Podcasts about Blackness

**The Grooveline Replay On traxfm.org. This Week Stephen Features Soul/Boogie/Dance Classics/Contemporary R&B/Soulful House/UK Garage From Output/Input, Kylie Auldist, Ann Nesby, Shakatak, Michelle Anne Owens, Stephanie Mills, Philly Devotions, Opolopo, Sounds of Blackness, Ezra Collective & More #originalpirates #soulmusic #contemporarysoul #contemporaryrnb #disco #soulfulhouse #ukgarage Catch The Grooveline Every Sunday From 5:00PM UK Time On traxfm.org Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : facebook.com/profile.php?id=10...100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm **

This week, we ease in with terrace warmth and a proper US-garage swing, then roll through soulful house vocals, nineties memories and a few favourites brought nicely up to date. MDA Grooves and JKriv set the tone with Caparica Sunset, Dave Lee gives Our Love that throwback garage feel, and Cafe 432 with Lifford bring the warmth on Symphony. From there, Barbara Tucker and Sounds of Blackness keep the gospel lift high before Evelyn “Champagne” King takes us back with Love Come Down. The second hour opens with Kevin McKay's vocal-house take on All I Do, then Kenny Thomas and Opolopo lead us into a deeper, disco-tinged stretch. Groove Armada's Love's Theme sits right in that sweet spot, Basement Jaxx meet the Isleys on Jus 1 Kiss, and N-You-Up with Mike Dunn and David Penn bring us home with Jack My Body.

Vi gästas av Unoma Azuah, författare, aktivist och forskare som ska delta i panelsamtalet "Blessed Bodies, Sovereign Stories: Navigating Blackness, Queerness, and Family Across the Diaspora" torsdag 30/7 kl 18-20 på Page 28, arrangerat av Tender Loving Queer (TLQ). Panelsamtalet är det första i “Blackness & Sexuality”-serien. https://fb.me/e/adfxYE7e8. Vi diskuterar vänskapens plats i relationshierkin och så blir det Nyheter och Det händer! Musik i programmet: Duas Meninas, Karla da Silva Sability, Ayra Starr Egwu, Chiké & Mohbad You're My Best Friend, Queen Änglar & demoner, Julia Alfrida Nosotras, Paula Cendejas

Carla Hall is known for her quirky, energetic personality on TV. But in some ways she's very different today from the woman who first appeared as a contestant on Top Chef almost two decades ago. "I didn't want to show up as my Blackness if it wasn't going to be accepted," the former co-host of The Chew says of her first foray into food media. When Carla started her career, she turned her back on the food she grew up with. Her journey back included false starts, U-turns, and a mail truck full of sandwiches.  Carla's one-woman show, Please Underestimate Me, is closing this weekend, but there are still a few tickets left! Every Friday, we reach into our deep freezer and reheat an episode to serve up to you. We're calling these our Reheats. If you have a show you want reheated, send us an email or voice memo at hello@sporkful.com, and include your name, your location, which episode, and why. This episode originally aired on November 26, 2018, and was produced by Dan Pashman, Anne Saini, Aviva DeKornfeld, Gianna Palmer, and Dan Dzula. The Sporkful team now includes Dan Pashman, Emma Morgenstern, Andres O'Hara, Kameel Stanley, and Jared O'Connell. This update was produced by Gianna Palmer. Right now, Sporkful listeners can get three months free of the SiriusXM app by going to siriusxm.com/sporkful. Get all your favorite podcasts, more than 200 ad-free music channels curated by genre and era, and live sports coverage with the SiriusXM app. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Professor Renaldo McKenzie discusses the Caribbean Historical Timeline and explores the Caribbean Revolution and independence, starting with Haiti. Haiti's independence in 1804 did not merely free the western side of Hispaniola; it shook the entire colonial world. Yet the meaning of independence on the island became contested. Haiti's victory over France marked the first successful Black republic born of an anti-slavery revolution, but France and other colonial powers refused to recognize that freedom as legitimate. In 1825, France forced Haiti to pay a massive indemnity in exchange for recognition, turning liberation into debt and punishing Haiti for daring to defeat the empire. This history also complicates Dominican independence. The eastern side of Hispaniola experienced different claims of sovereignty: Spanish rule, a brief declaration of independence in 1821, Haitian unification of the island under Jean-Pierre Boyer in 1822, and then Dominican independence from Haiti in 1844. Later, Dominican elites framed Haitian rule as foreign occupation, while Haitian leaders saw island unification as necessary to protect abolition and prevent European recolonization. That conflict produced a bitter historical memory that still shapes relations between Haiti and the Dominican Republic today. European powers and local elites helped deepen that division. Anti-Haitian ideology did not emerge by accident; it was cultivated through race, class, language, religion, and political power. Dominican nationalism often defined itself against Haiti, and some leaders advanced whiteness or Hispanidad as a way to separate Dominican identity from Blackness and African heritage. This helped create policies and attitudes that treated Haitians as outsiders, even though both peoples share the same island and are bound by colonial history. Haiti's revolution has also been misread through European eyes. C.L.R. James elevated Toussaint Louverture as a central figure, and Louverture was indeed brilliant. But the Haitian Revolution was not the work of one French-trained military mind. It was also the work of Vodou, maroon resistance, enslaved Africans, field laborers, women, spiritual leaders, and local revolutionaries such as Dutty Boukman. To make Louverture the sole founder risks repeating a colonial habit: recognizing Black genius only when it resembles European education, discipline, and military order.The Lecture is part of a Course, Caribbean Thought at Jamaica Theological Seminary.Renaldo McKenzie is Creator and Host of The Neoliberal Round and President of The Neoliberal Corporation, Professor at Jamaica Theological Seminary. Visit us at https://theneoliberal.comVisit JTS at https://jts.edu.jm.

This Week In White Supremacy 1HOOD talk wildfire smoke and the lettuce-linked “explosive diarrhea” scare, how Spain's World Cup win sparks discussion of racism from fans and the sport's long history of anti-Blackness, with Argentina, Trump's renewed claims that China compromised US voter data to potentially undermine midterm election certification, and NYC Mayor Zohran Mamdani's comments on potentially arresting Netanyahu sending him to the Hague. This Week In White Supremacy continues to provide a platform for insightful and critical discussions, balancing humor, and seriousness to tackle pertinent cultural and political issues. 1HOOD's vibrant conversations serve to enlighten and engage audiences, encouraging broader awareness and action against injustice. Join them next week as they continue to expose white supremacy and advocate for a more equitable society for all people. -- To help us build liberated communities through arts, education, and social justice visit our website 1hood.org to purchase your official 1HOOD apparel or consider making a tax-deductible donation to 1Hood Media.   -- WATCH THE SHOW: youtube.com/@twiws -- FOLLOW 1HOOD  youtube.com/@1hood facebook.com/1hoodmedia instagram.com/1hoodmedia x.com/1hood -- DISCLAIMERS: The views and opinions expressed during this presentation are those of the authors and do not necessarily reflect the official policy or position of 1Hood Media, 1Hood Power, and or its affiliates. We do not own the copyrights to the selected songs, audios and/or videos shared in this broadcast. This Week In White Supremacy is brought to you by the 1HOOD Media Network Explicit Language Parental Discretion is Advised TV-MA   Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Who coined the term cis and why are some people calling it a slur? Amazing return guest Perry Zurn joins me to discuss what the concept of cis does, why it's helpful to look at its origins and etymology and where it might oversimplify the project of gender. Not one to be missed!  References:Perry Zurn's Cisgender: Disorienting a Category (Duke UP, 2026)Perry Zurn's How We Make Each Other: Trans Life at the Edge of the University (Duke UP, 2024)John HollisterRiva Lehrer's Golem GirlMarquis Bey's Cistem Failure: Essays on Blackness and Cisgender (Duke UP, 2022)Stephanie Clare's Nonbinary: A Feminist Autotheory (Cambridge UP, 2023)Jonathan Ned Katz's The Invention of Heterosexuality (1995)  Questions you should be able to respond to after listening:     What does cis mean?     Which term is older: cis or trans? When does the term cis emerge?     Which community coined the term cisgender and why?     What is Perry saying about simplified notions of cis and which example does he give?     How does Perry put disability and race in dialogue with cisness and transness?

