Podcasts about Black Like Me

Today, the tables are turned as City Cast Madison host Bianca Martin is a guest on Rev. Dr. Alex Gee's podcast Black Like Me. In this excerpt of the show, Bianca digs into her experiences as a Black journalist and Rev. Lilada Gee also joins the conversation to discuss the often minimized roles of Black women in society and culture.  Listen to the full Black Like Me episode here.

Dr. Alex Gee has a special episode to talk through and process the recent election from his perspective. He is joined by Black Like Me producer Jeremy Holiday for a raw conversation that seeks to break down first thoughts on how community and justice minded people look ahead in our current landscape. They share their raw feelings and reflections in this challenging moment. As always, Dr. Gee brings his wide-ranging experience as a Black man in a majority white community who is also a visionary community and faith leader. RSVP for The Center for Black Excellence and Culture Public Update alexgee.com Support the Show: patreon.com/blacklikeme Join the Black Like Me Listener Community Facebook Group

Dr. Gee hosts a special episode recorded live with an audience and a young jazz group in summer 2024 at Cafe Coda in Madison, WI. The night was a celebration of the 10th season of Black Like Me and Dr. Gee brought together Black podcast hosts to talk about their unique position.  Bianca Martin hosts the City Cast Madison podcast. She is skilled in audio journalism and multi platform storytelling. Bianca has produced a wide range of radio and podcast programs, including for National Geographic, NPR, and Chicago Public Media. You can hear Bianca every weekday on the City Cast Madison podcast at madison.citycast.fm Rev. Lilada Gee is a dynamic voice on behalf of Black girls and women throughout the African Diaspora who carry the heavy burden of generations of sexual trauma, as well as their own—Lilada Gee has committed her life to the defending of Black girlhood and the healing of Black women. She is the host of the Defending Black Girlhood podcast. Their conversation covers the specifically Black space that podcasting facilitates compared to other traditional media systems. In light of the current cultural and political environment they discuss the role that Black women play in the recent elections and culture in general. alexgee.com Support the Show: patreon.com/blacklikeme Join the Black Like Me Listener Community Facebook Group

Send us a textYou ever go a little too far with your good intentions?  John did.  And hoo boy is it a doozy.  Come cringe with us as we discuss the man who lived undercover in the Deep South in the worst way possible and his resulting novel, "Black Like Me", John Howard Griffin!

Hear the inside story on the transition from Joe Biden to Kamala Harris as the presidential candidate from Ben Wikler, Chair of the Wisconsin Democratic Party. Ben considers how Harris has been active as the Vice President and making energetic appearances but the broader media has chosen not to report on this angle of Harris until her presidential candidacy.  They also discuss this year's Democratic National Convention and how it felt more joyful and stood out. Ben also explains the use of “weird” comments in the election process. Dr. Gee and Ben also explore the role of Black women in the 2024 election and the impact of their engagement. Can Harris inspire other women of color to participate in politics? alexgee.com Support the Show: patreon.com/blacklikeme Join the Black Like Me listener community Facebook Group

Week 2 of Stephen King Birthday Bonanza 4 is here!!! Kasey and Amanda are joined by host of Men Are the P.R.I.Z.E & Men Are the P.R.I.Z.E presents Black Like Me & Love Is Black....Harvey Laguerre is here. And he is also an OG Founding Member of the I Did Not Make These Rankings Podcast Network. Join us as we discuss Christine!!!

We welcome a Friend of the show, and Acclaimed Singer-Songwriter Fraser Churchill to the show, celebrating his debut EP 'Times Are Changin' Known for his dynamic vocal style and multi-instrumental skills, Fraser's music connects intimately with audiences, making each song a shared experience. His international breakthrough as a songwriter came with the Charlie Puth song, “Patient” off the album Voicenotes and he has quickly become one of Nashville's most beloved Artists. Fraser's vibrant live performances and growing discography that explores various aspects of his musical identity have earned him acclaim in the industry. With a track record that includes co-writing the 2021 Grammy-nominated Mickey Guyton song, “Black Like Me,” as well as other notable hits, Fraser Churchill is not just a musician but a storyteller whose songs echo the complexities of human emotions

This Juneteenth marks the much-anticipated groundbreaking of The Center for Black Excellence and Culture on their new 37,000-square-foot, three story center, scheduled to open in late 2025. The Center plans to offer a cultural and educational space for Wisconsin's Black communities to tell stories, create, and celebrate their achievements. Last May, host Bianca Martin spoke with Rev. Dr. Alex Gee, the founder and visionary instrumental to bringing this new cultural center to life. Rev. Gee is also the pastor of Fountain of Life Church, the founder and CEO of Nehemiah Center for Urban Leadership Development, the host of the Black Like Me podcast. Wanna talk to us about an episode? Leave us a voicemail at 608-318-3367 or email madison@citycast.fm. We're also on Instagram!  Want more Madison news delivered right to your inbox? Subscribe to the Madison Minutes morning newsletter.  Looking to advertise on City Cast Madison? Check out our options for podcast ads. Learn more about your ad choices. Visit megaphone.fm/adchoices

ActionSA founder Herman Mashaba, was shocked at the way South Africans voted on May 29, but will not leave the political arena. Instead, the successful entrepreneur and former Joburg Mayor will be doubling down on a dream his nation will abandon race-driven political choices that shaped Election'24. However, the Black Like Me mogul admits to being “very nervous” about the outcome of coalition negotiations, fretting about the ability of the many “dishonest” politicians who're involved to counter SA's existential threat of a destructive MK. He spoke to BizNews editor Alec Hogg. Sign up for your early morning brew of the BizNews Insider to keep you up to speed with the content that matters. The newsletter will land in your inbox at 5:30am weekdays. Register here.

Connie Mashaba is the President of Johannesburg Chamber of Commerce and Industry and obtained her MBA qualification from the Wits Business School.Mashaba has a wealth of experience from hair care products manufacturer and distributor Black Like Me and Lephatsi Investments, a private equity company investing in diverse sectors in SA. Her roles have included setting and implementing strategic directions and advising management teams on growth opportunities. She also serves on several other boards, including Investec Entrepreneurial Trust, Widney Transport Components, and The Energy Company. She has sponsored the Field Band Foundation and mentored upcoming entrepreneurs. She has also attended multiple leadership programmes at Harvard Business School. She joins us a guest in this week's edition of the POWER Suit segment. Nhlanhla Sehume speaks to Connie Mashaba, President, Johannesburg Chamber of Commerce and Industry.See omnystudio.com/listener for privacy information.

