnosing infection. Packaging inserts for all three tests warn the user that they cannot be reliably used to diagnose HIV.16 The ELISA HIV antibody test explicitly states: “At present there is no recognized standard for establishing the presence and absence of HIV antibody in human blood.”17   That the public remains largely unaware of these and other massive holes in the supposedly airtight HIV=AIDS=DEATH paradigm is a testament to Fauci's multi-layered control of the press. Like the writers of the Great Barrington Declaration and other Covid-19 dissidents, scientists who question HIV/AIDS dogma have been brutally punished for their heresy, no matter how prestigious their prior standing in the field and no matter how much evidence they have for their own claims. In 1987, the year the FDA's approval of AZT made AIDS the most profitable epidemic yet (a dubious designation Covid-19 has since surpassed), Fauci made it clearer than ever that scientific inquiry and debate - the basis of the scientific method - would no longer be welcome in the American public health sector, eliminating retrovirologist Peter Duesberg, then one of the most prominent opponents of the HIV=AIDS hypothesis, from the scientific conversation with a professional disemboweling that would make a cartel hitman blush. Duesberg had just eviscerated Gallo's 1984 HIV paper with an article of his own in the journal Cancer Research, pointing out that retroviruses had never before been found to cause a single disease in humans - let alone 30 AIDS-defining diseases. Rather than allow Gallo or any of the other scientists in his camp to respond to the challenge, Fauci waged a scorched-earth campaign against Duesberg, who had until then been one of the most highly regarded researchers in his field. Every research grant he requested was denied; every media appearance was canceled or preempted. The University of California at Berkeley, unable to fully fire him due to tenure, took away his lab, his graduate students, and the rest of his funding. The few colleagues who dared speak up for him in public were also attacked, while enemies and opportunists were encouraged to slander Duesberg at the conferences he was barred from attending and in the journals that would no longer publish his replies. When Duesberg was summoned to the White House later that year by then-President Ronald Reagan to debate Fauci on the origins of AIDS, Fauci convinced the president to cancel, allegedly pulling rank on the Commander-in-Chief with an accusation that the “White House was interfering in scientific matters that belonged to the NIH and the Office of Science and Technology Assessment.” After seven years of this treatment, Duesberg was contacted by NIH official Stephen O'Brien and offered an escape from professional purgatory. He could have “everything back,” he was told, and shown a manuscript of a scientific paper - apparently commissioned by the editor of the journal Nature - “HIV Causes AIDS: Koch's Postulates Fulfilled” with his own name listed alongside O'Brien's as an author.18 His refusal to take the bribe effectively guaranteed the epithet “AIDS denier” will appear on his tombstone. The character assassination of Duesberg became a template that would be deployed to great effectiveness wherever Fauci encountered dissent - never debate, only demonize, deplatform and destroy.    Even Luc Montagnier, the real discoverer of HIV, soon found himself on the wrong side of the Fauci machine. With his 1990 declaration that “the HIV virus [by itself] is harmless and passive, a benign virus,” Montagnier began distancing himself from Gallo's fraud, effectively placing a target on his own back. In a 1995 interview, he elaborated: “four factors that have come together to account for the sudden epidemic [of AIDS]: HIV presence, immune hyper-activation, increased sexually transmitted disease incidence, sexual behavior changes and other behavioral changes” such as drug use, poor nutrition and stress - all of which he said had to occur “essentially simultaneously” for HIV to be transmitted, creating the modern epidemic. Like the professionals at the Tri-State Healing Center, Montagnier advocated for the use of antioxidants like vitamin C and N-acetyl cysteine, naming oxidative stress as a critical factor in the progression from HIV to AIDS.19 When Montagnier died in 2022, Fauci's media mouthpieces sneered that the scientist (who was awarded the Nobel Prize in 2008 for his discovery of HIV, despite his flagging faith in that discovery's significance) “started espousing views devoid of a scientific basis” in the late 2000s, leading him to be “shunned by the scientific community.”20 In a particularly egregious jab, the Washington Post's obit sings the praises of Robert Gallo, implying it was the American scientist who really should have won the Nobel for HIV, while dismissing as “

For over 90 years, countless iconic musicians have graced The Apollo Theatre in New York City, from James Brown and Aretha Franklin, to Drake and Bruno Mars. Today, the venue is expanding its footprint in the hopes of straddling in-person and digital engagement. The Apollo's CEO Michelle Ebanks joins Rapid Response to explore how she's tapping into celebrity culture, operating a historically Black institution in the midst of a DEI backlash, and more. Whether it's negotiating with Prince or proving a judgemental boardroom wrong, Michelle shares stories that illustrate the resilience and creativity we all need today.Visit the Rapid Response website here: https://www.rapidresponseshow.com/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Thom Francis welcomes Anthony Ragler, who was the featured artist at the Nitty Gritty Slam poetry series on Tuesday, January 6, 2015, at The Low Beat in Albany, NY. Anthony Ragler is a poet and artist from NYC known for using persona and body movement to attack social stigmas and overly traditional forms of thinking. He's represented NYC-Urbana at the 2014 National Poetry Slam and placed 2nd in the nation as well as the Urban Word NYC slam team at the 2013 Brave New Voices Festival that placed 3rd internationally. He has co-coached the 2015 Columbia University slam team at CUPSI and was named the 2014 Inspired Word grand master slam champion. Anthony has performed at numerous venues, including the United Nations, Nuyorican Poets Café, Symphony Space, Lincoln Center, and the Apollo Theatre. That night Anthony's poetry touched on childhood, family, and the ever-changing world around him. You can hear his entire set from Nitty Gritty Slam at https://soundcloud.com/hvwritersguild/anthony-ragler-at-nitty-gritty-slam-85-january-6-2015.

Emmanuel Akwafo (Lyric Hammersmith Panto / For Black Boys) joins West End Frame Editor, Andrew Tomlins, to round up their Top Performances of 2024! Andrew reveals his top five stage performances of the year and reads submissions from West End Frame listeners whilst Emmanuel shares his top five shows of 2024. Thank you for listening to The West End Frame Show in 2024 and for sharing your top performances of the year - we included as many of your contributions as possible. We're back on Saturday to round up our top shows of the year. Emmanuel is currently playing Widow Twerkey in Aladdin at the Lyric Hammersmith, marking his third pantomime at the venue. Emmanuel originated the role of Pitch in For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy by Ryan Calais Cameron, performing the show at the New Diorama Theatre, Royal Court Theatre and Apollo Theatre. His other theatre credits include: Narrator in Sappho (Southwark Playhouse), Amiens in As You Like It (Globe Theatre), Mr Martin in The Bald Soprano (Leicester Square Theatre) and Jay in The Spalding Suite (Southbank Centre). This year Emmanuel directed the sold out premiere of his debut play Limp Wrist and The Iron Fist at the Brixton House Theatre. Follow Emmanuel on Instagram: @eman.akwafoAladdin runs at the Lyric Hammersmith until 5th January 2025. Visit www.lyric.co.uk for info and tickets. Hosted by Andrew Tomlins@AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