In Part 1 we started discussing the study Two Years After Stopping GLP-1s, Most Patients Sustain at Least Some Weight Loss by Bartelt et al. which I identified as possibly the worst, and definitely among the top 3 worst, studies I've ever analyzed.In part 1 we talked about the platform (Epic Research), the researchers, and the basic methodology for reporting. Today we're going to get into the analysis. Remember that there are two sources, the first is the actual article, the second is what I am calling the supplementary materials that is a pdf that is linked (though not at all clearly) in the article.We'll compare the claims made in the article to the data shown in the supplementary materials. I think as we get into this it may be helpful (and maybe just a bit comforting) to remember that this was not published in a peer reviewed journal - it's Epic publishing Epic's research on Epic's website.We'll begin with the most basic claim: “we studied 188,722 patients who stopped using a GLP-1 medication after being on it for at least 90 days and who lost at least 5 pounds while on it.”You might be thinking “wait - in Part 1 you said the study population was 323,782, what happened to the other 135,060 people? Let's go on this journey together. We'll start by looking at their data. In the supplementary materials, Table 1: Characteristics of the Study Population looks like this:So they say in the article that they studied 188,722 patients but the very first line of the supplementary materials chart about the study population says that the total number of patients was 323,782. But it gets a bit weirder, if you add up all the participants in the different age categories you get 323,750, 32 short. If you add up the totals across the drug groups you do get 188,722, if you add up the participants in the weight loss category you get 323,782. If you add up the diabetic status you get 323,782. What is going on here? Maybe they originally looked at 323,782 records of which only 188,722 were not excluded for some reason, and maybe 32 of the participants did not have an age on their electronic health record? At least the number of people across the drug groups in the supplementary materials chart matches the number of people they claim to have studied but this is, in the absolute more charitable description, an extremely confusing way to present this data.In part 1 we discussed the fact that the inclusion criteria were not particularly stringent but the biggest issue, to me, is that the researchers appear to have just done calculations with whatever data they happened to have, but reported it and drew conclusions as if they had consistent data on all participants.For each of the three drug groups (semaglutide, liraglutide, tirzepatide), they present an interactive graph that shows “the proportion of patients by amount of weight regained or lost after stopping [liraglutide/semaglutide/tirzepatide].”Let's dig in.In the article we find Figure 1 - Proportion of Patients by Weight Change After Stopping Semaglutide we can see in the lower left “n=139,972 patients.”But if you look at the supplementary materials you find Table 2 Proportion of Patients by Weight Change After Stopping Semaglutide. This is the table from which they are drawing the data for Figure 1.The final column of the supplemental table is “patients” and the number in that column represents the number of the original 139,972 patients who had taken (and subsequently stopped taking) semaglutide for which the researchers had a weight at each month of their calculation. At month 1, the researchers had a weight for 68,754 of the patients and this number trends steadily downward until month 24 when they only had weights for 2,650 of the original 139,972 patients. At literally no point does Figure 1 in the original article give data for the n=139,972 patients the label claims.In the liraglutide group the graph in the article says n = 23,377. The supplementary tables show that in month 1 they had weights for 11,580. That steadily declined until month 24 they had weights for 1,268 of the population.In the tirzepatide group, the article says n= 25,373 patients. At month 1 they had weights for 12,909 patients which steadily declined until at at month 24 they only had a weight for 145 people (that is not a typo, they were doing the two year calculation upon which they drew their bold conclusions with only one hundred and forty five of the original 25k+ people represented!)This is such a bonkers way to do this that I actually emailed them, using the semaglutide table as an example, to make sure I was understanding this correctly. They assured me that I was:“Yes – there were 139,972 total patients on semaglutide who met the conditions in the study cohort. The patient count in Table 2 represents the number of patients that had a weight reading in a given month, so patients can be represented in multiple months.”So let's discuss the “key findings”At 24 months post-cessation, 56% of semaglutide, 52% of liraglutide, and 55% of tirzepatide patients kept the weight off or lost additional weight.Complete weight regain occurred in 23% of semaglutide, 21% of tirzepatide, and 27% of liraglutide users at 24 months.Weight trajectories stabilized after 12 months, with only small variations in the distribution of weight outcomes through year two.Remember that when they state these 24 month findings (or when in the title they say “Most Patients Sustain at Least Some Weight Loss,”) these statistics are drawn from information for only 1.9% of the semaglutide group, 5.4% of the liraglutide group, and 0.57% of the tirzepatide group. When they say kept the weight off or lost additional weight, subjects would qualify if they maintained 1% of the weight they lost. EDIT - I'm adding this paragraph for additional clarification based on a great comment below. If you look at their percentages, it can seem like a lot of people didn't regain weight. For example in the Semaglutide group, for example, at 1 month the “doubled their weight loss group” was 5.01% of 68,754 participants. That's that's about 892 people which is 0.64% of the original 139,972 people. At 24 months it was 25.89% of 2,650 people. That's about 686 people which is about 0.49% of the original 139,972 people. As I mentioned in part 1, we also don't know if this miniscule percentage of the total group even actually stopped taking the drugs, or if they started getting them from a different source that did not add them to their medical chart.What happened to the 98.1% of the semaglutide group, 94.6% of the liraglutide group, and the staggering 99.43% of the tirzepatide group for whom the researchers did NOT have a weight at 24 months? Is it more likely that people who were regaining weight did not come back to get weighed in? These researchers have absolutely no idea and they don't seem to care.(They said that weight trajectories stabilized at 12 months so even if we look at the data at 12 months they only had weights for 12.7% of the semaglutide group, 18.5% of the liraglutide group, and 8.1% of the tirzepatide group.)Under limitations they state “We allow a patient to be included in each month, using their highest weight in that month. Patients who have repeated weight measurements might be the extremes of weight change.”Gentle readers, I would say that this is the least of their limitations. The fact that they are stating these incredibly broad conclusions about weight regain (including in the title!) based on a tiny fraction of the data they've led us to believe is included, and that they AT NO POINT disclose any of that in the main paper is, to me, unforgivable. Horrifyingly, in researching this piece I found other studies that actually cited this one so I'll end this by saying that this study completely lacks the academic rigor or appropriate methodology necessary to be used to counter research showing high rates of weight regain after GLP-1 cessation. GLP-1s are being taken by a huge percentage of people and being prescribed (and in some cases pushed) by many prescribers, research like this has the potential to do incredible harm by generating blatant misinformation. We have to do a whole lot better than this.This month's online workshop is How to Be Your Own Medical Advocate. You'll learn strategies to advocate for yourself to help you get the evidence-based, compassionate, healthcare you deserve, and what your options are if you don't. There's a pay-what-you-can option to make sure money isn't a barrier and all registrants get a video in case you can't make it live. Details and registration are here! If you appreciate the work I do here, you can support my ability to do more becoming a free or paid subscriber!Liked the piece? Share the piece!More researchThe Research PostMore resourcesThe Resource Post*Note on language: I use “fat” as a neutral descriptor as used by the fat activist community, I use “ob*se” and “overw*ight” to acknowledge that these are terms that were created to medicalize and pathologize fat bodies, with roots in racism and specifically anti-Blackness. Please read Sabrina Strings' Fearing the Black Body – the Racial Origins of Fat Phobia and Da'Shaun Harrison's Belly of the Beast: The Politics of Anti-Fatness as Anti-Blackness for more on this. Get full access to Weight and Healthcare at weightandhealthcare.substack.com/subscribe