As the Holiday season starts up, we turn towards a classic, and one we've been low-key avoiding. But the time has finally come for us to watch one of the craziest movies we've seen so far, 1964's Black Like Me.   We're joined by friend of the show Dare Johnson to talk about a movie where a white man pretends to be Black to see "what it's like." If that wasn't bad enough, it's based on a real experiment done by journalist John Howard Griffin.  We've got a lot to talk about with this one, including how not one Black person called him out for obviously being a white man, how no Black person knew he was a white man, and how not one damn Black person said, "ain't you a white man"?  As we get ready to close out 2023, we just want to say how much we appreciate you all and we hope you're able to wind down and spend some quality time with those you love. Times are rough, so be sure to hold on to the good things.  You can find Dare @badicaldude, and hit us up at @white_pod on Twitter and at whitepeoplewontsaveyoupod@gmail.com to let us know what you thought of this one and what we should watch in 2024. We'll be back in two weeks with Spike Lee produced, Son of the South. 

*Note, unfortunately we had some recording issues on this episode and lost part of our conversation, but we still have a great episode for you and Kaili will be back! You know we had to talk about this one! We're joined by the super talented Kaili Y. Turner to discuss the buzziest Oscar film of the season, Martin Scorsese's Killers of the Flower Moon.  Based on the book of the same name and depicting the heinous Osage Indian murders that spanned over 10 years, we get into what this movie would have looked like from an Osage perspective, reaction from Native critics, and much, much more.  Kaili is incredible and you definitely need to be on everything they have going on. Check out Kaili's website and find them on Twitter at @Kailyturner.  We'll also have much more coverage of KotFM coming up so stay tuned for that. As always, find us at @white_pod and email us your thoughts at whitepeoplewontsaveyoupod@gmail.com  We'll be back in two weeks with Dare Johnson talking about Black Like Me!

Ladies and gentlemen, 2021's Karen.       Wait...you need us to say more? Well, in honor of the spooky season, we subjected ourselves to one of the most absurd movies we've watched yet. Cameron and Jordan discuss what the hell everyone involved was thinking, the Get Out effect on Black horror, and a Cee-Lo Green song so bad it makes us long for Taylor Swift's cover of September.  With all the uncertainty in the world, hope everyone is doing alright out there. It's important to stay informed, but watching death on this wide a scale isn't normal. Take care of yourselves.  Keep up with us for the time being on Twitter @white_pod and hit us up at  whitepeoplewontsaveyoupod@gmail.com We'll be back in two weeks with Black Like Me. 

Ever wonder what West Side Story would be like if you took out all the songs, dancing, drama, and replaced it with fake combat dancing and crack? Well, you get 1989's extremely confusing film, Rooftops.  Actually directed by West Side Story's Robert Wise and completely wasting Tisha Campbell and Allen Payne, this one was a real head scratcher. Jordan and Cam talk the bait and switch of the trailer, the absurd "dance combat", and Lobo's press on nails.  Also, one of the wildest stories of Caucacity in 2023.  We're still out here on Twitter until it implodes at @white_pod . Follow us there and we'll see you in two weeks for maybe the wildest movie we've covered yet, 1964's Black Like Me.

Question for you all: Is tattoo season a thing? Follow up: Are tattoos cooler now than they used to be? Please think about your answers while listening to country artists we're loving right now (and Post Malone while you're at it). On country music having a moment: Vulture and Rolling Stone. Here are some artists (and their songs!) to dig into: Luke Combs (“When It Rains It Pours” and his cover of “Fast Car”), Zach Bryan ("I Remember Everything" featuring Kacey Musgraves, “Something in the Orange,” and his All My Homies Hate Ticketmaster live album), Kane Brown (“Nothing Compares to You” with Mickey Guyton), Midland (“Cheatin' Songs” and “Burn Out”), Maren Morris (“The Bones,” “My Church,” and “Rich—and this Diary of a Song on her pop hit “The Middle” and everything The Highwomen), Kelsea Ballerini (“If You Go Down (I'm Goin' Down Too),” “Hole in the Bottle,” and a special shoutout to her CMT Awards performance), Mickey Guyton (“All American” and “Black Like Me”—she was a judge on the Apple TV show My Kind of Country, too) Lainey Wilson (“Things a Man Oughta Know,” “Heart Like a Truck” and “Straight Up Sideways”), Hailey Whitters (“Everything She Ain't” and “I'm In Love”), and Brooke Eden (“Sunroof”—video with her then-gf, now wife!).For further women-in-country reading, we re-recommend Her Country by Marissa R. Ross. An artist we hope doesn't disappoint us: Post Malone.Let us know what music you're loving right now at 833-632-5463, podcast@athingortwohq.com, @athingortwohq, or our Geneva!Find more weeknight dinner recipes at Pillsbury.com. Discover so many more natural diamond truths at naturaldiamonds.com/thankyou.Head back to school with an MBA from The Georgia Tech Scheller College of Business.Find wellness on your next stay at Westin.Listen to Bad on Paper—if you like this podcast, you'll like that one.YAY.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Episode 212: Clutter Family Murders & Judd Nelson: November of 1959 On this penultimate episode of season 5, Amy covers the Clutter Family Murders.  Perry Edward Smith · Richard Hickock were two heartless robbers who had rough childhoods. That's no excuse for what they did in the same month that Bryan Adams was born and Lara Flynn Boyle's grandfather was killed in a car accident. We also discuss Black Like Me, The Moroccan mass oil poisoning, Jacques Plante's hockey puck to the face, tainted cranberries, the premieres of Ben-Hur and Rocky and Bullwinkle, the births of Judd Nelson and The Minnesota Vikings and much more! Part of the Queen City Podcast Network: www.queencitypodcastnetwork.com. Credits Include: rankin.com, yabiladi.com, Popculture.us, Wikipedia, New York Times, IMDB & Youtube. Information may not be accurate, as it is produced by jerks. Music by MATT TRUMAN EGO TRIP, the greatest American Band. Click Here to buy their albums!