  Bassist Tom Mendel has had a long and storied career as a bass player. He has been ‘based' (pardon the pun) in Chicago for decades. He's played in the pit for long running shows like ‘Lion King', ‘Wicked', ‘Hamilton', ‘Moulin Rouge', ‘Billy Elliott', ‘Kinky Boots', and many more. But his music has taken him all over the country. He has toured with the likes of Lainie Kazan. He's played club dates with Christine Ebersole, Mandy Gonzalez, Hollis Resnik, to mention just a few. Tom has also recorded extensively, playing hundreds of jingles in Chicago's recording houses. He's also played numerous sessions from Los Angeles to New Orleans to New York. Tom has also been an advocate for union musicians for decades. Much of that work was for those who make their livings playing in the theatre musicians. In fact, he was an early member of the Theatre Musicians Association. He served 7 years as the president of the Chicago chapter, before spending 5 years as the national president of TMA. Tom has also worked on many union committees, negotiating contracts for higher wages and better working conditions with Chicago theatres, as well as for touring musicians. And that's just the tip of the iceberg as far as his work on behalf of performing professionals. But Tom is more than ‘just' a musician. He's also a Master Scuba instructor, a yoga enthusiast, and is not only a proud father, but has recently joined the ranks of his favorite new title: grandpa! Basis for bassist I first met Tom in 1987 when I joined the cast of Chicago's longest running musical up until that time, ‘Pump Boys & Dinettes'. We performed that show together for nearly three years at Chicago's Apollo Theatre. We've been good friends ever since. We know each other's family and have shared the best and worst of those times. Professionally, we've had the good fortune to work together many times over the years. And because the world of pit musicians is not that big, we have a lot of friends and colleagues in common. ‘Bassist Tom Mendel' is just the jumping off point for this conversation. Come check out this friendly chat between two good friends. I think you'll enjoy getting to know this admirable and accomplished man. See more on Instagram. @mendelmusic Chapters (00:00:05) - Introducing Tom Mendel(00:02:14) - Tom Joins In(00:02:44) - Pump Boys, of course(00:10:04) - Louisiana Days

Anderson Cooper, AGT Winner, The View, CNN, Macy's Thanksgiving Parade, Fox, The Talk.Happy Thanksgiving!!!I Talk with Landau about his Succesful His Career & What He is Grateful For! His is a true rags to riches story; car wash rags. When Landau Eugene Murphy Jr. showed up to audition for America's Got Talent, he was singing to pass the time while grinding out a living washing cars. The only “nice” clothes he owned were the ones on his back: a pair of jeans, a modest button down striped shirt, and jacket. Fortunately, you don't need a large wardrobe to win America's heart.He's performed all over the world, from China to New York City, Los Angeles to Europe where he had the honor to perform for U.S. servicemen and their families stationed there. He's sung the national anthem prior to games by the Los Angeles Lakers, Washington Wizards, New York Rangers, Baltimore Orioles, Oklahoma City Thunder, Washington Nationals, and his beloved West Virginia University Mountaineers during a nationally televised homecoming game.You need talent, and Landau has truckloads of that. Since wowing the judges with his interpretations of classics by the likes of Frank Sinatra and Dean Martin and walking away with the million dollar grand prize in front of 14 million weekly viewers on AGT, Landau has released his Columbia Records debut “That's Life” (the CD hit #1 on the Billboard Jazz chart and was produced by Grammy winner Steve Tyrell, who also helmed Rod Stewart's Great American Songbook album). Landau has performed all over the country, from the California State Fair to New York's famous Apollo Theatre, Caesars Palace in Las Vegas to the Marina Civic Center in Florida and all points in between. Along the way, he has appeared on The Today Show, The View, CNN, Fox and Friends, The Wendy Williams Show, The Talk, Anderson Cooper, Tom Joyner, Sirius XM, NPR, and dozens of other outlets. Landau was named “West Virginian of the Year” by his home state where he has performed a series of sold out concerts helping raise over a half million dollars for state charities. He's played a special command performance at the Governors Inauguration, won Reality TV Personality of the Year in Hollywood, and was honored to perform with his band for U.S. Troops in Germany. He is currently on tour with Glenn Leonard,formally of The Temptations; Joe Blunt,formally of The Drifters and Joe Coleman, formally of The Platters. But all that success hasn't made Landau forget his roots. He was born in the Mountain State of West Virginia and continues to live there rather than move to entertainment industry hubs like Los Angeles or New York. “West Virginia will always be my home,” says Landau, “and home and family are the most important thing in the world to me. I can always fly out to LA or New York for work, but being here helps keep me humble and grounded. I'm just very fortunate to be living my dream.”Recently, Landau and award winning co-author Rick Robinson have written America's Got Talent Winner Landau Eugene Murphy Jr.: From Washing Cars to Hollywood Star, a book chronicling Landau's All-American success story. He's also completed an album full of holiday favorites, Christmas Made For Two. His touring schedule stays booked with shows all over the country including numerous CD and book signing appearances. He and the incredibly talented “Landau Eugene Murphy Jr. Big Band” are currently beginning his Classic Christmas Crooners Tour with a full slate of concerts at home and abroad. All Rights Reserved© 2024 Building Abundant Success!! 2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBAS 

Ali's time in exile only strengthens his position as a leader in the Civil Rights Movement. James Brown plays his first show in Paris, and his dancer, Lola Love!, recalls seeing The Godfather of Soul for the first time at The Apollo Theater. Muhammad Ali befriends heavyweight champion, Joe Frazier, only to realize that in order to win his title back, he must face his comrade in the ring.  FILM REFERENCES “When We Were Kings” (documentary, 1996) directed by Leon Gast  “Soul Power” (documentary, 2008) directed by Jeffrey Kusama–Hinte (available on YouTube) BOOKS "The Greatest, My Own Story" by Muhammad Ali (autobiography) "King: A Life" by Jonathan Eig "Smokin' Joe" by Joe Frazier and Phil Berger (autobiography) "Smokin' Joe: The Life of Joe Frazier" by Mark Kram Jr.  "The Rumble in the Jungle" by Lewis ErenbergSee omnystudio.com/listener for privacy information.

A season of assassinations sparks a loud cry for change. Young Cassius Clay befriends Malcolm X,  joins the nation of Islam, changes his name to Muhammad Ali, and refuses to fight in Vietnam. Meanwhile, James Brown's Say it Loud, I'm Black and I'm Proud becomes an anthem for Black America, and Hugh Masekela escapes the evils of apartheid.   FILM/VIDEO REFERENCES Nelson Mandela “Ready to Die” speech  April 20, 1964 (available on YouTube) Miriam Makeba UN Address speech March 9, 1964 (available on YouTube) ”The Hate that Hate Produced”, documentary (1959) WNET Mike Wallace (available on YouTube)   BOOK REFERENCES Muhammad Ali books (Cassius Clay period): Ali: The Greatest, My Own Story by Muhammad Ali Ali: A Life by Jonathan Eig King of the World by David Remnick Hit Me, Fred by Fred Wesley (autobiography)  See omnystudio.com/listener for privacy information.