Are believers the only ones noticing the defilement in the world today? In today's episode, Rabbi Schneider teaches on the end times prophecies in the Old Testament as well as the Book of Revelation and how today is like the days of Lot and the days of Noah. **** BECOME A MONTHLY PARTNER - https://djj.show/YTAPartner   **** DONATE - https://djj.show/YTADonate  **** TEACHING NOTES - https://djj.show/d6t   Visit our website at DiscoveringTheJewishJesus.com

What does Blackness look like? In Forms of Blackness: Race and Visibility in the French-Speaking World (Duke University Press, 2026), Cécile Bishop argues that this seemingly simple question has no straightforward answer. Instead of treating race as something immediately visible, she explores how Blackness emerges through the interplay of perception, language, and history. A central theme of the book is that visibility is never neutral. Through examples ranging from photographs of the Liberation of Paris to works of art such as Portrait of a Black Woman, Bishop shows that Blackness cannot be reduced to what is seen. Instead, she introduces the idea of Blackness as form, emphasizing the importance of representation, opacity, and aesthetic experience. Engaging with thinkers such as Édouard Glissant and Frantz Fanon, Bishop invites readers to rethink the assumption that seeing is the same as knowing. Forms of Blackness offers a thoughtful and original account of how race is shaped not simply by appearance, but by the ways we learn to see. Amisah Bakuri (PhD) is an Assistant Professor in the Faculty of Social Sciences and Humanities at Vrije Universiteit Amsterdam. Her work explores the intersections of religion, sexuality, gender, and migration, especially within African diasporic communities in the Netherlands. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

What does Blackness look like? In Forms of Blackness: Race and Visibility in the French-Speaking World (Duke University Press, 2026), Cécile Bishop argues that this seemingly simple question has no straightforward answer. Instead of treating race as something immediately visible, she explores how Blackness emerges through the interplay of perception, language, and history. A central theme of the book is that visibility is never neutral. Through examples ranging from photographs of the Liberation of Paris to works of art such as Portrait of a Black Woman, Bishop shows that Blackness cannot be reduced to what is seen. Instead, she introduces the idea of Blackness as form, emphasizing the importance of representation, opacity, and aesthetic experience. Engaging with thinkers such as Édouard Glissant and Frantz Fanon, Bishop invites readers to rethink the assumption that seeing is the same as knowing. Forms of Blackness offers a thoughtful and original account of how race is shaped not simply by appearance, but by the ways we learn to see. Amisah Bakuri (PhD) is an Assistant Professor in the Faculty of Social Sciences and Humanities at Vrije Universiteit Amsterdam. Her work explores the intersections of religion, sexuality, gender, and migration, especially within African diasporic communities in the Netherlands. 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

What does Blackness look like? In Forms of Blackness: Race and Visibility in the French-Speaking World (Duke University Press, 2026), Cécile Bishop argues that this seemingly simple question has no straightforward answer. Instead of treating race as something immediately visible, she explores how Blackness emerges through the interplay of perception, language, and history. A central theme of the book is that visibility is never neutral. Through examples ranging from photographs of the Liberation of Paris to works of art such as Portrait of a Black Woman, Bishop shows that Blackness cannot be reduced to what is seen. Instead, she introduces the idea of Blackness as form, emphasizing the importance of representation, opacity, and aesthetic experience. Engaging with thinkers such as Édouard Glissant and Frantz Fanon, Bishop invites readers to rethink the assumption that seeing is the same as knowing. Forms of Blackness offers a thoughtful and original account of how race is shaped not simply by appearance, but by the ways we learn to see. Amisah Bakuri (PhD) is an Assistant Professor in the Faculty of Social Sciences and Humanities at Vrije Universiteit Amsterdam. Her work explores the intersections of religion, sexuality, gender, and migration, especially within African diasporic communities in the Netherlands. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/caribbean-studies

What does Blackness look like? In Forms of Blackness: Race and Visibility in the French-Speaking World (Duke University Press, 2026), Cécile Bishop argues that this seemingly simple question has no straightforward answer. Instead of treating race as something immediately visible, she explores how Blackness emerges through the interplay of perception, language, and history. A central theme of the book is that visibility is never neutral. Through examples ranging from photographs of the Liberation of Paris to works of art such as Portrait of a Black Woman, Bishop shows that Blackness cannot be reduced to what is seen. Instead, she introduces the idea of Blackness as form, emphasizing the importance of representation, opacity, and aesthetic experience. Engaging with thinkers such as Édouard Glissant and Frantz Fanon, Bishop invites readers to rethink the assumption that seeing is the same as knowing. Forms of Blackness offers a thoughtful and original account of how race is shaped not simply by appearance, but by the ways we learn to see. Amisah Bakuri (PhD) is an Assistant Professor in the Faculty of Social Sciences and Humanities at Vrije Universiteit Amsterdam. Her work explores the intersections of religion, sexuality, gender, and migration, especially within African diasporic communities in the Netherlands. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

What does Blackness look like? In Forms of Blackness: Race and Visibility in the French-Speaking World (Duke University Press, 2026), Cécile Bishop argues that this seemingly simple question has no straightforward answer. Instead of treating race as something immediately visible, she explores how Blackness emerges through the interplay of perception, language, and history. A central theme of the book is that visibility is never neutral. Through examples ranging from photographs of the Liberation of Paris to works of art such as Portrait of a Black Woman, Bishop shows that Blackness cannot be reduced to what is seen. Instead, she introduces the idea of Blackness as form, emphasizing the importance of representation, opacity, and aesthetic experience. Engaging with thinkers such as Édouard Glissant and Frantz Fanon, Bishop invites readers to rethink the assumption that seeing is the same as knowing. Forms of Blackness offers a thoughtful and original account of how race is shaped not simply by appearance, but by the ways we learn to see. Amisah Bakuri (PhD) is an Assistant Professor in the Faculty of Social Sciences and Humanities at Vrije Universiteit Amsterdam. Her work explores the intersections of religion, sexuality, gender, and migration, especially within African diasporic communities in the Netherlands. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