In light of Juneteenth, we are airing a special episode from another amazing podcast called Black Like Me (alexgee.com). The Reverend Doctor Alex Gee is Lead Pastor of Fountain of Life Church, president and founder of the Nehemiah Center for Urban Leadership Development and its renowned initiative, Justified Anger. He is also one of PP's closest friends. In this episode, PP interviews pastor Alex on leadership and life for pastor Alex's Black Like Me podcast.

You may know Rev. Dr. Alex Gee as the pastor of Fountain of Life Church, the founder and CEO of Nehemiah Center for Urban Leadership Development, the host of the Black Like Me podcast, or as the author of the viral Justified Anger editorial taking Madison to task for failing its Black residents. And if you don't know Alex Gee yet, you should. He's a visionary force for change in Madison. His next act? Building the Center for Black Excellence and Culture, a brand-new multimillion dollar building off Park Street in south Madison. It's “bigger than a community center, broader than a cultural center” and will house a business incubator, performance spaces, a theater, a recording studio and so much more. He's tapped the team behind the Smithsonian National Museum of African American History in Washington, D.C. to design it. He's betting that by uplifting and celebrating the achievements of Madison's Black community, he'll transform Madison for generations. Also on the show:

The dangerous, trailblazing work of a white journalist and black leader who struck a shocking early blow against legal segregation In 1948, most white people in the North had no idea how unjust and unequal daily life was for 10 million African Americans living in the Jim Crow South. Then, Ray Sprigle, a famous white journalist from Pittsburgh, went undercover and alongside Atlanta s black civil rights pioneer John Wesley Dobbs lived as a black man in the South for thirty days. His impassioned newspaper series shocked millions and sparked the first nationally aired television-and-radio debate about ending America s shameful system of apartheid.  With 30 Days a Black Man: The Forgotten Story That Exposed the Jim Crow South (Lyons Press, 2017), author Bill Steigerwald returns this long-forgotten part of American history to its rightful place among the seminal events of the Civil Rights movement. For 30 days and 3,000 miles, Sprigle and Dobbs traveled among dirt-poor sharecroppers, principals of ramshackle black schools, and families of lynching victims. The nationally syndicated newspaper series hit the media like an atom bomb, eliciting a fierce response from the Southern media. Six years before Brown v. Board of Education, seven years before the murder of Emmett Till, eight years before Little Rock s Central High School was integrated, and thirteen years before John Howard Griffin s similar experiment became the bestselling Black Like Me, an unlikely pair of heroes brought black lives to the forefront of American consciousness. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The dangerous, trailblazing work of a white journalist and black leader who struck a shocking early blow against legal segregation In 1948, most white people in the North had no idea how unjust and unequal daily life was for 10 million African Americans living in the Jim Crow South. Then, Ray Sprigle, a famous white journalist from Pittsburgh, went undercover and alongside Atlanta s black civil rights pioneer John Wesley Dobbs lived as a black man in the South for thirty days. His impassioned newspaper series shocked millions and sparked the first nationally aired television-and-radio debate about ending America s shameful system of apartheid.  With 30 Days a Black Man: The Forgotten Story That Exposed the Jim Crow South (Lyons Press, 2017), author Bill Steigerwald returns this long-forgotten part of American history to its rightful place among the seminal events of the Civil Rights movement. For 30 days and 3,000 miles, Sprigle and Dobbs traveled among dirt-poor sharecroppers, principals of ramshackle black schools, and families of lynching victims. The nationally syndicated newspaper series hit the media like an atom bomb, eliciting a fierce response from the Southern media. Six years before Brown v. Board of Education, seven years before the murder of Emmett Till, eight years before Little Rock s Central High School was integrated, and thirteen years before John Howard Griffin s similar experiment became the bestselling Black Like Me, an unlikely pair of heroes brought black lives to the forefront of American consciousness. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The dangerous, trailblazing work of a white journalist and black leader who struck a shocking early blow against legal segregation In 1948, most white people in the North had no idea how unjust and unequal daily life was for 10 million African Americans living in the Jim Crow South. Then, Ray Sprigle, a famous white journalist from Pittsburgh, went undercover and alongside Atlanta s black civil rights pioneer John Wesley Dobbs lived as a black man in the South for thirty days. His impassioned newspaper series shocked millions and sparked the first nationally aired television-and-radio debate about ending America s shameful system of apartheid.  With 30 Days a Black Man: The Forgotten Story That Exposed the Jim Crow South (Lyons Press, 2017), author Bill Steigerwald returns this long-forgotten part of American history to its rightful place among the seminal events of the Civil Rights movement. For 30 days and 3,000 miles, Sprigle and Dobbs traveled among dirt-poor sharecroppers, principals of ramshackle black schools, and families of lynching victims. The nationally syndicated newspaper series hit the media like an atom bomb, eliciting a fierce response from the Southern media. Six years before Brown v. Board of Education, seven years before the murder of Emmett Till, eight years before Little Rock s Central High School was integrated, and thirteen years before John Howard Griffin s similar experiment became the bestselling Black Like Me, an unlikely pair of heroes brought black lives to the forefront of American consciousness. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