Ella Fitzgerald kann man eigentlich nur in Superlativen beschreiben, denn sie ist so großartig und einzigartig, dass es uns fast schwer fällt in dieser Episode auf dem Boden der Tatsachen zu bleiben. Die stellen uns eh in der Recherche hier und da vor Herausforderungen, aber wir navigieren uns hier doch recht gut von einem Highlight zum nächsten im Leben dieser ungewöhnliche Sängerin, die sich von ärmlichen Verhältnissen ganz nach oben und in die Herzenn vieler menschen weltweit sang. Und das bis heute. Dabei wollte sie anfangs eigentlich Tänzerin werden, doch als sie im November 1934 erstmals in legendären Apollo Theatre auf der Bühne stand – sie hatte bei den sog. „Amateur Nights“ einen Slot ergattert – war sie von den vorangegangenen Tanzperformances so eingeschüchtert, dass sie sich nicht mehr mehr traute selbst zu tanzen. Stattdessen sang sie. Und damit war ihr Schicksal besiegelt. Denn sie begeisterte so sehr damit, dass das Publikum in Jubel ausbrach. Ella trat anschließend mehrfach im Apollo auf und erregte die Aufmerksamkeit diverser Größen in der Branche. Man könnte fast sagen: the rest is history – aber wir werden noch mit ein paar Anekdoten aufwarten, die sicher viele von euch auch nicht kannten. Hört rein und lasst euch von Ellas Geschichte verzaubert und natürlich werden wir auch noch eingehen auf ihren unnachahmlichen „Scat Gesang“. Teilt diese Episode gern, hinterlasst Sternchen, Herzen und Liebe. Wir freuen über jedes konstruktive Feedback!Auswahl Quellen:https://www.spiegel.de/geschichte/100-geburtstag-von-ella-fitzgerald-die-koenigin-des-jazz-a-1144207.htmlhttps://www.ellafitzgerald.com/biography/#/https://www.dw.com/de/first-lady-of-jazz-100-jahre-ella-fitzgerald/a-38377422https://www.npr.org/2017/04/25/524726767/early-hardship-couldnt-muffle-ella-fitzgeralds-joyhttps://www.nytimes.com/1996/06/16/nyregion/ella-fitzgerald-the-voice-of-jazz-dies-at-79.htmlhttps://www.udiscovermusic.com/artist/ella-fitzgerald/Team: Hosts: Kim Seidler & Cathrin JacobRedaktion: Cathrin JacobScriptarbeit: Daniel JacobSchnitt: Eva RaabeAlle Informationen zu unserem Podcast, Episoden, unseren Workshops etc. findet ihr auf unserer Website: Podcaststarkefrauen.de Online Podcast Kurs: https://www.podcaststarkefrauen.club/p/ILvMj1Bildquelle: US Department of State is licensed under CC BY-NC 2.0 Möchtest Du Cathrin oder Kim auf einen Kaffee einladen und dafür die Episoden werbefrei hören? Dann klicke auf den folgenden Link: https://plus.acast.com/s/starke-frauen. Hosted on Acast. See acast.com/privacy for more information.

Show SummaryOn today's episode, we feature Tom Chiodo, Executive Producer of Special Projects, National Productions for WETA, he flagship PBS station in Washington DC. We discuss the upcoming PBS Documentary, Caregiving, which will examine both systematic issues within the care system as well as tell personal stories of people who care for loved ones.    Provide FeedbackAs a dedicated member of the audience, we would like to hear from you about the show. Please take a few minutes to share your thoughts about the show in this short feedback survey. By doing so, you will be entered to receive a signed copy of one of our host's three books on military and veteran mental health. About Today's GuestsTom Chiodo is the executive producer of Special Projects National Productions for WETA (Washington Educational Telecommunications Association), the flagship PBS station in Washington DC. WETA develops primetime documentary films and original digital content, accompanied by national impact and engagement campaigns, across 330+ PBS stations in more than 150 markets. Recent public media projects: Ken Burns presents Hiding in Plain Sight: Youth Mental Illness, a film by Erik Ewers and Christopher Loren Ewers (2022); Emmy-nominated documentary Ken Burns presents The Gene: An Intimate History(2020); Rethinking High School with Soledad O'Brien Town Hall at Howard University (2016); DuPont Columbia Award & Emmy-nominated documentary Cancer: The Emperor of All Maladies (2015). Current documentary projects in development/production: Caregiving; Hiding in Plain Sight: Adult Mental Illness;Remote Chance: Health Care in Rural America; Defeating Dementia; and Mighty Real: Out and Proud in America. Thirty years' experience in the media, communications, television and entertainment industry. Former SVP Development Entertainment Industry Foundation creating programs and funding for national initiatives in health care, volunteerism, childhood hunger and education. Tom has held senior positions at Rubenstein Associates, U.S. Department of Health & Human Services, Massachusetts Department of Public Health & State Office for Children. Former clients: HBO; AMC; TIME, Inc.; Wenner Media; Talk Miramax Books; Columbia University; Albert Einstein College of Medicine; Major League Baseball; Dance Theater of Harlem; The Apollo Theatre; Al Roker Entertainment, Inc.; The Tony Awards; Tribeca Film Festival; ABC's Good Morning America; Stand Up to Cancer; and Chances for Children.Board memberships: Fenway Community Health Center (Boston), Professional Performing Arts High School (NYC), Heart Gallery New York. National Academy of Television Arts & Sciences judge for the 44th Annual News & Documentary Emmy Awards. Tom is a published playwright, and co-author of “Home Care for Respirator Dependent Children” New England Journal of Medicine.  Links Mentioned in this Episode Wellbeings Web SiteCaregiving Documentary WebsiteCaregiving TrailerPsychArmor Resource of the WeekThis week's PsychArmor Resource of the Week is the Military Caregiver Recognition Award and Digital Resource Binder. PsychArmor is dedicated to providing education, resources, and strategies for those who provide care for our nation's wounded, ill and injured military service members and Veterans. The caregiving journey can be challenging — we're here to provide support. Thanks to the generosity of The USAA Foundation, and in collaboration with the Elizabeth Dole Foundation, we are pleased to offer the newly digitized Military Caregiver Recognition Award Program. Upon completion of the four PsychArmor courses included in this program and registration for the Elizabeth Dole Foundation's Hidden Heroes Caregiver Community, you will receive the Military Caregiver Recognition Award and Badge. You can see find the resource here:    https://learn.psycharmor.org/courses/military-caregiver-award Episode Partner: Are you an organization that engages with or supports the military affiliated community? Would you like to partner with an engaged and dynamic audience of like-minded professionals? Reach out to Inquire about Partnership Opportunities Contact Us and Join Us on Social Media Email PsychArmorPsychArmor on TwitterPsychArmor on FacebookPsychArmor on YouTubePsychArmor on LinkedInPsychArmor on InstagramTheme MusicOur theme music Don't Kill the Messenger was written and performed by Navy Veteran Jerry Maniscalco, in cooperation with Operation Encore, a non profit committed to supporting singer/songwriter and musicians across the military and Veteran communities.Producer and Host Duane France is a retired Army Noncommissioned Officer, combat veteran, and clinical mental health counselor for service members, veterans, and their families.  You can find more about the work that he is doing at www.veteranmentalhealth.com  

Welcome to the PoliticsJOE Podcast. The PoliticsJOE podcast was recorded live on Sunday at the Apollo Theatre. Oli, Ava, and Ed were joined by special guest Mhairi Black for election campaign reflections, audience questions, and their voter confessions. Hosted on Acast. See acast.com/privacy for more information.

Kayne, Amy Winehouse Shirley Murdock, Chrissie Hynde Music compositions can become legendary for decades after they first debut's by the original artist. New life & versions of compositions can keep artists alive for New Generations to enjoy!!Kanye West, Jay-Z, Amy Winehouse, John Legend, Will Smith,  Damon Dash, Rick James, Annie Lennox, Bone Thugs and Harmony, Arrested Development have recorded, sampled, used a song title for Movies ofThe Poindexter's Music over the years. Jackie Members joined them as a vocalist and songwriter in 1966. She became Robert's wife. Richard  & Robert performing at the The Apollo Theatre in New York City,  legends Jimi Hendrix, The Ojay's  Maya Angelou, Florence Ballard, famed songwriter & vocalist Alonzo Tucker, member of The Royals.Hank Ballard & The Midnighters, Producer & Songwriter Jerry, Ragovoy PLUS:The Persuaders are a New York City-based R&B vocal group best known for their gold hit single in the 1970s, "Thin Line Between Love and Hate". It sold over a million copies, topping the Billboard R&B chart, and was certified gold by the Recording Industry Association of America on October 29, 1971.Linda Jones was an American soul singer with a strong gospel-influenced style who had the 1967 top 10 R&B hit single, "Hypnotized" Jones was born in Newark, New Jersey,After her death in 1972 and in 2008, an album entitled, "Soul Talkin" featuring her vocals. on "Baby I Know" was nominated for a Grammy Award at the 51st Awards Ceremony in 2008.On June 3, 2021, The Grammy Museum in Newark, New Jersey added artifacts of JonesOn December 14, 2021, The City of Newark, New Jersey honored Jones with renaming Sherman Avenue, the street she lived on, to Linda Jones Way.Platinum and gold records awarded to the Poindexters include Slow Dance on the John Legend 2007 platinum album Once Again, He Can Only Hold Her on the Amy Winehouse 2007 platinum album Bacck to Black, Thin Line Between Love and Hate on the 1984 Chrissie Hynde and the Pretenders platinum album Learning to Crawl, A Thin Line Between Love and Hate on the Annie Lennox 1996 platinum album Medusa, Willow is a Player on the Will Smith 2002 gold album Born to Reign, Girls Girls Girls remix on the Jay Z 2002 platinum album The Blue Print, A Thin Line Between Love and Hate on the H-Town 1996 gold single. A Thin Line on the Martin Lawrence 1996 movie soundtrack.© 2024 Building Abundant Success!!2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASAmazon Music ~ https://tinyurl.com/AmzBAS

Emmanuel Akwafo (Sappho / For Black Boys) co-hosts The West End Frame Show!Andrew and Emmanuel discuss Sister Act starring Beverley Knight (Dominion Theatre) as well as the latest news about the Tony Award nominations,  Lempicka closing, Titanique's West End transfer, Lucie Jones starring in The Baker's Wife, casting for The Bodyguard in Slovenia and lots more. Emmanuel played Pitch in the original cast of For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy at the Royal Court and for the play's first sold out West End run at the Apollo Theatre.Some of his other theatre credits include Lady Jelly-Bottom in Cinderella (Lyric Hammersmith), Amiens in As You Like It (Globe Theatre), Tim T in Primary Playwrights (Soho Theatre), Dame Trott in Jack and the Beanstalk (Lyric Hammersmith) and Mr Martin in The Bald Soprano (Leicester Square Theatre).Emmanuel is currently playing the Narrator in Sappho by Wendy Beckett which is spreading queer joy at the Southwark Playhouse. Fusing ancient poetry with modern music, Greek chorus with contemporary dance, Sappho is described as a thrilling adult fairy tale of mythic proportions that may – or may not – have happened.Follow Emmanuel on Instagram: @eman.akwafo. Sappho runs at the Southwark Playhouse until 25th May, visit www.southwarkplayhouse.co.uk for tickets. Hosted by Andrew Tomlins. @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.   

Shane McDade, whose bio says “buy him a pint,” joins Steve Dale to have a conversation about “Choir of Man” at the Apollo Theatre. The two discuss McDade’s role in the show, his favorite bar back home, and how the show relates to him.

Join us as we shine a spotlight on some of the most captivating stage productions gracing the city's iconic venues. From uproarious comedies to mind-bending magic, we have a line-up that promises to delight and entertain. So, sit back, relax, and let's explore the magic of the stage together. 

Sie raunt, offenbart, jammert und frohlockt – es gibt wohl keine Emotion, die Sarah Vaughan nicht in ihre Stimme legen könnte: Sie ist unter den grossen Jazzsängerinnen die facettenreichste. Rund zehn Jahre jünger als Billie Holiday und Ella Fitzgerald ist die im März 1924 geborene Sarah Vaughan. Als Teenager gewinnt sie im Talentwettbewerb des Apollo Theatre in Harlem - so wird man auf sie aufmerksam. Vaughan beginnt, in den Sessions der Bebop-Pioniere mitzusingen und zieht ihre eigenen Schlüsse. Auch wenn «Sassy» langsamere Balladen den irrwitzigen Bebop-Tempi vorzieht, brilliert auch sie mit ungewohnten Intervallsprüngen und abenteuerlichen Melodievarianten. Sie klinge ebenfalls wie ein Bläser, lobt sie etwa der Trompeter Miles Davis. Dass sie sich innerhalb ihrer umfangreichen Möglichkeiten so sicher bewegen kann, gibt «The Divine One» eine fast unendliche Gestaltungsmöglichkeit. Der Fokus aufs Sängerische wird ihr dann allerdings zum Verhängnis in den politisch aufgeladenen 1960ern. Bei einem Auftritt am Jazzfest Berlin wird die grosse Vaughan mit Klopapier beworfen. Ihre Liedinterpretationen sind dem Publikum offenbar nicht politisch genug, Vaughans Gesangskunst wird als rückwärtsgewandt und aus der Zeit gefallen kritisiert. Ihr Status als eine der drei grossen Stimmen des Jazz wird aber auch von diesen jungen Wilden nie hinterfragt. Und bis heute bleibt die Vokalistin ein viel studiertes Vorbild, auch für die jüngste Generation von Jazzsängerinnen und Jazzsängern. In der Jazz Collection diskutiert Annina Salis mit der Jazzstudentin und Singer Songwriterin Naïma Bereté. Die gespielten Titel / Interpret:innen (Album | Label): Ain't Misbehavin' / Sarah Vaughan (In Hi-Fi | Columbia) I'll Wait and Pray / Billy Eckstine and His Orchestra (Billy Eckstine and His Orchestra. 1944-1945 | Classics Records) Mean to Me / Sarah Vaughan (In Hi-Fi | Columbia) Black Coffee / Sarah Vaughan, Joe Lippman Orchestra (Sarah Vaughan. 1947-1949 | Classic Records) All of Me / Sarah Vaughan and Her Trio (Swingin' Easy | EmArcy) Lullaby of Birdland / Sarah Vaughan and Clifford Brown (Sarah Vaughan and Clifford Brown | EmArcy) Whatever Lola Wants / Sarah Vaughan (Shellac Single | Mercury) Misty / Sarah Vaughan (Vaughan and Violins | Mercury) The Island / Sarah Vaughan (Crazy and Mixed Up | Pablo Today) Jazz Corner of the World / Quincy Jones (Back on the Block | Qwest, WB) One in a While / Sarah Vaughan (In the City of Lights | Justin Time) Lover Man / Sarah Vaughan, Dizzy Gillespie Quintet (Sarah Vaughan: Jazz Sessions 1944-1950 | Blue Moon)

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next in his regular Connect Radio theatre reviews. This week Vidar experienced an adrenaline-filled night in the theatre where secrets emerge and ghosts may or may not appear with 2:22 A Ghost Story as the current touring production visited the Wolverhampton Grand Theatre with description by Professional Audio Describer Remy Lloyd.  About 2:22 A Ghost Story This award-winning supernatural thriller continues its phenomenal run – now on tour. Following five record-breaking seasons at the Noël Coward, Gielgud, Criterion, The Lyric Theatre and The Apollo Theatre, this critically acclaimed new play has become the UK's must-see theatre event. 2:22- A Ghost Story is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist, and is directed by Matthew Dunster.  Brilliantly funny and intriguing; 2:22 A Ghost Story is an adrenaline-filled night where secrets emerge and ghosts may or may not appear. What do you believe? And do you dare discover the truth? Jenny believes her new home is haunted, but her husband Sam isn't having any of it. They argue with their first dinner guests, old friend Lauren and new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is getting closer. So they're going to stay up until 2:22….and then they'll know. To find out more about 2:22 A Ghost Story along with details of tour venues, dates and times of performances do visit the production website - https://222aghoststory.com/uk-tour-tickets/ (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

Willis Writer brings dynamic lyrics to soulful instrumentals, the host, actor, and rapper spends his time jotting down life experiences into rhythm and poetry, he has graced the stage at the Apollo Theatre, he has been featured on All Def Poetry, and has toured the states with his rhymes and passion. Willis Writer: https://williswriter.net https://www.instagram.com/williswriter Maverick Podcast:

Today’s Show Note Links Wonderful World: History of the Apollo Theatre, Link HERE Sounds Good: Sheku Kanneh-Mason's Tiny Desk Concert, HERE

In New York wird am 26. Januar 1934 in Harlem das Apollo-Theater neu eröffnet. Zutritt haben nun auch schwarze Gäste - nicht nur weiße Menschen. Damals eine Sensation.

Das Apollo Theater in Harlem/New York, wird am 26.1.1934 für Schwarzes Publikum neu eröffnet. Nicht nur für Ella Fitzgerald und James Brown war das Apollo die wohl wichtigste Bühne. Von Thomas Mau.

Tim Mahendran is playing Gomez in the original cast of The Time Traveler's Wife at the Apollo Theatre. Tim did multiple read-throughs and workshops for the show, as well as the premiere run at the Storyhouse Theatre in Chester. Based on the 2003 novel and 2009 film, The Time Traveller's Wife has a book by Lauren Gunderson, original music and lyrics by Joss Stone and  Dave Stewart, additional music by Nick Finlow and additional lyrics by Kait Kerrigan. The production is directed by Bill Buckhurst and designed by Anna Fleischle, with choreography by Shelley Maxwell. Tim made his West End debut as a child, in the original London cast of 13 The Musical which was directed by the musical's composer, Jason Robert Brown. After training at Mountview, Tim appeared in Spring Awakening directed by Luke Shepherd at the Hope Mill Theatre in Manchester and The Midnight Children at the Chichester Festival Theatre. Tim originated the role of Francois in & Juliet at the Manchester Opera House and Shaftesbury Theatre. Tim has also worked on screen with his credits including Avalon and Channel 4's comedy The Horne Section and Stath Lets Flats for Roughcut and BBC. He is currently writing an exciting new project for screen. The Time Traveler's Wife is booking at the Apollo Theatre until 30th March 2024. Visit www.timetravellerswife.com for info and tickets. Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

In this episode we wrap up the first half of 2023 with a look at the times an ancient Middle Eastern demon entered our 21st century news cycle. Through the lens of sketch comedy and the occasional song we laugh our way through the ‘current events' of 2023 and try to figure out why the devil is still a thing.Through the magic of audio illusions we will transport you to the annual Passion Conference in Atlanta Georgia. We'll observe a celebration of the love of Jesus with thousands of evangelical university students. We'll meet ex lesbian, drug abuser who grew up confused about her gender and was addicted to pornography turned Chri$tian author, rapper and poet Jackie Hill Perry and hear her thoughts about the reality of demons.Sit back and relax as self-proclaimed Gender Queer Non Binary Gay English singer Sam Smith takes to the Grammy Awards stage with openly transgender German woman Kim Petras to perform their hit song, ‘Unholy'. I wonder if anyone will get upset?And in completely unrelated news we'll meet Conservative podcaster Liz Wheeler, Republican senator Ted Cruz,  failed republican candidate for Tennessee's 5th Congressional District and former music video director, Robby Starbuck Newsom and crazy person Marjorie Taylor Greene.It can't all be as much fun as Sam Smith and Kim Patras, we'll also have a hilarious peek into the Morbid Angel tragedy at the Apollo Theatre in Belvidere Illinois that took the life of Fred Livingston Jr. I wonder if anyone tried to exploit that for personal gain?In unrelated news this episode will also feature a cameo appearance from Artificial Intelligence 2: Electric Boogaloo star Leo Zagami.But then it's straight back into atheists making Chri$tians look dumb with The Satanic Temple's Satancon in Boston. And related to my use of the word ‘dumb' in the sentence above, we will meet MAGA Christo-Fascist and permed hair enthusiast Sean Feucht.Then it's on to Chri$tians scaring the rest of us again with a trip to the Chri$tian nationalist event ReAwaken America at Miami's Trump National Doral Hotel. Where just two weeks before the release of the live action version of Disney's The Little Mermaid, hate preacher Amanda Grace gives us the skinny on technologically advanced mermaids working for Satan.If you were wondering what did MTG tell that Turning Point USA's Young Women's Leadership Conference? We've got you covered. It's about the devil and reproductive rights and it's brilliant. It's MTG. What else is it going to be? SAUCES https://www.christianpost.com/news/jackie-hill-perry-enemy-trying-to-destroy-an-entire-generation.htmlhttps://www.foxnews.com/us/christian-evangelists-bostons-satancon-claim-about-100-people-converted-were-in-battle https://pagesix.com/2023/02/06/sam-smith-grammys-2023-performance-slammed-as-satantic/ https://www.forbes.com/sites/danidiplacido/2023/02/10/sam-smiths-grammys-performance-criticized-by-conservatives-and-satanists/?sh=268b2d0a30b1 https://leozagami.com/2023/04/02/roof-collapses-while-satanic-band-morbid-angel-is-playing/ https://www.nme.com/en_au/news/music/morbid-angel-issue-statement-after-storm-collapses-roof-at-illinois-show-killing-one-and-injuring-40-3424705 https://wegotthiscovered.com/movies/with-a-maga-speaker-advocating-for-hand-to-hand-combat-against-mermaids-will-theaters-be-safe-when-the-little-mermaid-premieres/?utm_source=ground.news&utm_medium=referral https://www.alternet.org/marjorie-taylor-greene-satan-women/?utm_source=ground.news&utm_medium=referral

Welcome to the Season 3 premiere of 'We're Done Here,' your go-to podcast for emotional wellness. In this episode, Meka Mo and Aminah Imani share their insights on comedy, parenthood, and fitness, live from the New York Comedy Festival!

Listen to the show and hear the remarkable story of Felicia who shares her transformational story of how she learned to move out of her comfort zone, heal her anxieties and fears and began living in the vibration of Success. Felicia was selected to pitch her business at the famous Apollo Theatre in New York City in front of Celebrity Judges: Cedric the Entertainer, Anthony Anderson and Daymond John. In Part two 2 of the show, I share specific steps and strategies that will help you deal with your fears and anxieties and begin your manifestation journey. This show will inspire you. https://loaradionetwork.com

Listen to the show and hear the remarkable story of Felicia who shares her transformational story of how she learned to move out of her comfort zone, heal her anxieties and fears and began living in the vibration of Success. Felicia was selected to pitch her business at the famous Apollo Theatre in New York City in front of Celebrity Judges: Cedric the Entertainer, Anthony Anderson and Daymond John. In Part two 2 of the show, I share specific steps and strategies that will help you deal with your fears and anxieties and begin your manifestation journey. This show will inspire you. https://loaradionetwork.com

Listen to the show and hear the remarkable story of Felicia who shares her transformational story of how she learned to move out of her comfort zone, heal her anxieties and fears and began living in the vibration of Success. Felicia was selected to pitch her business at the famous Apollo Theatre in New York City in front of Celebrity Judges: Cedric the Entertainer, Anthony Anderson and Daymond John. In Part two 2 of the show, I share specific steps and strategies that will help you deal with your fears and anxieties and begin your manifestation journey. This show will inspire you. https://loaradionetwork.com

Robert Bathurst, star of Toast of London and Cold Feet, joins us to talk about his play Jeffrey Bernard Is Unwell at the Coach & Horses pub. In conversation with Nick Curtis, they discuss James Hillier's one-hour adaptation of the play made famous by Oscar-winner Peter O'Toole. The play focuses on the writing and wit of late Spectator journalist Jeffrey Bernard, a “notorious drinker” in the Soho journalists' haunt, which is where the play is staged. In one episode of pub lore involving Bernard, desperate gamblers propping up the bar allegedly established a cat racing syndicate.We review Sir Kenneth Branagh in the title role of King Lear at Wyndham's Theatre. He also directs the West End production of Shakespeare's epic tragedy.We also review the new musical of The Time Traveller's Wife at the Apollo Theatre, with music by Joss Stone and Eurythmics' Dave Stewart.Plus, Isabelle Huppert's set to return to the Barbican in Mary Queen of Scots as part of the east London arts venue's spring 2024 season.We respond to your questions: who's the next Andrew Lloyd Webber for musical productions - and your favourite food moments on stage.Get in touch at theatrepod@standard.co.ukMake sure you're following this podcast.For all the latest news visit standard.co.uk Hosted on Acast. See acast.com/privacy for more information.

Dana Aber (she/her) is an award-winning theatre performer, producer, collaborator, and creator, with a 20 year career spanning across the country and across the seas. She has been seen in NYC Off-Broadway, at The Dixon Place, NYFringe Festival, NYMF, Apollo Theatre, and FDCAC/Classical Theatre of Harlem. A strong advocate for the development of new musicals, she has been involved in countless presentations at New Dramatists, NYU Tisch, Dramatists Guild, Ars Nova, and across virtual media. Through her Big Thunder Productions company, Dana has created and helmed 8 concert-cabarets, most notably the bi-coastal #YesAllWomen Raise Your Voice concert joining artists within the movement for gender equality. As a theatre writer, Dana's autobiographical 1-woman musical, Baggage at the Door, travels her healing process from trauma-induced PTSD. Baggage at the Door was a finalist in NYC's ONEFest, and earned Dana a month-long artist residency with Elsewhere Studios in Colorado in 2018. Coming up, Baggage at the Door looks forward to its regional premiere in Virginia, and Dana's next soloshow FINAL BLOW, which explores the blame placed on boundary setting, will have its NYC festival debut in November 2021. Dana is currently collaborating with her brother, Broadway's Drew Aber (he/him), on her new play Save/Reload, about identity exploration through video games. She is a survivor and advocate, and is honored to be able to use her voice to share for those who cannot. Four consecutive Januarys with four near-death experiences...um, Happy New Year?

"Continuance" Don't feel bad if Joey Alexander's resume' makes you feel inferior about your childhood achievements. We all feel that way. The Indonesian born pianist taught himself to play at age 6 and was flawlessly covering Thelonious Monk before he was in 1st grade. Because of the paucity of jazz opportunities at home, Alexander sat in with the top jazz players in Bali and Jakarta. At 8 he played for Herbie Hancock, at 9 he won the Grand Prix at the 2013 Master Jam Fest in Odessa and by 10 his family had moved to New York City so Alexander could have more playing opportunities. After catching the attention of Wynton Marsalis, Alexander made his U.S. debut at Marsalis' annual gala playing Monk's Round Midnight and the next day, nothing was the same. Hailed as a genius by the New York Times and Downbeat Magazine, from there Alexander's career took off. He's played for ex Presidents Bill Clinton and Barack Obama, snagged a Grammy nomination, put out six perfect albums, including his new one Continuance, played shows all over the world from Copenhagen to Montreal to the Apollo Theatre in Harlem, and he was nominated as Music Scholar by the T. Washington Scholars Program. Bear in mind, this is just a partial list. At 20, Alexander is now more than just a prodigy--he's a bandleader. And Continuance is a perfect example of his maturity as a player. Filled with arrangements that are windswept, jaunty and achingly precise, Alexander's talent is one of those rare and expansive things. He's commanding, he's elegant and he's got the kind of rhythmic finesse that comes from the Cosmos, so it's no surprise that Continuance rolls with majesty and grace. www.joeyalexandermusic.net www.bombshellradio.com www.stereoembersmagazine.com www.embersarts.com www.alexgreenbooks.com Twitter: @emberseditor IG: @emberspodcast Email: editor@stereoembersmagazine.com

Join Nick and Andrew as they review The Time Traveller's Wife - now playing at the Apollo Theatre.  

After attending two press launches for the show as it prepared for its West End run, Mickey-Jo was thrilled to finally be invited to see The Time Traveller's Wife last week at the Apollo Theatre in London. The show, which features a score by Joss Stone and Dave Stewart, stars David Hunter, Joanna Woodward, Hiba Elchikhe, Tim Mahendran, Ross Dawes, and more. Check out the new review for Mickey-Jo's thoughts on this time-travelling new musical... • About Mickey-Jo: As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 60,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows both in New York, London, Hamburg, and Paris. He has also twice received accreditation from the world renowned Edinburgh Fringe Festival. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

Bonita Burney Simmons Born to Sing... Without a doubt, Bonita has been anointed to sing! She was born on March 28, 1971 in Stamford, CT and was singing before she could even speak! As early as age 3, Bonita would hear lyrics on the radio and mimic exactly what she heard. During her first live performance, Bonita blew her audience away! People were so impressed and amazed, as they simply couldn't believe this big voice was coming from such a little girl! After spending her early years with her parents in Hartford,CT, her family relocated to Kinston, NC in 1974. Bonita would hone her skills while participating in music programs offered in Lenoir County Public Schools. She joined the chorus and in 5th grade, she was chosen to sing “The Way We Were” by Barbara Streisand. When she sang that song, there was not a dry eye in the room. During her 8th & 9th grade years, she was always active in the community, performing at events like NAACP banquets or weddings. She is a graduate of Kinston High School, Class of 1989, an alumni of Craven Community College with an Associates of Arts, and and alumni of the UAFWB Bible College where she graduated as valedictorian of the 2015 class with a Bachelor of Biblical Studies. To maintain a competitive edge, Bonita took years of private lessons with vocal coaches under the tutelage of Thomasine Hassell, Chantel Hollacheck, the late Wynona Daves, and Martha Mainor. Bonita's Singing Career... At age 12, she started her own gospel singing group, a trio called “Tried by Fire.” Determined and focused, Bonita thrived in her role as band leader and demonstrated her entrepreneurial skills at a very young age. Bonita would open up for all the national recording gospel artists who came to town like Shirley Caesar, John P. Kee, Luther Barnes, The Winans, The Williams Brothers and many others. Bonita has appeared and won first place on numerous occasions at the world famous Apollo Theatre in New York City. By the time she reached high school, she was already considered a professional singer! Today, Bonita is enjoying the flexibility of being an independent recording artist. Her talent is in high demand, as she is frequently requested to sing at venues and events throughout Eastern North Carolina! In June of 2017,  Bonita was nominated and won two awards given by The Rhythm of Gospel Awards for Traditional Artist of the Year and Best Performance by a Female Artist in Jacksonville, Florida. She also in July of 2017 was nominated and recognized as the winner in the Independent Gospel Artist category of Traditional Vocalist of the Year from the Radio Alliance Awards also located in Jacksonville, Florida.  Although she's experienced many tribulations, Bonita's life lessons are part of her unique tapestry that enables her to relate to people who are hurting. One of her biggest accomplishments is her outreach work with those who are incarcerated, sharing God's love through song. Indeed, Bonita has defined her own success, choosing to embrace an obedient lifestyle according to God's will for her life and career. She simply allows God to do the navigation and depends solely on Him to direct her career path- living by her motto, “If I make the way, then I'll have to pay the way. But if I allow HIM to make the way, he'll pay the way!" Bonita married her husband/manager, Eric B. Simmons in 1994. They have three wonderful children- Mykeva, E.J. and Landon. In October of 2000, Bonita was ordained into the Ministry as "Elder" by national Bishop Andrew Mcrorey Jr. of the Joy Mission Church of Deliverance, Hartford, CT. She also continues to serve Family Worship Center, "Ministry of Restoration" where the Pastor is George E. Fields Jr. Because serving and outreach is a part of the tapestry for Bonita's unique song ministry, being a part of the legacy of her father, the late, Bishop Landon O. Burney and the ministry that he founded is the reason she serves with great tenacity. Bonita and her family became members of Without Limits Christian Center in 2016 where the Pastors are James and Le'Conte McIver. Whenever and wherever there's a NEED; Bonita serves

Thom Francis welcomes Anthony Ragler, the featured poet at Nitty Gritty Slam #85 at The Low Beat in Albany, NY on Tuesday, January 6, 2015. Anthony Ragler is an artist known for using persona and body movement to attack social stigmas and overly traditional forms of thinking. Anthony was a member of the 2014 NYC Urbana Slam Team which placed 2nd at the 2014 National Poetry Slam, as well as the 2013 Urban Word Slam Team which placed 3rd internationally at the Brave New Voices Festival. Anthony has performed at numerous venues, including the United Nations, Nuyorican Poets Cafe, Symphony Space, Lincoln Center, and The Apollo Theatre. Anthony's poetry touches on childhood, family, and the ever-changing world around him.

Great Girlfriends, get ready to GROW! This week we are sitting at the feet of 33 year Wall Street veteran Carla Harris, to grab all of the breadcrumbs she can offer about LIFE (because why not learn anything and everything from Carla?

Stephanie Mills is a household name, she has been making history since her appearance at the Apollo Theatre at eleven years old to her role as Dorothy in The Wiz on Broadway and winning Grammy's for her music as a solo artist.  Mills has so many stories from over the years in business; from dating Michael Jackson, being on set with Diana Ross, a love fest with Motown, and more. She shares these monumental experiences casually, but they are undoubtedly legendary. Listen to learn more about her upcoming tour, including a special stop in Montgomery, Alabama to stand against injustice. Connect: @CariChampion @IamStephanieMills Learn More:  IAMSTEPHANIEMILLS.COMSee omnystudio.com/listener for privacy information.

Frankie Bridge joins us to talk about her acting debut in 2:22 A Ghost Story, which is now on at the Apollo Theatre. Frankie tells us about her character, Lauren, and why it's nice for her not to feel compared to Cheryl and Lily Allen - who played Jenny. She also tells us the future of her old band The Saturdays, why she thought she might end up advertising Cheestrings, and what her footballing husband Wayne Bridge said to her after her first performance.Despite press night being rained off, we discuss the musical La Cage aux Folles, now on at the Regents Park Open Air Theatre.This is directed by Artistic Director Tim Sheader, with a book by Harvey Fierstein and music and lyrics by Jerry Herman. You can also read our review here.We also review Word-Play at the Royal Court by Rabiah Hussain, directed by Nimmo Ismail: do words have cumulative power?Plus, we take a look at what's happened in theatre this week, the theatre that's become home to brutal mosquitoes, and the new exhibition hosting theatre cartoons in London. Hosted on Acast. See acast.com/privacy for more information.

On this Freestyle Friday Jazzy G and Cheryl Starr sit down and interview hometown creator and director of Harlem Honors 2023 Susan Bunny Southwell-Dais. Harlem Honors is an annual event at the Apollo Theatre that celebrates the rich history and culture of Harlem since 2016. On Power Me Up Radio Talk 24/7 on iHeart radio. Contact us at: grainey125@gmail.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/guy-rainey/message

On this episode of Hey, We Should Connect, special guest, Nekpen Osuan Wilson shares her experience as CEO of WomenWerk, an NYC-based nonprofit, and how her passion for women's empowerment propelled her to become a certified executive coach.Nekpen provides valuable advice for navigating disruption and getting to a place of clarity. Connect with Nekpen on LinkedIn and on Instagram @nekpenwerks @WomenwerksConnect with Funmi on Instagram @upswingwomenGuest BioNekpen Osuan Wilson is the Head of Customer Experience Strategy at Gusto (valued in January 2022 at $10Billion) and a certified executive coach with a decade of experience in business development strategy, mentorship, and non-profit board service. As a UN Global Ambassador for Sustainable Development Goal 5 and CEO of the NYC-based nonprofit @WomenWerk, Nekpen leverages her passion for women's empowerment to advise leaders on diversity, equity, inclusion and belonging. Nekpen serves as a talent and career strategy coach for The Muse, WIN Summit and an Advisor with 81Cents, leveraging her expertise in professional development training, career placement, and workplace culture. Her work with WomenWerk has led to brand ambassador roles with The Council of Urban Professionals, Walkers Legacy Foundation, and Forbes Women's Council.Nekpen was recently named a 2021 Vital Voices Fellow, a 2019 NYC Five Borough Future Fellow by The Arena, a BlogHer 2018 Voice of the Year, the 2017 Baylor University Young Alumna of the Year, a 2018 92Y Woman in Power Fellow, a 2018 Walkers Legacy Women in Leadership Honoree, and a 2017 Council of Urban Professionals Fellow. Nekpen serves on the DNC's Young Professionals Committee and Women's Leadership Forum and volunteers on professional non-profits including Vote Run Lead, The Council of Urban Professionals, The New Leaders Council, and the famed Apollo Theatre.Nekpen enjoys public speaking and her most notable speaking engagements have been at The White House, Harvard University, SXSW, The Wharton Business School, Columbia University, The United States Military Academy at West Point, The Female Quotient, and UNA Women. Nekpen earned her Bachelors from Baylor University and her Masters from Columbia University. She is a mother, STEM inclusion advocate, and enjoys running, traveling and supporting non-profits in her spare time.Connect with Funmi on Instagram @upswingwomen

Kanye, Jay-Z, Amy Winehouse, John Legend, Shirley Murdoch, H-Town, Chryssie Hynde, Rick James, James BrownThese artists & many more have recorded the Music Compositions of the Award Winning writing team of Jackie Members, Robert & Richard Poindexter!Music compositions can become legendary for decades after they first debut's by the original artist. New life & versions of compositions can keep artists alive for New Generations to enjoy. I stand with Jackie Poindexter on her fight for classic artist to get paid their royalties' & receive credit when any artist sample & or records their musicKanye West, Jay-Z, Amy Winehouse, John Legend, Will Smith,  Damon Dash, Rick James, Annie Lennox, Bone Thugs and Harmony, Arrested Development have recorded, sampled, used a song title for Movies ofThe Poindexter's Music over the years. Jackie Members joined them as a vocalist and songwriter in 1966. She became Robert's wife.We talk about Richard  & Robert performing at the The Apollo Theatre in New York City,  legends Jimi Hendrix, The Ojay's  Maya Angelou, Florence Ballard, famed songwriter & vocalist Alonzo Tucker, member of The Royals.Hank Ballard & The Midnighters, Producer & Songwriter Jerry, Ragovoy & two of Their artists:The Persuaders are a New York City-based R&B vocal group best known for their gold hit single in the 1970s, "Thin Line Between Love and Hate". It sold over a million copies, topping the Billboard R&B chart, and was certified gold by the Recording Industry Association of America on October 29, 1971.Linda Jones was an American soul singer with a strong gospel-influenced style who had the 1967 top 10 R&B hit single, "Hypnotized" Jones was born in Newark, New Jersey,After her death in 1972 and in 2008, Linda's daughter Terry Jones, along with Helen Bruner, produced an album entitled, "Soul Talkin" featuring her mother's vocals. One of the tracks, "Baby I Know" was nominated for a Grammy Award at the 51st Awards Ceremony in 2008.On June 3, 2021, The Grammy Museum in Newark, New Jersey added artifacts of Jones to their New Jersey Legends Exhibit, which has been a feature since 2017, that includes Frank Sinatra, Dionne Warwick, The Sugar Hill Gang, The Rascals, Melba Moore, Naughty By Nature and others.On December 14, 2021, The City of Newark, New Jersey honored Jones with renaming Sherman Avenue, the street she lived on, to Linda Jones Way.Platinum and gold records awarded to the Poindexters include Slow Dance on the John Legend 2007 platinum album Once Again, He Can Only Hold Her on the Amy Winehouse 2007 platinum album Bacck to Black, Thin Line Between Love and Hate on the 1984 Chrissie Hynde and the Pretenders platinum album Learning to Crawl, A Thin Line Between Love and Hate on the Annie Lennox 1996 platinum album Medusa, Willow is a Player on the Will Smith 2002 gold album Born to Reign, Girls Girls Girls remix on the Jay Z 2002 platinum album The Blue Print, A Thin Line Between Love and Hate on the H-Town 1996 gold single , A Thin Line Between Love and Hate on the Martin Lawrence 1996 gold movie soundtrack by the same title.© 2023 Building Abundant Success!!2023 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Carlos Alomar is a true music legend. He started out playing in his Father's ministry, became a member of the house band at the famous Apollo Theatre in Harlem, where he backed everyone from Chuck Berry to James Brown, who he also toured with. He was a member of The Main Ingredient. As a studio musician at RCA Records recording studio he backed up many greats, but his life changed dramatically when he met David Bowie during a session with English pop star Lulu. He went on to tour and work with Bowie on 11 albums starting with "Young Americans" and became the leader of his band. Did we mention he recorded and co-wrote "Fame" with Bowie and John Lennon. His list of credentials is remarkable. He also worked with Paul McCartney, Mick Jagger, Cindi Lauper, Iggy Pop, Peter, Paul, and Mary, and the list goes on and on. Carlos Alomar will be at the David Bowie World Fan Convention which takes place at RACKET NYC (431 West 16th Street, New York, NY 10011) on June 17-18, 2023 Music The Charms "So Pretty"(theme song) #CarlosAlomar #DavidBowie #IggyPop Contact: twistedrico@gmail.com This episode of Blowing Smoke with Twisted Rico is supported by Joe's Albums(Worcester/Northampton MA), Baby Loves Tacos(Pittsburgh PA), and Spectacle Eyeware(Boston, MA)

Grant Kilburn is an actor who featured in the film Kajaki (a.k.a. Kilo Two Bravo) but at just 23years old, he suffered a stroke, which resulted in him taking a step away from acting for nearly a decade.  He is currently performing in 2:22 A Ghost Story - a thriller play by Danny Robins showing in London's Apollo Theatre now. *****Get access to exclusive content with this guest at https://patreon.com/hkpodcasts

Listen on your favorite podcast service: https://pods.to/wesoundcrazy For this new episode of We Sound Crazy, our co-hosts catch up with rising RCA Records recording artist Tone Stith to discuss everything from performing at the Apollo Theatre to collaborating with Chris Brown. A true music lover with an amazing gift, Tone share's how growing up listening to the likes of everything from Michael Jackson to Prince and James Taylor has given him a sharpened edge during the recording process in the studio and on the stage.    Special thanks to our We Sound Crazy team! Videography: Aaron Walton, Myiah Lipscomb Video Editing: Aaron Walton Producer: Michael "Roux" Johnson Assistant: Brittany Guydon Intern: Montez Freeman Grooming for Phillionaire & Tamone Bacon: Delvin "Redd The Barber" Washington Thank you to all of our listeners, as well as our sponsors, The National Museum of African American Music and Visit Music City. Subscribe to We Sound Crazy on Spotify, Apple Podcasts, and anywhere you get your favorite podcast.  Follow us on Twitter, Instagram, Facebook, YouTube, and TikTok! Follow We Sound Crazy on Social Media: ~ Facebook: https://wesoundcrazy.ffm.to/wscfacebook ~ Instagram: https://wesoundcrazy.ffm.to/wscinstagram ~ Twitter: https://wesoundcrazy.ffm.to/wsctwitter ~ TikTok: https://wesoundcrazy.ffm.to/wsctiktok ~ Email: https://ffm.link/wsc-signup Subscribe to We Sound Crazy on YouTube: https://wesoundcrazy.ffm.to/wscyoutube-subscribe Visit the official We Sound Crazy website: https://wesoundcrazy.ffm.to/officialwebsite Learn more about your ad choices. Visit megaphone.fm/adchoices

Melly Victor of Stoopkid Stories joins us for the story of Ella Fitzgerald's first performance at the famous Apollo Theatre. Also, we talk about the history of tuning, how the Treaty of Versailles that ended World War I also tried to standardize musical tuning, and how singers hurt their voices to keep up with instrumentalists raising the relative pitch.

Dem Juice Boyz chop it up this week on a titular variety of wrestling and interesting topics including Wrestlemania, WWE & UFC merger, WWE Hall of Fame and Konnan's speech, the Collective, Ring of Honor's Supercard of Honor and Dante Martin's gruesome injury, our favorite entrances from Mania, Juice watches the Cody/Roman main event whilst attending a Morbid Angel show, who's this Brazilian band Crypta and why should you check 'em out, tornadoes rip through the Midwest, the tragedy at the Apollo Theatre in Belvidere, Illinois, Evil Dead Rise coming soon, Paul Heyman & Nick Hausman at the WWE media scrum, Bodi still jonesing on Destiny 2, Danava live this Saturday at Reggie's in Chicago and way too much more to mention! Share the love!    Support: https://Linktr.ee/juiceprowrestling    

Great Girlfriends, get ready to GROW! This week we are sitting at the feet of 33 year Wall Street veteran Carla Harris, to grab all of the breadcrumbs she can offer about LIFE (because why not learn anything and everything from Carla?

Carla Harris is a Senior Client Advisor at Morgan Stanley, the most recent of many posts in her 35-year career at the firm that included serving as Vice Chairman of Wealth Management, heading the Emerging Manager platform, and running deals for decades as an investment banker and capital markets professional. She is the author of three books about navigating careers and leadership, Expect to Win, Strategize to Win, and the upcoming Lead to Win, each of which contains lessons she dubs “Carla's Pearls.” In the last few years, Carla added Board seats to her professional portfolio and currently serves on a host of Boards including SEO, Harvard University, Walmart, and MetLife. She's also an accomplished gospel singer who has sold out shows in Carnegie Hall and the Apollo Theatre. Our conversation offers Carla's pearls of wisdom in navigating a career from her earliest days on the Street. We cover her background, path to Wall Street, framing a personal narrative, learning what's important to an organization, being authentic, taking career risks, and evolving multicultural opportunities in asset management. We then turn to lessons from Carla's new book, from sitting in the Boardroom, and from a letter to her 25-year-old self. Learn More  Follow Ted on Twitter at @tseides or LinkedIn  Subscribe to the mailing list  Access Transcript with Premium Membership