What does Blackness look like? In Forms of Blackness: Race and Visibility in the French-Speaking World (Duke University Press, 2026), Cécile Bishop argues that this seemingly simple question has no straightforward answer. Instead of treating race as something immediately visible, she explores how Blackness emerges through the interplay of perception, language, and history. A central theme of the book is that visibility is never neutral. Through examples ranging from photographs of the Liberation of Paris to works of art such as Portrait of a Black Woman, Bishop shows that Blackness cannot be reduced to what is seen. Instead, she introduces the idea of Blackness as form, emphasizing the importance of representation, opacity, and aesthetic experience. Engaging with thinkers such as Édouard Glissant and Frantz Fanon, Bishop invites readers to rethink the assumption that seeing is the same as knowing. Forms of Blackness offers a thoughtful and original account of how race is shaped not simply by appearance, but by the ways we learn to see. Amisah Bakuri (PhD) is an Assistant Professor in the Faculty of Social Sciences and Humanities at Vrije Universiteit Amsterdam. Her work explores the intersections of religion, sexuality, gender, and migration, especially within African diasporic communities in the Netherlands. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

What does Blackness look like? In Forms of Blackness: Race and Visibility in the French-Speaking World (Duke University Press, 2026), Cécile Bishop argues that this seemingly simple question has no straightforward answer. Instead of treating race as something immediately visible, she explores how Blackness emerges through the interplay of perception, language, and history. A central theme of the book is that visibility is never neutral. Through examples ranging from photographs of the Liberation of Paris to works of art such as Portrait of a Black Woman, Bishop shows that Blackness cannot be reduced to what is seen. Instead, she introduces the idea of Blackness as form, emphasizing the importance of representation, opacity, and aesthetic experience. Engaging with thinkers such as Édouard Glissant and Frantz Fanon, Bishop invites readers to rethink the assumption that seeing is the same as knowing. Forms of Blackness offers a thoughtful and original account of how race is shaped not simply by appearance, but by the ways we learn to see. Amisah Bakuri (PhD) is an Assistant Professor in the Faculty of Social Sciences and Humanities at Vrije Universiteit Amsterdam. Her work explores the intersections of religion, sexuality, gender, and migration, especially within African diasporic communities in the Netherlands. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

What does Blackness look like? In Forms of Blackness: Race and Visibility in the French-Speaking World (Duke University Press, 2026), Cécile Bishop argues that this seemingly simple question has no straightforward answer. Instead of treating race as something immediately visible, she explores how Blackness emerges through the interplay of perception, language, and history. A central theme of the book is that visibility is never neutral. Through examples ranging from photographs of the Liberation of Paris to works of art such as Portrait of a Black Woman, Bishop shows that Blackness cannot be reduced to what is seen. Instead, she introduces the idea of Blackness as form, emphasizing the importance of representation, opacity, and aesthetic experience. Engaging with thinkers such as Édouard Glissant and Frantz Fanon, Bishop invites readers to rethink the assumption that seeing is the same as knowing. Forms of Blackness offers a thoughtful and original account of how race is shaped not simply by appearance, but by the ways we learn to see. Amisah Bakuri (PhD) is an Assistant Professor in the Faculty of Social Sciences and Humanities at Vrije Universiteit Amsterdam. Her work explores the intersections of religion, sexuality, gender, and migration, especially within African diasporic communities in the Netherlands. 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

People get very angry at the truth, which in itself is telling! The entire existence as we know it, and as our parents, grandparents, great grandparents knew it/know it, etc., was built on a lie! Slavery was a coverup to hide the truth history of Black people! It was unbelief of what was in their faces, which turned to jealousy, envy, and then to hatred, lust, and greed! God said "for there is nothing hidden which will not be revealed!" Does it make sense to hate or to be afraid of someone you feel are inferior to you? No logically it doesn't but psychologically people have been so manipulated that they don't know fact from fiction. What's worse is they're not trying to learn, because they're afraid of what they will find out, so it's easier to simply go along. Isn't it strange that there's no actual real history showing Blacks as salvages as people have been taught? Yet they blatantly see who the salvages are and has always been, yet deny. Isn't it strange that people have been taught that the ones who did all the labor are lazy? Isn't it strange that the very people you say didn't contribute has invented mostly of what is used in the world today, (food, medicine, architecture, roads, science, internet, and many other important things)? Isn't it strange people are so against critical race theory being taught, if it was all good and there's nothing to hide? Come on people wake up, enough is enough! At this point people are willfullly ignorant! Read the Delectable Negro, which is just a tiny inkling of what happened. Black people never once claimed to be superior, only people who know the profoundness of Blackness claims superiority out of their own weakness! Yet, they dress it up as superiority. They use their pawns to keep racism going to keep you distracted from the truth! Become a supporter of this podcast: https://www.spreaker.com/podcast/relationships-and-relatable-life-chronicles--4126439/support.

There is a clear connection between anti-Blackness and racism to the state of the political economy of the United States. Listen as Aaron and Damien discuss the piece “Over 160 Years After Abolition, Anti-Black Racism Still Structures US Economy” by CJ Polychroniou in Truthout, which is a conversation between CJ Polychroniou and economic scholars Michelle Holder and Jeannette Wicks-Lim about how anti-Blackness and racism have developed in the contemporary United States and their role on our political economy, and what we learn and take away from this incredible piece in our continued learning and unlearning work and fight for collective liberation. Follow us on social media and visit our website! Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠,⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Leave us a voice message⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Merch store⁠⁠⁠⁠⁠⁠⁠

Kim Dacres is a first-generation American sculptor of Jamaican descent, who lives in Harlem and works in the Bronx. Dacres's work has been exhibited around the world, including recent solo exhibitions in Paris, New York, NY, and Los Angeles, CA. The artist's first site-specific and permanent outdoor sculptural installation, in partnership with Artbridge at the historic Harlem River Houses, was unveiled in June 2026.  She has a MS.Ed from CUNY Lehman College in Teaching English to Speakers of Other Languages (2010) and a BA from Williams College in, Political Science, Art Studio, and Africana Studies (2008.). Kim spent ten years teaching and leading in New York City public schools before becoming an artist.  Dacres's work has been exhibited around the world, including solo exhibitions at Charles Moffett Gallery in New York, (2023), Gavlak Gallery in Los Angeles, CA (2020) and Palm Beach, FL (2021). Dacres has also participated in group exhibitions internationally and within the U.S., including Surrealism and Us: Caribbean and African Diasporic Artists Since 1940 at the Modern Art Museum of Fort Worth (2024), Black American Portraits at Spelman College Museum of Fine Art, Atlanta, GA (2023) and Los Angeles County Museum of Art, Los Angeles, CA (2021), Sounds of Blackness at The Metropolitan Museum of Manila, Philippines (2023), Godhead – Idols in Times of Crisis at Lustwarande 12th Edition, Tilburg, Netherlands (2022), Arrangements in Black at Phillips, New York, NY (2022), From a Place, Of a Place, presented by ArtNoir X regularnormal X Meatpacking District, New York, NY (2021), Through the Looking Glass, presented by UTA Artist Space, Beverly Hills, CA (2021), Dueling Consciousness, presented by Zidoun-Bossuyt, Luxembourg (2023). Learn more about Kim Dacres here. Follow Kim on Instagram here. Follow the show on IG at @theartofitallshow and follow the host at @dariasimoneharper! Don't forget to rate, review, and subscribe. Sharing an episode with a friend never hurts either;)

In this episode, guests Pixie Lighthorse and Joquina M. Reed discuss their new endeavor: The 250 Project: A Black and Indigenous Reckoning. They share about their new project and why they decided to create a counter-archive and anthology project in response to the United States' 250th anniversary. We also discuss Matriarchy through a Black and Indigenous lens and how one of our first and ongoing steps in establishing a matriarchal culture must be the continued dismantling of anti-Blackness in ourselves and our systems. 