The dangerous, trailblazing work of a white journalist and black leader who struck a shocking early blow against legal segregation In 1948, most white people in the North had no idea how unjust and unequal daily life was for 10 million African Americans living in the Jim Crow South. Then, Ray Sprigle, a famous white journalist from Pittsburgh, went undercover and alongside Atlanta s black civil rights pioneer John Wesley Dobbs lived as a black man in the South for thirty days. His impassioned newspaper series shocked millions and sparked the first nationally aired television-and-radio debate about ending America s shameful system of apartheid.  With 30 Days a Black Man: The Forgotten Story That Exposed the Jim Crow South (Lyons Press, 2017), author Bill Steigerwald returns this long-forgotten part of American history to its rightful place among the seminal events of the Civil Rights movement. For 30 days and 3,000 miles, Sprigle and Dobbs traveled among dirt-poor sharecroppers, principals of ramshackle black schools, and families of lynching victims. The nationally syndicated newspaper series hit the media like an atom bomb, eliciting a fierce response from the Southern media. Six years before Brown v. Board of Education, seven years before the murder of Emmett Till, eight years before Little Rock s Central High School was integrated, and thirteen years before John Howard Griffin s similar experiment became the bestselling Black Like Me, an unlikely pair of heroes brought black lives to the forefront of American consciousness. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The dangerous, trailblazing work of a white journalist and black leader who struck a shocking early blow against legal segregation In 1948, most white people in the North had no idea how unjust and unequal daily life was for 10 million African Americans living in the Jim Crow South. Then, Ray Sprigle, a famous white journalist from Pittsburgh, went undercover and alongside Atlanta s black civil rights pioneer John Wesley Dobbs lived as a black man in the South for thirty days. His impassioned newspaper series shocked millions and sparked the first nationally aired television-and-radio debate about ending America s shameful system of apartheid.  With 30 Days a Black Man: The Forgotten Story That Exposed the Jim Crow South (Lyons Press, 2017), author Bill Steigerwald returns this long-forgotten part of American history to its rightful place among the seminal events of the Civil Rights movement. For 30 days and 3,000 miles, Sprigle and Dobbs traveled among dirt-poor sharecroppers, principals of ramshackle black schools, and families of lynching victims. The nationally syndicated newspaper series hit the media like an atom bomb, eliciting a fierce response from the Southern media. Six years before Brown v. Board of Education, seven years before the murder of Emmett Till, eight years before Little Rock s Central High School was integrated, and thirteen years before John Howard Griffin s similar experiment became the bestselling Black Like Me, an unlikely pair of heroes brought black lives to the forefront of American consciousness. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/journalism

The dangerous, trailblazing work of a white journalist and black leader who struck a shocking early blow against legal segregation In 1948, most white people in the North had no idea how unjust and unequal daily life was for 10 million African Americans living in the Jim Crow South. Then, Ray Sprigle, a famous white journalist from Pittsburgh, went undercover and alongside Atlanta s black civil rights pioneer John Wesley Dobbs lived as a black man in the South for thirty days. His impassioned newspaper series shocked millions and sparked the first nationally aired television-and-radio debate about ending America s shameful system of apartheid.  With 30 Days a Black Man: The Forgotten Story That Exposed the Jim Crow South (Lyons Press, 2017), author Bill Steigerwald returns this long-forgotten part of American history to its rightful place among the seminal events of the Civil Rights movement. For 30 days and 3,000 miles, Sprigle and Dobbs traveled among dirt-poor sharecroppers, principals of ramshackle black schools, and families of lynching victims. The nationally syndicated newspaper series hit the media like an atom bomb, eliciting a fierce response from the Southern media. Six years before Brown v. Board of Education, seven years before the murder of Emmett Till, eight years before Little Rock s Central High School was integrated, and thirteen years before John Howard Griffin s similar experiment became the bestselling Black Like Me, an unlikely pair of heroes brought black lives to the forefront of American consciousness. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

For this episode of the Pass the Mic Series, get an inside look at the cross-cultural production team dynamic of the Black Like Me podcast itself. Producers Jeremy Holiday and Eli Steenlage ask Dr. Gee about mentoring and leading 'eager white men' who want to be part of the racial justice movement. The conversation covers the importance of building cross-cultural relationships, following Black voices, and showing up when it matters.  alexgee.com Support the Show: patreon.com/blacklikeme

The Pass the Mic leadership series continues with the return of Dr. Tony Chambers to the podcast. Dr. Gee and Dr. Chambers exchange stories and insights on their leadership values. In their conversation, Dr. Gee digs into the circumstances that led him to write the Justified Anger article in 2013 and recalls the exact moment that he felt the American dream fade. Dr. Chambers also brings the idea of gratitude into the role it plays in leading others. Listen to Dr. Tony Chambers' first appearance on Black Like Me in Season 3. Learn more about The Center for Black Excellence and Culture alexgee.com Support the Show: patreon.com/blacklikeme    

As a special treat to lead into the new season of Black Like Me, we are sharing this recording of a live event at Cafe Coda from December of 2022. In partnership with Justified Anger and Lean Into Allship sessions, Dr. Alex Gee brought together an exciting group of storytellers for a night of music, celebration, and community connection. The evening of stories told live was curated by Dr. Gee around the theme of "Hope."  Listen in to experience a group of storytellers as they share their own personal Allyship experiences in their racial justice journey. Celebrate two big milestones with two years of the Lean Into Allyship community and the Black Like Me podcast's Best of Madison win. Enjoy this special evening with live music performed by Mitch Guzick and Joey Thomas.  alexgee.com Support the Show: patreon.com/blacklikeme

In our first interview, Brandon, a white man, sits down with Dr. Alex Gee, his black cousin, to discuss family, race, trauma, and what “woke” actually means. Because they have both been pastors (in Alex's case, still is a pastor), their conversation culminates in a discussion of good/bad theology and the reality that “white theology” often eschews the black experience/blackness, forsaking the very lifeblood that would animate its health and vigor. Along the way, Alex invites all of us—especially white folk—out of guilt and into the power of owning our expertise and our own experience.

Author Marissa Moss's new book "Her Country" details the challenges the country music industry puts before female artists. Hosts Jim DeRogatis and Greg Kot talk with Moss about three artists who've succeeded in spite of the obstacles. Plus, they review new albums from Santigold and Sudan Archives and hear feedback from listeners. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah  Mobile: sayhi.chat/soundops Featured Songs:Kacey Musgraves, "Merry Go 'Round," Same Trailer Different Park, Mercury Nashville, 2013Santigold, "High Priestess," Spirituals, Little Jerk, 2022Santigold, "Fall First," Spirituals, Little Jerk, 2022Santigold, "No Paradise," Spirituals, Little Jerk, 2022Santigold, "Shake," Spirituals, Little Jerk, 2022Sudan Archives, "Selfish Soul," Natural Brown Prom Queen, Stones Throw, 2022Sudan Archives, "Ciara," Natural Brown Prom Queen, Stones Throw, 2022Sudan Archives, "OMG Britt," Natural Brown Prom Queen, Stones Throw, 2022Sudan Archives, "ChevyS10," Natural Brown Prom Queen, Stones Throw, 2022Sudan Archives, "NBPQ (Topless)," Natural Brown Prom Queen, Stones Throw, 2022Mickey Guyton, "Black Like Me," Remember Her Name, Capitol Nashville, 2021Maren Morris, "My Church," HERO, Columbia Nashville, 2016The Highwomen, "Loose Change," The Highwomen, Elektra, 2019Mickey Guyton, "What Are You Gonna Tell Her?," Remember Her Name, Capitol Nashville, 2021Kacey Musgraves, "Good Ol' Boys Club," Pageant Material , Mercury Nashville, 2015Boogie Down Productions, "Jack of Spades," Ghetto Music: The Blueprint of Hip Hop, Jive/RCA, 1989Sinéad Lohan, "Diving to be Deeper," No Mermaid, Interscope, 1998Off Peak Arson, "Vivid," Vivid (Single), 3131749 Records DK, 2022

In this episode we are joined by Omar Madkour, talking all things lighting. Born to a family of engineers in Cairo, Egypt, Omar developed a passion for movie directing. For this reason, he studied stage acting, wrote a play for his undergrad thesis, and started a career as a lighting designer. His designs have been presented in various countries, festivals, and venues such as The Wallis Annenberg (Los Angeles), Maxim Gorki Theatre (Berlin), BoZar (Brussels), Shubbak Festival (London), D-CAF (Cairo), UNAM (Mexico City) among others. Credits vary from classical theatre to new works and experimental performance. Selected credits include the West Coast premiere of Young-Jean Lee's We're Gonna Die; the workshop production of Black Like Me; Waiting for Godot; Measure for Measure; and La Princesa, a co-devised piece which won first prize in ArtChangeUS competition. Omar cites his background in performing, directing and writing as shaping his design process, allowing it to stem from a dramaturgical approach rather than a solely aesthetic one. http://www.omarmadkour.com/  @omarbmadkour We want to hear from YOU and provide a forum where you can put in requests for future episodes. What are you interested in listening to? Please fill out the form for future guest suggestions here and if you have suggestions or requests for future themes and topics, let us know here! @theatreartlife Thanks to David Zieher who composed our music.

Black Like Me is written by journalist John Howard Griffin in the Mid-20th Century. It is his account of what it felt like to be both a white and a black American in the same parts of the United States. After darkening his white skin using medication and UV light, Griffin roamed the streets of Louisiana, Alabama, Mississippi and Georgia seeing how differently the world treated black men. While speaking to people, he found the resounding difference between how the world treated him first as a black man and then (after he stopped taking the medication) as a white man. The importance of a novel like this can not be overstated. It is an honest and deep look at the account of the 'Deep South' in a time when racism was more common than not. Furthermore, it's a reflection on how unaware the average American was of the importance of this in their community. Join us as we discuss the importance of this novel and what we thought of this brilliant book's ideas.

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

It was only two decades ago, but, for the women of country music, 1999 seems like an entirely different universe. With Shania Twain, country's biggest award winner and star, and The Chicks topping every chart, country music was a woman's world: specifically, country radio and Nashville's Music Row. Cut to 2021, when women are only played on country radio 16% of the time, on a good day, and when only men have won Entertainer of the Year at the CMA Awards for a decade. To a world where artists like Kacey Musgraves sell out arenas but barely score a single second of airplay. But also to a world where these women are infinitely bigger live draws than most male counterparts, having massive pop crossover hits like Maren Morris's "The Middle," pushing the industry to confront its deeply embedded racial biases with Mickey Guyton's "Black Like Me," winning heaps of Grammy nominations, banding up in supergroups like The Highwomen and taking complete control of their own careers, on their own terms. When the rules stopped working for the women of country music, they threw them out and made their own: and changed the genre forever, and for better. Her Country: How the Women of Country Music Became the Success They Were Never Supposed to Be (Henry Holt, 2022) is veteran Nashville journalist Marissa R. Moss's story of how in the past two decades, country's women fought back against systems designed to keep them down, armed with their art and never willing to just shut up and sing: how women like Kacey, Mickey, Maren, The Chicks, Miranda Lambert, Rissi Palmer, Brandy Clark, LeAnn Rimes, Brandi Carlile, Margo Price and many more have reinvented the rules to find their place in an industry stacked against them, how they've ruled the century when it comes to artistic output--and about how women can and do belong in the mainstream of country music, even if their voices aren't being heard as loudly. Marissa R. Moss is an award-winning journalist who has written about the topic of gender inequality on the country airwaves for outlets like Rolling Stone, NPR, Billboard, Entertainment Weekly, and many more. Moss was the 2018 recipient of the Rolling Stone Chet Flippo Award for Excellence in Country Music Journalism, and the 2019 Nashville Scene Best of Nashville Best Music Reporter. She has been a guest on The TODAY Show, Entertainment Tonight, CBS Morning Show, NPR's Weekend Edition, WPLN, the Pop Literacy Podcast, and more. Marissa R. Moss on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

To celebrate the Black Like Me Podcast winning Madison Magazine's Best of Madison podcast 2022, we are highlighting some favorite episodes from past seasons. For the third episode in the Best of Black Like Me series, Dr. Gee talks with Kellie Carter Jackson about how she teaches Black history and the discourse around race in education happening in America right now. Carter Jackson breaks down Critical Race Theory (CRT) and how we actually view history, whether it is through facts or memory. Kellie Carter Jackson is an Associate Professor in the Department of Africana Studies at Wellesley College. She was also the 2019-2020 Newhouse Faculty Fellow for the Center of the Humanities at Wellesley College. Carter Jackson's research focuses on slavery and the abolitionists, violence as a political discourse, historical film, and black women's history. She earned her B.A at her beloved Howard University and her Ph.D from Columbia University working with the esteemed historian Eric Foner. Her book, Force & Freedom: Black Abolitionists and the Politics of Violence (University of Pennsylvania Press), examines the conditions that led some black abolitionists to believe slavery might only be abolished by violent force. Force and Freedom was a finalist for the Frederick Douglass Book Prize, winner of the James H. Broussard Best First Book Prize given by SHEAR (Society for Historians of the Early American Republic) and a finalist for the Museum of African American History (MAAH) Stone Book Prize Award for 2019. The Washington Post listed Force and Freedom as one of 13 books to read on the history of Black America for those who really want to learn. Her interview, “A History of Violent Protest”on Slate's What's Next podcast was listed as one of the best of 2020. Carter Jackson is also co-editor of Reconsidering Roots: Race, Politics, & Memory (Athens: University of Georgia Press). With a forward written by Henry Louis Gates Jr., Reconsidering Roots is the first scholarly collection of essays devoted entirely to understanding the remarkable tenacity of Alex Haley's visual, cultural, and political influence on American history. Carter Jackson and Erica Ball have also edited a Special Issue on the 40th Anniversary of Roots for Transition Magazine (Issue 122}. Together, Ball and Carter Jackson have curated the largest collection essays dedicated to the history and impact of Roots. Carter Jackson was also featured in the History Channel's documentary, Roots: A History Revealed which was nominated for a NAACP Image Award in 2016. Carter Jackson is a co-host on the podcast, “This Day in Political Esoteric History” with Jody Avirgan and Nicole Hemmer. Her essays have been featured in The New York Times, The Washington Post, The Atlantic, The Los Angeles Times, NPR, The Guardian, The Conversation, Boston's NPR Blog Cognoscenti, Black Perspectives, and Quartz. She has also been interviewed for her expertise for MSNBC, SkyNews (UK) New York Times, PBS, Time, Vox, The Huff Post, the BBC, Boston Public Radio, Al Jazeera International, Slate, The Telegraph, Reader's Digest, CBC, and Radio One among other news outlets. She has been featured in a host of documentaries and podcasts on history and race in the United States. Carter Jackson is a commissioner for the Massachusetts Historical Commission. She sits on the scholarly advisory board for the Gilder Lehrman Institute for American History. Carter Jackson is also Historian-in-Residence for the Museum of African American History in Boston. She is currently at work on two book manuscripts, one on Black response to white supremacy and Losing Laroche: The Story of the Only Black Passenger on the Titanic. She traces how Joseph Laroche allows us to better understand the possibilities and limitations of black travel in the Titanic moment and our global love affair with whiteness and wealth. Carter Jackson represented by the indefatigable Tanya McKinnon and her team at McKinnon Literary. She currently resides outside of Boston with her husband and three children. alexgee.com Support the show: patreon.com/blacklikeme

To celebrate the Black Like Me Podcast winning Madison Magazine's Best of Madison podcast 2022, we are highlighting some favorite episodes from past seasons. For the second episode in the Best of Black Like Me series, it seemed like an appropriate time of year to highlight Black excellence in education. Who better to talk to than Dr. Gee's personal friend and the person who literally wrote the book on African American pedagogy, Dr. Gloria Ladson-Billings. Dr. Gee has an invigorating conversation with Dr. Ladson-Billings that starts with demystifying Critical Race Theory (CRT) and continues through explaining systemic racism. Dr. Ladson-Billings brings career-long expertise to the topic of considering how to teach history equitably and how to look at our current cultural landscape as well. Gloria Ladson-Billings is the former Kellner Family Distinguished Professor of Urban Education in the Department of Curriculum and Instruction and faculty affiliate in the Department of Educational Policy Studies at the University of Wisconsin, Madison. She was the 2005-2006 president of the American Educational Research Association (AERA). Ladson-Billings' research examines the pedagogical practices of teachers who are successful with African American students. She also investigates Critical Race Theory applications to education. She is the author of the critically acclaimed books The Dreamkeepers: Successful Teachers of African American Children and Crossing Over to Canaan: The Journey of New Teachers in Diverse Classrooms, and numerous journal articles and book chapters. She is the former editor of the American Educational Research Journal and a member of several editorial boards. Her work has won numerous scholarly awards including the H.I. Romnes Faculty Fellowship, the NAEd/Spencer Postdoctoral Fellowship, and the Palmer O. Johnson outstanding research award. During the 2003-2004 academic year, she was a fellow at the Center for Advanced Study in the Behavioral Sciences at Stanford University. In fall of 2004, she received the George and Louise Spindler Award from the Council on Anthropology and Education for significant and ongoing contributions to the field of educational anthropology. She holds honorary degrees from Umeå University (Umeå Sweden), University of Massachusetts-Lowell, the University of Alicante (Alicante, Spain), the Erickson Institute (Chicago), and Morgan State University (Baltimore).  She is a 2018 recipient of the AERA Distinguished Research Award, and she was elected to the American Academy of Arts & Sciences in 2018. Read more about Dr. Ladson-Billings here. alexgee.com Best of Madison Support the Show: patreon.com/blacklikeme

Embarrassing Madonna, Yaqub Talib turns self in, Bill Maher v. casting police, our trolls, Corey Feldman's new single, Eli Zaret stops by, and we go down the Cameo rabbit hole. Trudi rocked the Red Hot Chili Peppers last night and may or may not have seen Flea's weiner (NSFW).Eli Zaret drops by to show us Carmen Harlan talking about woodies, watch Yaqub Talib kill a guy, harp on Deshaun Watson, Fernando Tatís Jr.'s ringworm, demand Chris Ilitch sell the team, chat Hard Knocks, fawn over Kenny Pickett and more.Politricks: Donald Trump is raging in the polls since he's been raided. A fatwa has been issued for him and Mike Pompeo. Alex Jones rolls on. Roy Moore won $8.2M in a defamation suit. Fallout continues in the Rochester Schools spying.Trudi learns about the Bodega Bro.Boner-Makers: Demi Moore sends temperatures soaring. Madonna is sporting grills... at age 63-years-old. Some people are saying David couldn't wear this outfit in his native country. Julia Fox needs to stop. Just stop. Who will Kim Kardashian nail next? Adele is super sorry about the Las Vegas fiasco. Lizzo looks radiant in a wedding gown. Paris Hilton's mom thinks she looks like Precious. Spiderman's Tom Holland needs a mental health break from social media. He announced this on social media.Claudia Conway is gay now.Poll results are in on Britney Spears.There is still a boil water advisory but no one know, or cares to find out, why it exists.Tommy Lee is taking advantage of his dong pic. Buzzfeed compares Tommy Lee to Britney Spears. His sons are a hot model team.A brand-new Corey Feldman song has dropped. He'll be in town soon, but won't return our requests for an interview.Bill Maher takes on the casting police.Drew sped-read Black Like Me.The Golden Globes are coming back on TV now that they solved diversity.Jim Bentley loves The Gray Man. Drew hated Baby Driver and hates action movies.Alec Baldwin pulled the trigger.Cameo: Joey Lawrence has hair and did the WHOA!!! Joey Harrington is on Cameo now. Barry Switzer will talk for hours.Get your WATP Live tickets right here.Social media is dumb, but we're on Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels and BranDon).

Jayson Musson has a unique status in the art world: he has the persona and perspective of an outsider, but he's also something of an artist's artist. Originally from the Bronx, Musson got his creative start in Philadelphia in the 2000s, creating cerebral, satirical street art; penning a column for the Philadelphia Weekly called "Black Like Me"; and performing in the cult hip-hop group Plastic Little, which put out songs like "I'm Not a Thug," "Rap O'Clock," and "Miller Time." Musson again popped up unexpectedly onto the radar in 2010 with "Art Thoughtz," a DIY YouTube series that immediately became a treasured reference in art school and art media. It starred Musson in the persona of "Hennessy Youngman," fusing the styles of art theory lecture and Def Comedy Jam, monologuing about everything from concepts of beauty to Damien Hirst's tendency to make faces in press pics. It was fresh enough to surprise, and knowing enough to be a hit. Musson has worked in a variety of styles in the last decade, from painting to sculpture to children's books to mix tapes. He's back this month with a very different spin on art education at Philadelphia's Fabric Workshop and Museum. Titled "His History of Art," the new show has a characteristically offbeat premise. It takes the form of a combination of sitcom and PBS edutainment, with Musson starring as Jay, explaining the value of art history to Ollie, a rabbit played by a puppet. And there are lots of other surreal detours along the way. Ben Davis, Artnet News's national art critic and a Jayson Musson fan, recently had a chance to talk to the artist about his unusual career and the idea behind his new riff on art history.

WTOP Entertainment Reporter Jason Fraley chats with Grammy-nominated country music star Mickey Guyton, who hosts "A Capitol Fourth" on PBS this weekend for the Fourth of July. They discuss the all-star lineup, as well as her own rise to stardom with hits like "Black Like Me," "Remember Her Name" and "What Are You Gonna Tell Her?" She even discusses her recent song "All American," perfect for Independence Day.

Today's guest brings the phrase “sing your heart out” to a whole other level. In this episode of the Live Through Love Podcast, Ruben welcomes country music artist, Mickey Guyton, to talk about building resilience in your career, dealing with loneliness as a creative, and the importance of trusting yourself and your purpose through life's hardest challenges. Making history as the first Black artist to earn a Grammy nomination for Best Country Album, Song, AND Solo Performance, Mickey is a force to be reckoned with! Listen in as Mickey sheds light on the highest and lowest moments of her musical career, the most powerful lessons she's learned along the way, and what she's still working on today. She shares about her struggle with self-love and the voice of doubt, the dark side of having a record deal, and what gave her the motivation to keep writing and singing even when she wanted to quit. “You sign a record deal and they sign you because of who you are as an artist in that moment. Then… they want to change and strip everything away from you that was you. And I allowed it… and in doing that, I completely lost who I was.” - Mickey Guyton Ruben challenges Mickey and YOU to write a love letter to yourself, especially during times where you're being too hard on yourself. Remember to give yourself grace and don't lose belief in yourself because you never know, the record deal of your lifetime could be just around the corner. “My mom always told me… to find a purpose within your purpose and that was something that always struck me… My purpose is art but it's also to bring love and equality to an industry through my art and that helps me sleep at night.” - Mickey Guyton SUBSCRIBE to Live Through Love so you never miss an episode & leave us a 5-STAR RATING & REVIEW - thank you! About the Guest: Mickey Guyton is a country music artist born in Arlington, Texas. After signing to Capitol Records Nashville, Mickey's first appearance was an all-star concert at the White House captured by PBS. In 2015, she released her self-titled EP featuring her debut single “Better Than You Left Me”. The following year she was nominated for her first Academy of Country Music Award for New Female Vocalist. Mickey returned to the ACM Awards in 2019 performing “I'm Standing With You” from the BREAKTHROUGH movie soundtrack alongside Chrissy Metz, Carrie Underwood, Lauren Alaina and Maddie & Tae. This last year, Mickey performed her first solo ACM Awards performance of “What Are You Gonna Tell Her?” with labelmate Keith Urban's accompaniment on piano. Mickey recently made history as the first Black female solo artist to earn a GRAMMY nomination in a country category (Best Country Solo Performance) for “Black Like Me” which she performed as part of the awards ceremony Sunday, March 14th. In addition, Mickey was a co-host alongside Keith Urban for the 56th Academy of Country Music Awards on CBS April 18. She was nominated for New Artist at the 55th CMA Awards on November 10. On September 24, Mickey released her album, Remember Her Name. She is currently working on a new album. Listen to Mickey's music on Spotify Follow her on Instagram Follow him on Twitter Visit her website About the Host: Ruben Rojas is a Los Angeles based artist, designer, speaker, and entrepreneur who uses art to inspire others to see through the lens of LOVE. By using the urban landscape as his canvas, Ruben encourages communities to change for the better through optimism and collaboration. Once vacant walls, and now this podcast, are vibrant reminders created to inspire you to dream big, feel beautiful, live in possibility, and to love. Ruben's murals can be seen in cities across the country and around the world from Paris to New York and Florida to Mississippi. You can also bring love home by buying his art.  Follow Ruben on Instagram Visit his website This is an Operation Podcast production.  For more information, please contact us at info@operationpodcast.com. Follow Operation Podcast on Instagram.

Passing as a POC. Rewarding people and groups because they are slightly or completely non-white is just as unacceptable as the previous wrong of punishing people and groups for having exactly that physical trait. Both are blatantly racist, and have no place either in our hearts or in our country. This 10 minute episode will help us in our lives, and help us to think through the issues surrounding us. N.B. This blog acts as a transcript and a signpost, pointing you to this episode on both the new Revolution 2.0™ https://www.youtube.com/channel/UCw5CDliD-PRQE_8bO4Eg98Q (YouTube) channel, and where you enjoy your podcasts, e.g., https://podcasts.apple.com/us/podcast/revolution-2-0/id1353135552 (Apple), https://podcasts.google.com/feed/aHR0cHM6Ly9yZXZvbHV0aW9uMi0wLm9yZy9mZWVkL3BvZGNhc3Qv (Google) and https://open.spotify.com/show/6rr6fi3AMW0GoAfYQ64lf9 (Spotify).   Continuing In the earlier, ugly days of racist America, if a person was in any way noticeably black, they were treated as all black. And especially in the slave and Jim Crow states, that was done to create an unfair and undeserved advantage for the whites; they even had names indicating your fraction of offending blackness. Someone who was half black would have been called a mulatto. A quadroon was ¼ black, and an octoroon ⅛ black. I would have been a https://en.wikipedia.org/wiki/Black_Like_Me (hexadecaroon). It was terrible, cruel and is a remaining stain on our nation. On the other hand if you had any portion of black blood but looked white, you were said to be able to “pass,” pass as being white–a huge advantage. Appearances were all. And for those many continuing to seek advantage today, still are. Today, if you have the slightest amount of non-white features, you can pass as a POC, a person of color. And today this is the advantage. This is just as unfair and wrong, and is done to give unfair advantage to people who look in any way non-white. Today's color preference flip is still wrong, unfair and needs to be stopped now. All we have done is flip the evil. Story: In 1969, a Star Trek episode showed the hatred and unfairness that existed between two differently colored peoples on the planet Cheron. Each group had half black and half white faces, with a vertical dividing line down the middle of their faces. The group whose faces were black on the right side felt justifiably and completely superior to the group whose faces were white on the right side. This developed into a race hatred that completely baffled the crew of the Starship Enterprise. As it should have. It made no sense at all. Insane and damaging. Flipping the colors side-to-side makes all the difference? Takes an evil and makes it into a good? And it's exactly what we are doing today. Black or POC used to be bad and white good, and now black is good and white is bad. Insane and damaging. This kind of insanity breeds absurdities that underscore the wrongness. For example, taking calculated advantage of the race flip, Rachel Dolezal, a white woman born to white parents, faked being black to the point where she became an NAACP chapter president. Senator Elizabeth Warren, D-MA, gained advantage in her work and in politics by pretending to be Native American. And stranger things yet fall out of this insanity. George Zimmerman, a man of mixed race, was accused–and acquitted–of murdering Treyvon Martin, a black youth. The identity politics crowd felt the need to invent a new term, “White Mexican,” to describe Zimmerman, who is clearly a POC. Lots of twisting and shouting needs to be done to make everything black and white–with the white at fault. President Biden said loud and clear that he was going to select a black female as his running mate in 2020. Seems that being half-black and all female helped qualify Ms. Harris to be our Vice President. Despite having paltry support even from her home state of California in her quickly failed presidential run....

Whether he was recording as Songs: Ohia or Magnolia Electric Company, Jason Molina was a poetic and enigmatic musician, releasing 16 studio albums before his untimely death in 2013. Hosts Jim DeRogatis and Greg Kot talk with Erin Osmon about her biography of Molina, "Riding With The Ghost." The hosts also hear what song got Leon Bridges Hooked on Sonics and review the new album from country artist Mickey Guyton. Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lURecord a Voice Memo: https://bit.ly/2RyD5Ah Featured Songs:Songs: Ohia, "I've Been Riding With The Ghost," The Magnolia Electric Co., Secretly Canadian, 2003Mickey Guyton, "Black Like Me," Remember Her Name, Capitol Nashville, 2021Mickey Guyton, "All American," Remember Her Name, Capitol Nashville, 2021Mickey Guyton, "Rosé," Remember Her Name, Capitol Nashville, 2021Mickey Guyton, "Dancing In The Living Room," Remember Her Name, Capitol Nashville, 2021Songs: Ohia, "Farewell Transmission," The Magnolia Electric Co., Secretly Canadian, 2003Songs: Ohia, "Cabwaylingo," Songs:Ohia, Secretly Canadian, 1997Songs: Ohia, "Steve Albini's Blues," Didn't It Rain, Secretly Canadian, 2002Songs: Ohia, "Soul," (Single), Palace, 1995Songs: Ohia, "White Sulfur," Songs:Ohia, Secretly Canadian, 1997Songs: Ohia, "Farewell Transmission," The Magnolia Electric Co., Secretly Canadian, 2003Songs: Ohia, "The Black Crow," The Lioness, Secretly Canadian, 1999Amanda Shires, "Just Be Simple," Just Be Simple (Unreleased), N/A, 2019Songs: Ohia, "Just Be Simple," The Magnolia Electric Co., Secretly Canadian, 2003Leon Bridges, "Motorbike," Gold-Diggers Sound, Columbia, 2021Miguel, "Sure Thing," All I Want Is You, Jive, 2010Miguel, "All I Want Is You (feat. J.Cole)," All I Want Is You, Jive, 2010Janet Jackson, "Control," Control, A&M, 1986

If you have been listening to Confessions From The Closet you know Leticia has talked about the book The Cross In The Closet almost weekly. This book changed her life and helped her on the road to loving herself as she navigated being gay and christian. This week Leticia had the privilege to sit down with the author of The Cross In The Closet and let him share his story. Timothy Kurek, raised within the confines of a strict, conservative Christian denomination in the Bible Belt, Nashville, Tennessee, was taught the gospel of separation from a young age. But it wasn't long before Timothy's path and the outside world converged when a friend came out as a lesbian, and revealed she had been excommunicated by her family.Distraught and overcome with questions and doubts about his religious upbringing, Timothy decided the only way to empathize and understand her pain was to walk in the shoes of very people he had been taught to shun. He decided to come out as a gay man to everyone in his life, and to see for himself how the label of gay would impact his life.In the tradition of Black Like Me, The Cross in the Closet is a story about people, a story about faith, and about one man's “abominable” quest to find Jesus in the margins.

Courtney talks with country music star and activist, Mickey Guyton. Mickey made history this year at the ACM awards being the first woman of color to play her own song on the show. Mickey is speaking up about things that matter, overcoming racism, and gender equality, and bridging cultural gaps through her music and her message. This September, she released a six-song EP called “Bridges,” including songs like “What Are You Gonna Tell Her,” about the struggles of growing up against the odds being a woman, and “Black Like Me” about her own experiences with racism. Mickey is a not only a powerful vocalist, but someone using her voice to create change in our systems and paradigms. --- Send in a voice message: https://anchor.fm/thelovefreqpodcast/message Support this podcast: https://anchor.fm/thelovefreqpodcast/support