This Pride Month, Justice Above All celebrates the resilience, joy, and leadership of Black trans women. From Stonewall to the present, Black trans women have been at the forefront of civil rights struggles, transforming resistance into systems and institutions that support equality for all. Yet despite their leadership, they have often borne the brunt of discriminatory policing, harassment, and violence at the intersection of anti-Blackness, misogyny, and transphobia. This episode celebrates and uplifts the voices of people working toward a future where Black trans people do not just survive, but thrive. Episode guests discuss their refusal to accept martyrdom as a framework for liberation and how to create collective power, making clear that in fighting for the rights and humanity of those most marginalized, we can strengthen democracy for everyone.If you enjoyed this episode please consider leaving a review and helping others find it! To keep up with the work of LDF please visit our website at www.naacpldf.org and follow us on social media at @naacp_ldf. To keep up with the work of the Thurgood Marshall Institute, please visit our website at www.tminstituteldf.org and follow us on Twitter at @tmi_ldf. 

This week, a huge surprise dropped on the house music world. Frankie Knuckles' lost "lullaby" mix of Sounds of Blackness, "The Pressure Pt. 1," was finally released. And by finally, I mean 35 actual years later. You read that right — 35 years. To pay homage to the late godfather of house music, I decided to play tracks inspired by Frankie Knuckles golden era at the Sound Factory and with Def Mix Productions. Enjoy! Tracklist for June 3, 2026 01 :: Frankie Knuckles feat. Lisa Michaelis - Rain Falls (David's 12" Soakin' Wet Mix) 02 :: DSK - What Would We Do ...

Spice joins Cam Newton on Funky Friday for a conversation about colorism, Caribbean culture, fame, relationships, and her journey from humble beginnings in Jamaica to becoming the Queen of Dancehall. She opens up about losing her father at a young age, the challenges dark-skinned women face in the entertainment industry, and why she refuses to compromise her identity for mainstream success. Spice also shares untold stories about Dancehall's influence on Hip-Hop, reuniting with Vybz Kartel after his release, navigating global fame, and building an independent music empire. From cultural debates to personal growth, this is one of Spice's most honest and unfiltered interviews yet. 00:00 – Spice on Colorism, Beauty Standards & Dating Preferences 01:04 – Dancehall Queen Spice Joins Funky Friday 03:21 – Spice's Journey From Jamaica to Global Stardom 10:52 – The Truth About Dancehall Culture & Its Origins 26:14 – Why Spice Says Black People Can Be Hypocritical 43:33 – The Heated Debate About Black Identity & The Diaspora 45:45 – Spice Gets Real About Race, Blackness & Everyday Reality 47:58 – Reuniting With Vybz Kartel & The Unwritten Rules of Dancehall 54:22 – How Spice Built Her Brand, Signature Style & Music Career 58:52 – Would Spice Cheat Back? Relationship Double Standards Explained 01:15:57 – Alpha Males, Side Women & Modern Relationship Dynamics 01:18:26 – Fame, Money, Temptation & Staying Faithful 01:25:52 – Spice's Wild Take on Cheating, Revenge & Relationships 01:31:06 – Rating Men Across the Caribbean: Jamaica vs Everybody Else 01:37:49 – Spice Opens Up About Her Near-Death Surgery & Legacy

Welcome back y'all! This week our #OTWEEKLYPLAYLIST has sounds from Tierra Whack, PJ Morton, Dylan Sinclair, & Chloe Bailey. During #MUSICNEWS we discuss the legacy of Clive Davis, including Whitney Houston, and Oprah's recent comments. In the #BLACKNESS we talk Karmelo Anthony, and shine a #QUEENSPOTLIGHT on Cranon Worford! All Links: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/otwweekly⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠... Email: onthewaypod@gmail.com Instagram/Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@onthewayweekly ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FB: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠facebook.com/onthewaypod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/3CWxgPZ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Website(s): ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instinctent.com/ontheway⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.mochapodcastsnetwork.com/ontheway⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sylvee - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@sweatbyvee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Kahlil - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@kahlilxdaniel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.kahlildaniel.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.facebook.com/kxdmusic Learn more about your ad choices. Visit megaphone.fm/adchoices

Today Lil' Lo and Big Shot Shae are joined by artist Foreign Skrilla ! Join the class as they discuss a Black Disney Imagineer's newest innovation, not getting bullied out your b*tch, and progress into in interview of Foreign Skilla. They explore Skrilla's journey to her current success, where she wants to go next, and her process of showing up as her full self while navigating Blackness, being Belizean, indigenous, a member of the LGBTQIA+ community, and more! Follow Our Guest: IG - @foreignthatsskrillaTikTok - @foreignskrillaFollow Our Hosts:@lilloworldwide @bigshotshae@letmestayfocused **DISCLAIMER: THIS IS A COMEDIC PODCAST** Scenarios and responses from this show should be taken with a grain of salt. In other words, this is all a joke. Unless otherwise noted, any similarity to actual persons, living or dead, or actual events, is purely coincidental.The views and opinions expressed by guests / classmates are those of the guest / classmate and do not necessarily reflect the official policy or position of Let Me Stay Focused: The Podcast. Any content provided by our guests / classmates are of their opinion and are not intended to malign any religion, ethnic group, club, organization, company, individual or anyone or anything.Timestamps:0:00 — Intros and Updates4:00 — Honorable Mention7:31 — Hotep of the Week13:22 — Lyrics and Lessons17:45 — Let Me Stay Focused49:41 — Advice from the Internet

Joy is not a crumb. It's cookouts with soul music, celebrating what Ossie Davis called the full sweetness of our Blackness. But what exactly does the phrase "joy is resistance," which has been flooding social media, mean? This Juneteenth, we're asking what joy actually is, when it can be a tool for social change, and why the slogan has become so popular -- even when joy itself feels more tenuous.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Books that are a must read:Salvation - Bell Hookshttps://www.goodreads.com/book/show/304502All about love - Bell Hookshttps://www.goodreads.com/book/show/17607Bone Black - Bell Hookshttps://www.goodreads.com/book/show/51394INFJ podcasthttps://youtu.be/dEUdL2gwUIs?si=YBtVUsyE_JaXuTwN

What happens when a life-altering injustice becomes the catalyst for leadership and change? In this Season 7 finale of Belonging to Blackness, host Dr. Yndia sits down with Dakarai Larriett, a Democratic primary candidate for U.S. Senate in Alabama and author of Don't Flush: From False Arrest to a Political Awakening. Dakarai shares his journey from navigating a wrongful arrest to embracing advocacy, public service, and political engagement. This powerful conversation explores resilience, accountability, civic responsibility, and the transformative power of turning personal adversity into a mission for societal change. Production credit: @Masauko. Episode sponsored by @Give Black Alliance.  Share and Follow on IG: @BelongingToBlackness_Podcast & @ProfYndia. Listen to episodes directly at: https://yndialorickwilmot.com/belonging-to-blackness/ and wherever you listen to your podcasts.  Listen & Share: Apple Podcast Amazon Music  iHeart Radio Spotify Support the podcast & use 21% off Discount Code: BELONGTOBLACK at CozyEarth.com #BelongingToBlackness #AfricanDiaspora #DakaraiLarriett #BlackLeadership #DemocraticCandidate #2026AlabamaSenateRace #DontFlush #BlackPodcast #PrideMonth #Juneteenth #CaribbeanHeritageMonth #ImmigrantHeritageMonth The post S7, Ep 068 with Dakarai Larriett, on the heritage of political awakenings, from false arrest to purpose-driven collective action first appeared on Yndia Lorick-Wilmot, PhD.

How did the relationship between Black and Asian communities become so complicated?In this episode of the Talk My Credo Podcast, the crew explores one of the most difficult conversations in modern American culture. What begins as a discussion about the Rick Chow acquittal expands into a broader examination of race, history, community tensions, public perception, and the stories many people never learned.Before diving into the serious topics, the crew keeps things light with discussions about comedy, relationships, and everyday life.Topics include:

Mr. Christopher recaps the full week of the Prince Celebration 2026 and beyond with NPG Legend, Michael Bland. Join the crew as we talk about the new upcoming Prince album Timeless, new box sets arriving, a dozen unreleased tracks, panels featuring Bootsy Collins, Morris Day, Jimmy Jam and Terry Lewis, Lisa Coleman, and more. Plus the review of a full purple star studded concert with NPG and Revolution members, with special guests like Bilal, Miguel, Sounds of Blackness, and more! It's 3-1/2 hours of event coverage. Get your groove on.

This week on Black Fat Femme, we sit down with the brilliant Ericka Hart to talk about their powerful new book Nasty Work—a deep dive into sex, power, and the labor of intimacy. We get into what it means to claim pleasure unapologetically, especially at the intersections of Blackness, queerness, and fatness. We also unpack the politics of credibility in the Black community—who gets taken seriously and why—sparked by conversations around figures like Cheyenne Bryant, and how degrees shape (and distort) trust. And yes, we go there: a candid, hilarious, and pointed discussion on why straight people should absolutely be paying more during Pride We want to hear from you! Send us an email with your thoughts/comments about the show: BlackFatFemmePod@gmail.com. Also, don’t forget to watch and subscribe on YouTube! Buy DoctorJonPaul's book here! Buy Ericka's book here! Follow the show on social: Instagram | BlueSky | Threads | Tik-Tok | Facebook Follow DoctorJonPaul: BlueSky | Instagram | Website | Tik-Tok Follow Jordan: Instagram | Website | Tik-Tok Follow Ericka: Instagram | Tik-Tok | Website See omnystudio.com/listener for privacy information.

Today, I give you some excerpts from my live chat conversation with scholar Robert J. Monson. We speak together some about the desert elders, but also about Robert's work at the intersection of Blackness, disability, and softness (among other things) and we get into the topics of lust, sexuality, desire which the church has notoriously gotten wrong. Please find the full replay of our time here (the Spark My Muse youtube channel), if you'd like. Becoming a subscriber costs nothing but is helpful to get the word out. ❤️ You'll find more from me at my Substack and there you can contribute your support, starting under $2, GET THE BOOK HERE

The sisters are ecstatic for this long overdue convo with Báyò Akómoláfé, Chief Curator of The Emergence Network, a speaker, author, fugitive neo-materialist com-post-activist public intellectual and Yoruba poet.Bayo's new book is Selah, about which adrienne writes, "Báyò Akómoláfé is a philosopher who is pushing us to think outside of every narrative we take for granted. In this text, he guides us to reconsider how we relate to the world—and to internalize the fact that earth and all of nature are alive, relating to us. Selah is an ancient Indigenous orientation, poured through Báyò's trickster poetry to make for a fresh agitation.”---⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TRANSCRIPT⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠---⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SUPPORT OUR SHOW⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Endoftheworldshow---HTS ESSENTIALS⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SUPPORT Our Show on Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Endoftheworldshow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PEEP us on IG⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/endoftheworldpc/⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠

Since the release of Jordan Peele's Academy Award-winning horror hit Get Out (2017), interest in Black horror films has erupted. This renewed intrigue in stories about Black life, history, culture, or "Blackness" has taken two forms. First, the history and politics of race have been centered in the horror genre. Second, Black horror has become an increasingly visible topic in mainstream discourses with scholars, critics, and fans contending that Black horror is seeing its so-called renaissance. However, critical attention to Blackness in horror has primarily focused on the U.S. and western world, despite Black stories having featured prominently in the genre-as actors, screenwriters, directors, producers-globally and across cultures.The essays in this handbook explore global Black horror cinema by interrogating Blackness and the ways in which it manifests in films across the diaspora and around the world. Chapters pose and answer questions including how taxonomies of race are presented; who is considered "Black?"; how is Blackness constructed in the culture in which it is produced and/or distributed?; How is horror defined and represented globally and/or culturally?; and what textual role does Blackness play in horror?Sophisticated, innovative, argument-driven research that brings to bear the most enlightened reflections upon Black horror's place in the world drives this handbook. Significantly, The Oxford Handbook of Black Horror Film (Oxford UP, 2024) presents expansive scholarship about Blackness, expanding the ways in which researchers, critics, and fans see and make meaning of Black experiences. In this volume, leading scholars from around the world contribute provocative, worthy examinations of the popular genre of horror in all its rich and empowering possibility. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Since the release of Jordan Peele's Academy Award-winning horror hit Get Out (2017), interest in Black horror films has erupted. This renewed intrigue in stories about Black life, history, culture, or "Blackness" has taken two forms. First, the history and politics of race have been centered in the horror genre. Second, Black horror has become an increasingly visible topic in mainstream discourses with scholars, critics, and fans contending that Black horror is seeing its so-called renaissance. However, critical attention to Blackness in horror has primarily focused on the U.S. and western world, despite Black stories having featured prominently in the genre-as actors, screenwriters, directors, producers-globally and across cultures.The essays in this handbook explore global Black horror cinema by interrogating Blackness and the ways in which it manifests in films across the diaspora and around the world. Chapters pose and answer questions including how taxonomies of race are presented; who is considered "Black?"; how is Blackness constructed in the culture in which it is produced and/or distributed?; How is horror defined and represented globally and/or culturally?; and what textual role does Blackness play in horror?Sophisticated, innovative, argument-driven research that brings to bear the most enlightened reflections upon Black horror's place in the world drives this handbook. Significantly, The Oxford Handbook of Black Horror Film (Oxford UP, 2024) presents expansive scholarship about Blackness, expanding the ways in which researchers, critics, and fans see and make meaning of Black experiences. In this volume, leading scholars from around the world contribute provocative, worthy examinations of the popular genre of horror in all its rich and empowering possibility. 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

Since the release of Jordan Peele's Academy Award-winning horror hit Get Out (2017), interest in Black horror films has erupted. This renewed intrigue in stories about Black life, history, culture, or "Blackness" has taken two forms. First, the history and politics of race have been centered in the horror genre. Second, Black horror has become an increasingly visible topic in mainstream discourses with scholars, critics, and fans contending that Black horror is seeing its so-called renaissance. However, critical attention to Blackness in horror has primarily focused on the U.S. and western world, despite Black stories having featured prominently in the genre-as actors, screenwriters, directors, producers-globally and across cultures.The essays in this handbook explore global Black horror cinema by interrogating Blackness and the ways in which it manifests in films across the diaspora and around the world. Chapters pose and answer questions including how taxonomies of race are presented; who is considered "Black?"; how is Blackness constructed in the culture in which it is produced and/or distributed?; How is horror defined and represented globally and/or culturally?; and what textual role does Blackness play in horror?Sophisticated, innovative, argument-driven research that brings to bear the most enlightened reflections upon Black horror's place in the world drives this handbook. Significantly, The Oxford Handbook of Black Horror Film (Oxford UP, 2024) presents expansive scholarship about Blackness, expanding the ways in which researchers, critics, and fans see and make meaning of Black experiences. In this volume, leading scholars from around the world contribute provocative, worthy examinations of the popular genre of horror in all its rich and empowering possibility. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In his first work of nonfiction, poet chaun webster blends memoir, archival research, visual poetics, and cultural criticism to trace the ways structural anti-Black violence has shaped his inheritance, and grapples with the question of how to know—and mourn—the kin he was never able to meet.webster is particularly drawn to his grandfather Reginald, who worked for years as a Pullman porter, who was denied rest while his labor enabled rest for others, and who died without receiving a pension before webster was born. Returning to the figures of Reginald and the train, webster explores the relationship between comportment and confinement, speaking in tongues in the Pentecostal church, the ancestral meeting place of dreams, his fraught relationship with his mother, and moments with his own child. Throughout, webster also reflects on nonbiological kinship, tethering his and his predecessors' lives to those of several historical Black figures—Harriet Jacobs, John Henry, Henry “Box” Brown, and Henry Dumas, a writer who was killed by New York City police while riding the subway.Attempting to exhaust the possibilities of the sentence and the grammar of anti-Blackness, webster riffs and rails on the debris within reach. Part elegy, part archival detective story, and part visual poem, Without Terminus: untraining an archive (Greywolf, 2026) is a philosophically rigorous and deeply moving text that takes us beyond the archive of loss. You can find the works chaun references during our conversation, as well as a further discussion about literary form, at the Additions to the Archive Substack. Follow chaun webster on Instagram. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer on Instagram, Substack, and wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In his first work of nonfiction, poet chaun webster blends memoir, archival research, visual poetics, and cultural criticism to trace the ways structural anti-Black violence has shaped his inheritance, and grapples with the question of how to know—and mourn—the kin he was never able to meet.webster is particularly drawn to his grandfather Reginald, who worked for years as a Pullman porter, who was denied rest while his labor enabled rest for others, and who died without receiving a pension before webster was born. Returning to the figures of Reginald and the train, webster explores the relationship between comportment and confinement, speaking in tongues in the Pentecostal church, the ancestral meeting place of dreams, his fraught relationship with his mother, and moments with his own child. Throughout, webster also reflects on nonbiological kinship, tethering his and his predecessors' lives to those of several historical Black figures—Harriet Jacobs, John Henry, Henry “Box” Brown, and Henry Dumas, a writer who was killed by New York City police while riding the subway.Attempting to exhaust the possibilities of the sentence and the grammar of anti-Blackness, webster riffs and rails on the debris within reach. Part elegy, part archival detective story, and part visual poem, Without Terminus: untraining an archive (Greywolf, 2026) is a philosophically rigorous and deeply moving text that takes us beyond the archive of loss. You can find the works chaun references during our conversation, as well as a further discussion about literary form, at the Additions to the Archive Substack. Follow chaun webster on Instagram. Subscribe, like, follow, and rate Additions to the Archive with Sullivan Summer on Instagram, Substack, and wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Welcome back y'all! This week our #OTWEEKLYPLAYLIST has sounds from Drake, Tone Stith, Jenevieve, & Partyof2! During #MUSICNEWS we get into Michael Jackson's hit's re-entering the Billboard Charts, as well as the full 2026 BET Awards Nominations. In the #BLACKNESS... where to begin?!?! Possibly with 45 blocking the IRS from further investigating him, the Supreme Court gutting the Voting Rights Act, or MOST EGREGIOUS, the 1.7 BILLION Dollar Reparations Fund for JANUARY SIXERS... "AMERICA, I KNOW YOU F*CKIN LYING!" We also shine a #QUEENSPOTLIGHT on ATL Democratic Gubernatorial Primary winner, Keisha Lance Bottoms! Strap in OTW Listeners - you're in for a ride this episode! All Links: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/otwweekly⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email: onthewaypod@gmail.com Instagram/Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@onthewayweekly ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠FB: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠facebook.com/onthewaypod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bit.ly/3CWxgPZ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Website: www.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instinctent.com/ontheway⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ www.mochapodcastsnetwork.com/ontheway⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sylvee - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@sweatbyvee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Kahlil - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@kahlilxdaniel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.kahlildaniel.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.facebook.com/kxdmusic Learn more about your ad choices. Visit megaphone.fm/adchoices

Why are Black people so hung up on bisexual men in their community? Comedian Rasheed Wesley Jr. is back for PART TWO: The Bi-pire Strikes Back. This episode delves into the intersection of bisexuality and Blackness — complete with the corniest ‘ask a bi guy questions' from our friend @leave_it.to_beavers. PLUS! Billy explains why the adult entertainment industry's fiercest advocates also support raising the minimum age to shoot porn to 21. And what does ‘straight' mean anyway?! Mentioned:PHILLY - 6/6 - https://www.eventbrite.com/e/1988272411305CHICAGO - 7/10 - https://www.eventbrite.com/e/1989444027641Patreon: Should you be 21 to do porn?CBS: 86% of young Americans want to become an influencerDazed: Nobody wants to be famous anymore Follow Rasheed Wesley Jr.!Instagram: @sheedgotjokesTikTok: @sheedgotjokesPodcast: Algorhythm Podcast Follow Billy!Instagram: @billyprocidajrTikTok: @TheBillyProcidaThreads: @billyprocidajrBlueSky: @thebillyprocida Money StuffVenmo: @BillyProcidaCash App: $manwhorepodPayPal/Zelle: funnybillypro@gmail.com Support Billy's work on Patreon at http://patreon.com/manwhorepodcast Get your books and e-books through an independent bookstore at http://manwhorepod.com/bookshop Make new friends in The Champagne Room at http://manwhorepod.com/discord Email your comments, questions, and criticisms to manwhorepod@gmail.com. Late Night Radio and Joey's Formal Waltz by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 Licensehttp://creativecommons.org/licenses/by/3.0/ www.ManwhorePod.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Week five of Theology for Troublemakers, and we finally got to James Cone — which meant we got to Charlene Sinclair, and I want you to know that the moment Gary introduced her on this call was one of the more moving things we've done in this class. He described her as the student who told Cone she saw something in his early work that nobody else gets — the importance of Fanon to his concept of ontological Blackness — and the way he described the day she defended her dissertation, how he held his one point until the very end so he could announce that this dissertation had explained, like no book ever written, what Fanon actually meant to Cone's thought, tells you everything about who James Cone was as a teacher and who Charlene Sinclair is as a scholar. We started at the beginning: the three moments that produced Black Theology and Black Power — the NCBC manifesto, Detroit burning, and the assassination of King — and why Cone said bottled rage would have killed him if he hadn't written that book. Gary walked us through the satanic nature of whiteness as a theological claim versus a racial one, what ontological Blackness actually meant, and why Cone's sweeping indictment of the Negro church before 1968 was, as Gary put it, seriously flawed even as it produced a towering theology. We got into the womanist challenge — Delores Williams, Katie Cannon, Kelly Brown Douglas arguing there is nothing redeeming in the cross — and why Cone couldn't start writing The Cross and the Lynching Tree until Delores retired and Emily Towns went to Yale; he needed just enough personal distance to think it through. Then Charlene took us somewhere unexpected on Niebuhr: she asked, quietly, whether there wasn't a personal parallel between the Niebuhr brothers and the Cone brothers — Richard the better theologian, Reinhold the extravert who needed the crowd — and Gary spun it out for ten minutes in a way that you could tell he had been sitting with for years and had never said in public. We ended with Caleb's question about what it means for white Christians to actually hear the cry of Black blood, and Charlene answered it by describing her teenage grandson trembling in her arms, his whole body shaking, saying he didn't want to die. That's where the class ended. That's where James Cone's theology begins. If you haven't joined yet, come find us at www.HomebrewedClasses.com — donation-based, including zero. You get Gary's full lecture series, Aaron's supplemental interviews with scholars and organizers, curated readings, discussion guides, and the online community. Last session is next week — social ethics, full circle. And come to Theology Beer Camp, where Gary, Arron, and Cornel West will all be in the same room. You can WATCH the conversation on YouTube Theology Beer Camp 2026 — The God-Podcalypse — hits Kansas City October 8–10, exactly one month before the election⁠⁠. Thirty scholars (Ilia Delio, Cornel West, Diana Butler Bass, Gary Dorrien, and a stack more), thirty God-pods, four post-apocalyptic stages, and the community everyone keeps telling us is the real reason they come back. Come find your people at ⁠⁠⁠Theology Beer Camp ⁠⁠ ONLINE⁠⁠ CLASS - Theology for Troublemakers: Christian Social Ethics from the Margins⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ This 6-week online course, led by Dr. Gary Dorrien and Dr. Aaron Stauffer, recovers the radical tradition of Christian social ethics — from Reverdy Ransom and Reinhold Niebuhr to James Cone and the Welfare Rights Movement — and asks what faithfulness demands of us right now. Weekly lectures, live Q&A conversations, guest lecturers, and an online community included.

This week on The Sidebar Podcast, Leise Winny and Royce bounce between politics, culture, aging, survival mode, and the emotional games people play — all with the kind of humor and uncomfortable honesty that makes Sidebar feel like a group chat that accidentally became therapy.The episode opens with a Mother's Day check-in before shifting into growing concern around the hantavirus outbreak and how quickly fear spreads in the age of social media. From there, the conversation turns personal and cultural: can people age out of relevance, ambition, or even certain lifestyles? Or are we all just pretending we aren't afraid of getting older?The discussion then pivots into deeper territory, with conversations about voting rights under attack, the controversial “catch print” trend, and whether modern culture is pushing people toward performance over authenticity.One of the most reflective parts of the episode explores a growing reality for a lot of people:Are people actually living anymore… or just surviving?The hosts unpack burnout, emotional exhaustion, and how adulthood can quietly slip into maintenance mode rather than fulfillment.Leise leads a sharp conversation about relationships, legacy, and responsibility with the segment “Watch How You Procreate,” challenging people to think more critically about who they build futures with and the emotional consequences that can follow.The episode closes with two-layered discussions: emotional gerrymandering — the manipulation of emotions, narratives, and boundaries in relationships and society — and the difficult topic of self-hating Blackness, identity, and internalized bias within the community.Funny, reflective, chaotic, and brutally honest — 2.0 feels like trying to reboot yourself while the world glitches around you.0:33 — Happy Mother's Day2:37 — Hantavirus concerns12:35 — Can you get too old?15:20 — Voting rights under attack24:33 — Catch print: bad or good?36:25 — People don't live, they just survive42:00 — Watch how you procreate1:00:49 — Emotional gerrymandering1:10:36 — Self-hating Black people1:33:15 — OutroSurvival vs living.Growth vs stagnation.Reality vs performance.Welcome to 2.0.

Africa is a centre of world history — a fact that's been deliberately obscured, says journalist Howard W. French. In this talk based on his book, The Second Emancipation, he explores the surprisingly early seeds of 20th century Pan-African thought, and how Kwame Nkrumah of Ghana went from reluctant student to influential leader of a free Ghana.Howard W. French delivered the Black History Month lecture at University of Toronto's New College. French was is a former New York Times bureau chief based in Shanghai. He now teaches journalism at Columbia University and is also the author of Born in Blackness.

Dr. Jon Paul Higgins joins Eric this week to unpack what it means to live boldly at the intersections of Blackness, fatness, and femininity—and why joy, audacity, and self-definition are acts of resistance. From therapy and self-worth to breaking free from desirability politics, this is a conversation about choosing yourself in a world that constantly tells you not to. www.doctorjonpaul.com @doctorjonpaul

Parenting is one of the toughest jobs in the world. Between choosing a neighborhood to live in or whether to send your kid to public school, there are a lot of decisions that feel high stakes — and sticky, especially when it comes to race. We're here to help. This week we're digging into our archives to bring you some parenting advice around some of the parenting-and-race dilemmas our listeners have faced.This episode features advice from Cassandra Harewood, child and adolescent psychiatrist, Amy Stuart Wells, professor emeritus of sociology and education at Teachers College at Columbia University, Jenn Jackson, professor of political science at Syracuse University focusing on Blackness and gender, Mark Anthony Neal, professor of African & African American Studies at Duke University, and Gigliana Melzi, associate professor of applied psychology at New York University.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Van and Rachel look back on the legacy of 'Love & Hip-Hop' before reacting to the pausing of Post Malone and Jelly Roll's stadium tour. Plus, Scott Jennings gets flustered on CNN and Fernando Mendoza skips the White House visit, before a conversation about colorism and Blackness. (0:00) Intro (17:37) The end of ‘Love & Hip-Hop' (32:37) Post Malone and Jelly Roll cancellations (44:51) Scott Jennings and CNN's ‘Newsnight' (1:06:27) Fernando Mendoza and the White House (1:23:19) Colorism and Blackness Hosts: Van Lathan and Rachel Lindsay Producers: Donnie Beacham Jr. and Jade Whaley Social Producer: Bernard Moore Video Supervision: Chris Thomas and Jacob Cornett Learn more about your ad choices. Visit podcastchoices.com/adchoices

At most elite colleges and universities, affirmative action is a thing of the past. But admissions offices are still interested in building racially diverse incoming classes — which can mean looking at students' essays to help determine their background. In those essays, Black students have been often been encouraged to write about experiences of overcoming trauma in order to help underscore their race. Our guest, the sociologist Aya Waller-Bey, says that practice has troubling implications for how we understand what it means to have an authentic Black experience.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy