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A game of got-yer-nose turns racial and a 6-year-old raps to her white mom about not getting her Blackness. Two stories of biracial kids schooling their mamas. ⭐️ This episode originally ran on Fri, 05 Jun 2015 and is a favorite from the archives. We hope you enjoy, and we'll be back next week with a brand new episode. … Join LST+ for community and access to You Know What, another show in the Longest Shortest universe! Follow us on Instagram Website: longestshortesttime.com Learn more about your ad choices. Visit megaphone.fm/adchoices
Classicism and Other Phobias (Princeton University Press, 2025) shows how the concept of “classicism” lacks the capacity to affirm the aesthetic value of Black life and asks whether a different kind of classicism—one of insurgence, fugitivity, and emancipation—is possible. Engaging with the work of Sylvia Wynter and other trailblazers in Black studies while drawing on his own experiences as a Black classicist, Dan-el Padilla Peralta situates the history of the classics in the racial and settler-colonialist settings of early modern and modern Europe and North America. He argues that immortalizing ancient Greek and Roman authors as “the classical” comes at the cost of devaluing Black forms of expression. Is a newfound emphasis on Black classicism the most effective counter to this phobia? In search of answers, Padilla Peralta ranges from the poetry of Juan de Castellanos to the writings of W.E.B. Du Bois and paintings by contemporary artists Kehinde Wiley and Harmonia Rosales. Based on the prestigious W.E.B. Du Bois Lectures delivered at Harvard University, Classicism and Other Phobias draws necessary attention to the inability of the classics as a field of study to fully cope with Blackness and Black people. Dan-el Padilla Peralta is professor of classics at Princeton University. Caleb Zakarin is editor of the New Books Network. 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
Classicism and Other Phobias (Princeton University Press, 2025) shows how the concept of “classicism” lacks the capacity to affirm the aesthetic value of Black life and asks whether a different kind of classicism—one of insurgence, fugitivity, and emancipation—is possible. Engaging with the work of Sylvia Wynter and other trailblazers in Black studies while drawing on his own experiences as a Black classicist, Dan-el Padilla Peralta situates the history of the classics in the racial and settler-colonialist settings of early modern and modern Europe and North America. He argues that immortalizing ancient Greek and Roman authors as “the classical” comes at the cost of devaluing Black forms of expression. Is a newfound emphasis on Black classicism the most effective counter to this phobia? In search of answers, Padilla Peralta ranges from the poetry of Juan de Castellanos to the writings of W.E.B. Du Bois and paintings by contemporary artists Kehinde Wiley and Harmonia Rosales. Based on the prestigious W.E.B. Du Bois Lectures delivered at Harvard University, Classicism and Other Phobias draws necessary attention to the inability of the classics as a field of study to fully cope with Blackness and Black people. Dan-el Padilla Peralta is professor of classics at Princeton University. Caleb Zakarin is editor of the New Books Network. 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
Classicism and Other Phobias (Princeton University Press, 2025) shows how the concept of “classicism” lacks the capacity to affirm the aesthetic value of Black life and asks whether a different kind of classicism—one of insurgence, fugitivity, and emancipation—is possible. Engaging with the work of Sylvia Wynter and other trailblazers in Black studies while drawing on his own experiences as a Black classicist, Dan-el Padilla Peralta situates the history of the classics in the racial and settler-colonialist settings of early modern and modern Europe and North America. He argues that immortalizing ancient Greek and Roman authors as “the classical” comes at the cost of devaluing Black forms of expression. Is a newfound emphasis on Black classicism the most effective counter to this phobia? In search of answers, Padilla Peralta ranges from the poetry of Juan de Castellanos to the writings of W.E.B. Du Bois and paintings by contemporary artists Kehinde Wiley and Harmonia Rosales. Based on the prestigious W.E.B. Du Bois Lectures delivered at Harvard University, Classicism and Other Phobias draws necessary attention to the inability of the classics as a field of study to fully cope with Blackness and Black people. Dan-el Padilla Peralta is professor of classics at Princeton University. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies
Classicism and Other Phobias (Princeton University Press, 2025) shows how the concept of “classicism” lacks the capacity to affirm the aesthetic value of Black life and asks whether a different kind of classicism—one of insurgence, fugitivity, and emancipation—is possible. Engaging with the work of Sylvia Wynter and other trailblazers in Black studies while drawing on his own experiences as a Black classicist, Dan-el Padilla Peralta situates the history of the classics in the racial and settler-colonialist settings of early modern and modern Europe and North America. He argues that immortalizing ancient Greek and Roman authors as “the classical” comes at the cost of devaluing Black forms of expression. Is a newfound emphasis on Black classicism the most effective counter to this phobia? In search of answers, Padilla Peralta ranges from the poetry of Juan de Castellanos to the writings of W.E.B. Du Bois and paintings by contemporary artists Kehinde Wiley and Harmonia Rosales. Based on the prestigious W.E.B. Du Bois Lectures delivered at Harvard University, Classicism and Other Phobias draws necessary attention to the inability of the classics as a field of study to fully cope with Blackness and Black people. Dan-el Padilla Peralta is professor of classics at Princeton University. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/caribbean-studies
Classicism and Other Phobias (Princeton University Press, 2025) shows how the concept of “classicism” lacks the capacity to affirm the aesthetic value of Black life and asks whether a different kind of classicism—one of insurgence, fugitivity, and emancipation—is possible. Engaging with the work of Sylvia Wynter and other trailblazers in Black studies while drawing on his own experiences as a Black classicist, Dan-el Padilla Peralta situates the history of the classics in the racial and settler-colonialist settings of early modern and modern Europe and North America. He argues that immortalizing ancient Greek and Roman authors as “the classical” comes at the cost of devaluing Black forms of expression. Is a newfound emphasis on Black classicism the most effective counter to this phobia? In search of answers, Padilla Peralta ranges from the poetry of Juan de Castellanos to the writings of W.E.B. Du Bois and paintings by contemporary artists Kehinde Wiley and Harmonia Rosales. Based on the prestigious W.E.B. Du Bois Lectures delivered at Harvard University, Classicism and Other Phobias draws necessary attention to the inability of the classics as a field of study to fully cope with Blackness and Black people. Dan-el Padilla Peralta is professor of classics at Princeton University. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices
Classicism and Other Phobias (Princeton University Press, 2025) shows how the concept of “classicism” lacks the capacity to affirm the aesthetic value of Black life and asks whether a different kind of classicism—one of insurgence, fugitivity, and emancipation—is possible. Engaging with the work of Sylvia Wynter and other trailblazers in Black studies while drawing on his own experiences as a Black classicist, Dan-el Padilla Peralta situates the history of the classics in the racial and settler-colonialist settings of early modern and modern Europe and North America. He argues that immortalizing ancient Greek and Roman authors as “the classical” comes at the cost of devaluing Black forms of expression. Is a newfound emphasis on Black classicism the most effective counter to this phobia? In search of answers, Padilla Peralta ranges from the poetry of Juan de Castellanos to the writings of W.E.B. Du Bois and paintings by contemporary artists Kehinde Wiley and Harmonia Rosales. Based on the prestigious W.E.B. Du Bois Lectures delivered at Harvard University, Classicism and Other Phobias draws necessary attention to the inability of the classics as a field of study to fully cope with Blackness and Black people. Dan-el Padilla Peralta is professor of classics at Princeton University. Caleb Zakarin is editor of the New Books Network.
Classicism and Other Phobias (Princeton University Press, 2025) shows how the concept of “classicism” lacks the capacity to affirm the aesthetic value of Black life and asks whether a different kind of classicism—one of insurgence, fugitivity, and emancipation—is possible. Engaging with the work of Sylvia Wynter and other trailblazers in Black studies while drawing on his own experiences as a Black classicist, Dan-el Padilla Peralta situates the history of the classics in the racial and settler-colonialist settings of early modern and modern Europe and North America. He argues that immortalizing ancient Greek and Roman authors as “the classical” comes at the cost of devaluing Black forms of expression. Is a newfound emphasis on Black classicism the most effective counter to this phobia? In search of answers, Padilla Peralta ranges from the poetry of Juan de Castellanos to the writings of W.E.B. Du Bois and paintings by contemporary artists Kehinde Wiley and Harmonia Rosales. Based on the prestigious W.E.B. Du Bois Lectures delivered at Harvard University, Classicism and Other Phobias draws necessary attention to the inability of the classics as a field of study to fully cope with Blackness and Black people. Dan-el Padilla Peralta is professor of classics at Princeton University. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices
Against! is the first book-length study of Afro-Caribbean and African immigrant and second-generation writing in the United States. In it, Asha Jeffers evaluates the relationship between Blackness and immigranthood in the US as depicted through the recurring theme of rebellious Black immigrant daughters. Considering the work of Paule Marshall, Edwidge Danticat, Chimamanda Ngozi Adichie, and Taiye Selasi, Jeffers untangles how rebellion is informed by race, gender, ethnicity, and migration status. Immigrant and second-generation writers mobilize often complicated familial relationships to comment on a variety of political, social, and psychic contexts. Jeffers argues that rather than categorizing Black migrants as either immediately fully integrated into an African American experience or seeing them as another category altogether that is unbound by race, Marshall, Danticat, Adichie, and Selasi identify the unstable position of Black migrants within the American racial landscape. By highlighting the diverse ways Black migrants and their children negotiate this position amid the dual demands of the respectability politics imposed on African Americans and the model-minority myth imposed on immigrants, Jeffers reveals the unsteady nature of US racial categories. Asha Jeffers is Associate Professor in the Department of English, Gender and Women's Studies at Dalhousie University in Halifax, Nova Scotia. 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
In Part 2, we pick up where we left off in Part 1. Carolyn and I talk about making decisions and intentionality vs. circumstance, need, and necessity. We then go on to talk more about Carolyn's lifelong love of sports. She shares the story of her maternal grandmother coming from The Philippines to live with them and how they'd watch games together. It was the days when, in much of the country, if you wanted to watch Major League Baseball, it was all Atlanta Braves, all the time (thanks to TBS, of course). Carolyn became a Braves fan, especially a fan of Dale Murphy. She watched football, too. She didn't watch the Giants on TV much, because every game wasn't televised in those days. But she could easily hop on Muni to see a game at Candlestick Park. Her dad often picked them up, showing up at the ballpark around the seventh inning, getting in free, and watching the end of the game with Carolyn and her friends and/or sisters. We go on a short sidebar about bundling up in San Francisco—at Candlestick and if you just wanted to go to the beach. In addition to Candlestick, she went to Warriors games a bit and also various sporting events at Cow Palace. Her dad learned how to bowl and would take his kids with him. We fast-forward a bit to hear about Carolyn's years in high school, when she went to the all-girl school Mercy High (which is now closed). Later, she took the same bus, the 29, to SF State that she had taken to Mercy. State was the only college she applied to. We talk a little about her decision not to leave San Francisco for school. In high school, she had decided that she wanted to be a sports writer. In fact, she aimed to become the first woman anchor at ESPN. We rewind a bit to talk about some of the journalism Carolyn did in high school. She had her own column in the school paper called “Off the Bench.” She shares a fun story of calling the Braves' front office to arrange for an interview with her favorite player—Murphy—the next time Atlanta rolled into town. In her third semester at SF State, Carolyn got pregnant. Around this time, she also took her first Asian-American Studies class, something that kicked in for her and stays with her to this day. She dove in head-first. I ask Carolyn whether and how much of that history her parents were aware of. She says that, for them, much of it was just things going on in their lives in the city they came to—things like the strike at SF State or the demonstrations at the I-Hotel in Manilatown. Learning more and more about the history of her people in the US lead Carolyn to confront her dad. “Why did you bring us here?” she'd ask. She ended up raising her first child, a mixed-race kid, as a single parent around this time in her life. She had figured that her son's dad would bring the kid the Blackness in his life, and she'd bring the Filipino-ness. Her own ideas of how best to raise the kid had to evolve, and they did, she says. She eventually returned to State and graduated. She lived in South City for a hot minute, held three jobs, and raised her son. She never felt that she couldn't leave The Bay. It was more, “Why would I?” Then, because if you know Carolyn Sideco, well, you know … then we talk about New Orleans. New Orleans is why and how Carolyn came into my life. My wife is borderline obsessed with The Crescent City. I'd been there some earlier in my life, growing up not too far away and having some Louisiana relatives. Erin and I spent three weeks in fall 2022 in a sublet in Bywater, Ninth Ward. That NOLA fever caught on for me then, and I'm hooked. Back home sometime after that, Carolyn came across Erin's radar. “There's a woman in San Francisco who seems to love New Orleans as much as I do and she has a house there!” Erin would tell me. In 2024, at a vegan Filipina pop-up at Victory Hall, we finally met this enigmatic woman. We ended up spending Mardi Gras this year at Carolyn's house in New Orleans—Kapwa Blue. “New Orleans has been calling me for about 20 years,” Carolyn says. One of her younger sisters lived there awhile. Her oldest son served in AmeriCorps there for three years and kept living in New Orleans four more. Carolyn and other members of her family visited often. This was around the time that Hurricane Katrina hit and devastated Southern Louisiana. A little more than a decade ago, Carolyn learned of the historical markers in the area that told the stories of Filipinos being the first Asians to settle in that part of the world. (Longtime listeners of Storied: SF might recall that Brenda Buenviaje hails from just across the Mississippi River from New Orleans.) As Carolyn learned more and more of the Filipino history in the region, that calling started to make more and more sense. Three years ago or so, her oldest son got married in New Orleans. That visit told Carolyn that she, too, could live there. Her husband devised a plan, and with some of Carolyn's cousins, they bought a house in the Musician's Village part of town, near the Ninth Ward—the aforementioned Kapwa Blue. They intended to bring that same sense of community her parents found and participated in back in San Francisco all those decades ago to their new neighborhood New Orleans. In addition to the house, Carolyn helped found tours of Filipino history in New Orleans and the surrounding area. Find them Bayou Barkada Instagram at @bayoubarkada Back in The City these days, Carolyn has her own sports consultancy called Coaching Kapwa (IG). “I call myself ‘Your sports relationship coach,'” she says. This means that she provides comfort and advice to anyone interacting with any of the various sports ecosystems. She aims to apply the idea of kapwa to an otherwise competition-driven sports landscape. We end the podcast (and the season) with Carolyn's interpretation of the theme of Storied: San Francisco, Season 7: Keep it local. She shares what that idea means for her here as well as how it pertains to her time in New Orleans. We'll be taking August off as far as new episodes go. I'll be busy putting together the first episodes of Season 8 and getting ready for the season launch party/art opening. “Every Kinda People” kicks off at Mini Bar on Sept. 4. That's also the theme of the next 20 or so episodes of this show. As always, thank you deeply and sincerely for listening/reading/sharing/liking/commenting/DMing/emailing/subscribing/rating/showing up and really any type of interaction you do with this passion project of mine. If you're not already, please sign up for our monthly newsletter over on the About page. See you in September!
On this new episode of THE POLITICRAT daily podcast Omar Moore talks about the need to be a better human being. Plus: In an extended clip from his "Unfiltered" show Roland Martin on Black owned businesses and the imperative need for better Black support of those businesses. Recorded July 25, 2025.SUBSCRIBE: https://mooreo.substack.comSUBSCRIBE: https://politicrat.substack.comPatronize Lanny Smith's Actively Black apparel business: https://activelyblack.comBlack owned businesses on Roland Martin's Black Star Network: https://shopblackstarnetwork.comBlack-owned media matters: (Watch Roland Martin Unfiltered daily M-F 6-8pm Eastern)https://youtube.com/rolandsmartin Download the Black Star Network appRECOMMENDED READSOmar's latest article on Substack (subscribe!) "A Few Of The Restaurants In San Francisco That Welcome And Treat Black People With Respect" (July 22, 2025)https://open.substack.com/pub/mooreo/p/a-few-of-the-restaurants-in-san-francisco?r=275tyr&utm_medium=iosTHE POLITICRAT SUMMER 2025 BOOK READING LIST: https://substack.com/@politicrat/note/c-133449058?r=judrw&utm_medium=ios&utm_source=notes-share-actionIf you would like to contribute financially to The Politicrat: please send money via Zelle to omooresf@gmail.comSocial media:https://fanbase.app/popcornreel(Invest in Fanbase now! https://startengine.com/fanbase)https://spoutible.com/popcornreelhttps://popcornreel.bsky.socialAnd spill.com (@popcornreel)
This episode of Habibi House features Dr. Rudolph “Butch” Ware — historian, author, and one of the most important living scholars of Islam, Black liberation, and decolonial thought. A professor of history at UC Santa Barbara, Ware sits down with us to unpack the stories that empire tried to bury: stories of Sufi rebellion, revolutionary faith, and the sacred legacy of Black Muslims in shaping not just Islam — but global freedom movements.WHAT WE TALK ABOUT:Why there is no Islam without Black peopleHow Sufi orders led anti-colonial revolts across West AfricaWhy liberals fear true solidarity between Black and Arab communitiesWhat it means to reclaim Islam from both empire and whitenessMalcolm X, Palestine, and the revolutionary roots of faithWhy Ware says Islam is inherently radical, and liberals won't save usHow storytelling, family, and love serve as tools for resistanceWHO IS BUTCH WARE?Rudolph “Butch” Ware is a historian of West Africa, Islam, and the Black Muslim world. He's the author of The Walking Qur'an: Islamic Education, Embodied Knowledge, and History in West Africa, and a leading voice in challenging Western narratives around Islam and African history. He speaks at the intersection of Sufism, slavery, liberation theology, and Black diasporic spirituality. His work dismantles colonial myths and re-centers the sacred in our understanding of resistance.KEY QUOTES FROM THE EPISODE:“There is no such thing as Islam without Black people. Islam didn't just show up in Africa — it was born in Africa.”“When the empire suppresses love, joy, and memory — storytelling becomes a revolutionary act.”“Liberalism is fine with coexistence, as long as it doesn't disrupt the structure of violence. That's not liberation.”WHY THIS CONVERSATION MATTERSAt a time when Muslim identity is either flattened or weaponized, Dr. Ware reminds us that faith has always been a tool of both survival and struggle. In a world where Gaza is burning, ICE is raiding, and history is being rewritten in real time, this episode offers truth — rooted in legacy, memory, and resistance.0:00 Intro – Who is Butch Ware?1:35 Growing up Muslim, Southern, and Black4:00 There is no Islam without Black people7:12 How Sufism sparked anti-colonial revolts10:05 Blackness, slavery, and prophetic tradition13:45 Liberalism vs. Revolutionary Islam16:30 Islamophobia, empire, and the theft of history20:55 Malcolm X and Gaza: Solidarity across struggle24:30 Love, storytelling, and decolonizing spirituality29:45 Final message to young Muslims and Black ArabsABOUT HABIBI HOUSEHabibi House is a culture-forward, decolonial, and unfiltered podcast centering MENA voices and their intersections with global liberation. Hosted by Arab creatives, activists, and artists, each episode features unapologetic conversations with guests shaping the future of art, politics, and identity.
Today we talk with Samar Al-Bulushi about her rich and complex work on Kenya, which, across multiple scales of time and place, discovers how the War on Terror both tapped into colonial ideologies of the past and present-day political calculations at the intersection of the local and global. We find out how the War has taken many different forms that often escape the eye—embedded as they are in structures of feelings and new practices that were instilled as Kenya maneuvers its different roles as war-maker and pacifier, independent state and partner with the US. We end with an important update on Kenya since the book's publication, which has seen a popular uprising and state repression. We speak about the roles of civil society and international organizations in this new historical moment.Samar Al-Bulushi is an Associate Professor of Anthropology at UC Irvine. Her book, War-Making as Worldmaking: Kenya, the United States, and the War on Terror, was published by Stanford University Press in November 2024. She is a non-resident fellow at the Quincy Institute for Responsible Statecraft and previously served as contributing editor for Africa is a Country. She has published in a variety of public outlets on topics ranging from the International Criminal Court to the militarization of U.S. policy in Africa.
This episode will be conducted in Spanish, in line with the podcast's aim to de-center urban knowledge production by showcasing distinctive urban perspectives, and linguistic viewpoints. We are thrilled to introduce you to the second episode of our series on Urban Polycrisis! Join us for an episode in Spanish exploring the complex urban racial politics of Cartagena, Colombia. In this conversation with historians Javier Ortiz Cassiani and Orlando Deavila Pertuz, we dive into the city's colonial past and explore how its racialised legacies shape contemporary urban life. We discuss how conflict, violence, and displacement have shaped racial politics, from Cartagena's role in the transatlantic slave trade to its recent remaking as a tourist hub. The episode also looks at how Afro-descendant communities resist urban segregation and dispossession, offering insights into broader issues of racism and Blackness in urban Colombia and Latin America today.
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San Diego's Pride Week is well underway. It is an opportunity to celebrate the rich history of the LGBTQ+ community in our border region — a history that is well-documented by the Lambda Archives, a local archive space in University Heights.20240819_145708.jpg (3000x4000, AR: 0.75)Local historian T.J. Tallie has spent the past year as the Lambda Archives' first ever community historian-in-residence. He wanted to find out: what was life like for San Diego's Black queer community in the 80's and 90's?On Midday Edition Thursday, we hear from Tallie about what he found, the intersection of Blackness and queerness, and the legacies of Black LGBTQ+ San Diegans today.Then, KPBS' Beth Accomando sits down with filmmaker Ron Najor to talk about his debut narrative feature, "Adjunct" ahead of its premiere in San Diego.And finally, KPBS arts reporter Julia Dixon Evans chats with local author Chris Baron about his latest middle grade book, "Spark" and dives into her arts and culture event picks for the weekend.Guests:T.J. Tallie, community historian-in-residence, Lambda Archives, associate professor of African history, University of San DiegoRon Najor, filmmaker, director of "Adjunct"Chris Baron, author of "Spark"Julia Dixon Evans, arts reporter and host of "The Finest" podcast, KPBS
This episode of "In the Key of Q" features a heartfelt and insightful conversation with Mel Lennon, a self-taught, German-born, New York City-based Black queer artist who is making his mark as a rapper, singer, songwriter, and producer.Mel shares his journey of blending infectious pop melodies with hip-hop beats and provocative lyrics that speak authentically to queer experiences. He candidly discusses overcoming profound insecurities (themes central to his debut EP "Overthinking Out Loud"), the pain of family disownment, experiences with housing insecurity, and the continuous journey towards self-acceptance and representation. Ultimately, Mel offers a powerful message of compassion, empathy, and the importance of challenging stigma, all while creating music that invites joy and celebration.Timestamped Key Takeaways[00:02:36] Mel Lennon on his musical style: He describes his music as pop, aiming for an inclusive feel that's open to everyone.[00:03:18] The origin of his name "Mel Lennon": Mel explains how his name humorously references his identity in performance spaces and his desire to move beyond racial caricatures.[00:04:01] On being the "only": Mel shares the experience of being the only Black person in a room and draws parallels to how queer individuals can feel "othered" in heteronormative spaces.[00:05:15] Education on race: He discusses the problematic expectation that minorities should educate the majority about racism and systemic issues.[00:08:22] Religion, empathy, and self-hate: Mel reflects on his religious upbringing, which instilled a sense of morality and empathy but also led to self-hatred due to homophobic teachings.[00:09:28] Hypermasculinity in queer spaces: Mel addresses the fetishisation of Blackness and the pressure for Black queer men to conform to hypermasculine ideals, even within the LGBTQ+ community.[00:12:32] Conviction over confidence: His drive to create music stems more from a deep-seated conviction than from confidence alone.[00:14:09] The purpose of being an "out loud" artist: Mel aims to make others, especially those feeling isolated, know they are not alone and that it's okay to be themselves.[00:15:51] Loneliness and trauma: He opens up about enduring loneliness.[00:18:18] Housing insecurity: Mel shares his personal experiences with homelessness after dropping out of college and how New York's resources eventually helped him find stability.[00:20:44] Black queer youth as "the culture": He emphasises the immense cultural influence of Black queer youth and the importance of ensuring their visibility and voices are at the forefront.[00:25:01] Joyful music with serious messages: Inspired by artists like Missy Elliott, Mel explains his approach to embedding social commentary and serious themes within celebratory and danceable music.[00:29:27] Mel's message to the world: He advocates for leading with compassion and empathy, stopping stigma, investing in facts, and embracing love for things that don't cause harm.[00:31:56] Upcoming Music: Mel announces his third EP, "Think less, feel More," is anticipated for New York City Pride.[00:32:56] Gateway Track "Freaky": Mel identifies "Freaky" as the song that best represents his sound—a hip-hop base with a fun, flirty pop exterior and lyrics exploring hypersexuality and self-acceptance.Guest BioMel Lennon is a self-taught rapper, singer, songwriter, and producer, born in Germany and now a vibrant part of New York City's music scene. Known by handles like @thatgaypopstar or @MelLennonPop, he crafts...
A dead inventor leaves behind a mysterious scarlet satchel — and when it opens, death comes calling for those who betrayed him. Listen to Dark Fantasy with “The Man With The Scarlet Satchel! | #RetroRadio EP0461Join the DARKNESS SYNDICATE: https://weirddarkness.com/syndicateCHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:01:30.028 = CBS Radio Mystery Theater, “Blood Red Roses” (July 12, 1976)00:45:24.243 = Murder By Experts, “It's Luck That Counts” (August 29, 1949) ***WD01:14:53.901 = Exploring Tomorrow, “Stranger With Roses” (June 11, 1958) ***WD01:33:02.835 = Faces In The Window, “Black Cat” (November 22, 1952) ***WD01:56:42.856 = Dark Fantasy, “The Man With The Scarlet Satchel” (March 06, 1942) ***WD02:21:21.323 = Diary of Fate, “Victor Wakeman” (June 29, 1948) ***WD02:48:08.069 = BBC's Fear on 4, “The Journey Home” (February 23, 2008)03:16:31.596 = Five After The Hour, “Amid The Blaze of Noon” (June 20, 1945)03:40:48.080 = 5 Minute Mysteries, “Broken Wheel” (1947-1950)03:45:44.256 = Tales From The Tomb, “The Raven” (1960s)03:55:10.518 = Future Tense, “The Seventh Victim” (May 06, 1974) ***WD04:16:12.606 = Gang Busters, “Broadway Bandit” (March 20, 1948) ***WD04:44:04.027 = Ava Maria Hour, “Benedict Patron St. Against Poison Witchcraft” (1939)05:07:46.682 = The Green Hornet, “The Parking Lot Racket” (October 31, 1939)05:37:28.102 = The Hall of Fantasy, “The Judge's House” (April 03, 1947) ***WD06:03:45.303 = Haunted Tales of the Supernatural, “Legal Rites” (February 17, 1982)06:31:43.493 = The Haunting Hour, “Cat Man” (October 13, 1945)06:56:42.058 = Have Gun Will Travel, “Young Gun” (July 12, 1959)07:20:22.680 = The Hermit's Cave, “The Blackness of Terror” (April 06, 1947)07:44:50.794 = Mystery Is My Hobby, “Voice of Doom” (1947) ***WD08:07:56.355 = Sherlock Holmes, “Camberwell Poisoners” (February 18, 1946)08:36:56.449 = Incredible But True, “The One That Got Away” (1950-1951)08:40:18.062 = Inner Sanctum, “Undead” (December 18, 1945) ***WD09:07:12.135 = The Key, “Lost In The Amazon” (1956) ***WD09:32:25.325 = Lights Out (Everyman's Theater), “Baby” (March 28, 1941) ***WD09:56:52.777 = Show Close(ADU) = Air Date Unknown(LQ) = Low Quality***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode more listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.Weird Darkness theme by Alibi Music LibraryABOUT WEIRD DARKNESS: Weird Darkness is a true crime and paranormal podcast narrated by professional award-winning voice actor, Darren Marlar. Seven days per week, Weird Darkness focuses on all thing strange and macabre such as haunted locations, unsolved mysteries, true ghost stories, supernatural manifestations, urban legends, unsolved or cold case murders, conspiracy theories, and more. On Thursdays, this scary stories podcast features horror fiction along with the occasional creepypasta. Weird Darkness has been named one of the “Best 20 Storytellers in Podcasting” by Podcast Business Journal. Listeners have described the show as a cross between “Coast to Coast” with Art Bell, “The Twilight Zone” with Rod Serling, “Unsolved Mysteries” with Robert Stack, and “In Search Of” with Leonard Nimoy.= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2025, Weird Darkness.= = = = =CUSTOM WEBPAGE: https://weirddarkness.com/WDRR0461
In this episode of Therapy Rebranded, our “Gay Correspondent” Mycall Riley returns to call out performative Pride and the empty promises of DEI. We dig into rainbow capitalism, anti-Blackness in queer spaces, and why universities and corporations are quietly abandoning real equity work. Plus: Zohran Mamdani's NYC mayor run, the case for state-run grocery stores, and why your identity alone doesn't make you an ally.Tune in for a candid, profanity-laced conversation that goes beyond slogans and stickers to ask: What does true liberation look like?
Andrew S. Berish. 2025. Hating Jazz: A History of Its Disparagement, Mockery, and Other Forms of Abuse. (U of Chicago Press, 2025) Some good words from the inside flap: “ A deep dive into the meaning behind the hatred of jazz.A rock guitarist plays four notes in front of one thousand people, while a jazz guitarist plays one thousand notes in front of four people. You might laugh or groan at this jazz joke, but what is it about jazz that makes people want to disparage it in the first place?Andrew S. Berish's Hating Jazz listens to the voices who have denounced, disparaged, and mocked the music. By focusing on the rejection of the music, Berish says, we see more holistically jazz's complicated place in American cultural life. Jazz is a display of Black creativity and genius, an art form that is deeply embedded in African American life. Though the explicit racial tenor of jazz jokes has become muted over time, making fun of jazz, either in a lighthearted or aggressive way, is also an engagement with the place of Blackness in America. An individual's taste in music may seem personal, but Berish's analysis of jazz hatred demonstrates that musical preferences and trends are a social phenomenon. Criticism of jazz has become inextricable from the ways we understand race in America, past and present. In addition to this form of criticism, Berish also considers jazz hate as a form of taste discrimination and as a conflict over genre boundaries within different jazz cultures.Both enlightening and original, Hating Jazz shows that our response to music can be a social act, unique to our historical moment and cultural context—we react to music in certain ways because of who we are, where we are, and when we are. “ Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu 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
Andrew S. Berish. 2025. Hating Jazz: A History of Its Disparagement, Mockery, and Other Forms of Abuse. (U of Chicago Press, 2025) Some good words from the inside flap: “ A deep dive into the meaning behind the hatred of jazz.A rock guitarist plays four notes in front of one thousand people, while a jazz guitarist plays one thousand notes in front of four people. You might laugh or groan at this jazz joke, but what is it about jazz that makes people want to disparage it in the first place?Andrew S. Berish's Hating Jazz listens to the voices who have denounced, disparaged, and mocked the music. By focusing on the rejection of the music, Berish says, we see more holistically jazz's complicated place in American cultural life. Jazz is a display of Black creativity and genius, an art form that is deeply embedded in African American life. Though the explicit racial tenor of jazz jokes has become muted over time, making fun of jazz, either in a lighthearted or aggressive way, is also an engagement with the place of Blackness in America. An individual's taste in music may seem personal, but Berish's analysis of jazz hatred demonstrates that musical preferences and trends are a social phenomenon. Criticism of jazz has become inextricable from the ways we understand race in America, past and present. In addition to this form of criticism, Berish also considers jazz hate as a form of taste discrimination and as a conflict over genre boundaries within different jazz cultures.Both enlightening and original, Hating Jazz shows that our response to music can be a social act, unique to our historical moment and cultural context—we react to music in certain ways because of who we are, where we are, and when we are. “ Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu 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
Andrew S. Berish. 2025. Hating Jazz: A History of Its Disparagement, Mockery, and Other Forms of Abuse. (U of Chicago Press, 2025) Some good words from the inside flap: “ A deep dive into the meaning behind the hatred of jazz.A rock guitarist plays four notes in front of one thousand people, while a jazz guitarist plays one thousand notes in front of four people. You might laugh or groan at this jazz joke, but what is it about jazz that makes people want to disparage it in the first place?Andrew S. Berish's Hating Jazz listens to the voices who have denounced, disparaged, and mocked the music. By focusing on the rejection of the music, Berish says, we see more holistically jazz's complicated place in American cultural life. Jazz is a display of Black creativity and genius, an art form that is deeply embedded in African American life. Though the explicit racial tenor of jazz jokes has become muted over time, making fun of jazz, either in a lighthearted or aggressive way, is also an engagement with the place of Blackness in America. An individual's taste in music may seem personal, but Berish's analysis of jazz hatred demonstrates that musical preferences and trends are a social phenomenon. Criticism of jazz has become inextricable from the ways we understand race in America, past and present. In addition to this form of criticism, Berish also considers jazz hate as a form of taste discrimination and as a conflict over genre boundaries within different jazz cultures.Both enlightening and original, Hating Jazz shows that our response to music can be a social act, unique to our historical moment and cultural context—we react to music in certain ways because of who we are, where we are, and when we are. “ Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Andrew S. Berish. 2025. Hating Jazz: A History of Its Disparagement, Mockery, and Other Forms of Abuse. (U of Chicago Press, 2025) Some good words from the inside flap: “ A deep dive into the meaning behind the hatred of jazz.A rock guitarist plays four notes in front of one thousand people, while a jazz guitarist plays one thousand notes in front of four people. You might laugh or groan at this jazz joke, but what is it about jazz that makes people want to disparage it in the first place?Andrew S. Berish's Hating Jazz listens to the voices who have denounced, disparaged, and mocked the music. By focusing on the rejection of the music, Berish says, we see more holistically jazz's complicated place in American cultural life. Jazz is a display of Black creativity and genius, an art form that is deeply embedded in African American life. Though the explicit racial tenor of jazz jokes has become muted over time, making fun of jazz, either in a lighthearted or aggressive way, is also an engagement with the place of Blackness in America. An individual's taste in music may seem personal, but Berish's analysis of jazz hatred demonstrates that musical preferences and trends are a social phenomenon. Criticism of jazz has become inextricable from the ways we understand race in America, past and present. In addition to this form of criticism, Berish also considers jazz hate as a form of taste discrimination and as a conflict over genre boundaries within different jazz cultures.Both enlightening and original, Hating Jazz shows that our response to music can be a social act, unique to our historical moment and cultural context—we react to music in certain ways because of who we are, where we are, and when we are. “ Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music
Andrew S. Berish. 2025. Hating Jazz: A History of Its Disparagement, Mockery, and Other Forms of Abuse. (U of Chicago Press, 2025) Some good words from the inside flap: “ A deep dive into the meaning behind the hatred of jazz.A rock guitarist plays four notes in front of one thousand people, while a jazz guitarist plays one thousand notes in front of four people. You might laugh or groan at this jazz joke, but what is it about jazz that makes people want to disparage it in the first place?Andrew S. Berish's Hating Jazz listens to the voices who have denounced, disparaged, and mocked the music. By focusing on the rejection of the music, Berish says, we see more holistically jazz's complicated place in American cultural life. Jazz is a display of Black creativity and genius, an art form that is deeply embedded in African American life. Though the explicit racial tenor of jazz jokes has become muted over time, making fun of jazz, either in a lighthearted or aggressive way, is also an engagement with the place of Blackness in America. An individual's taste in music may seem personal, but Berish's analysis of jazz hatred demonstrates that musical preferences and trends are a social phenomenon. Criticism of jazz has become inextricable from the ways we understand race in America, past and present. In addition to this form of criticism, Berish also considers jazz hate as a form of taste discrimination and as a conflict over genre boundaries within different jazz cultures.Both enlightening and original, Hating Jazz shows that our response to music can be a social act, unique to our historical moment and cultural context—we react to music in certain ways because of who we are, where we are, and when we are. “ Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu 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
This week, Kyla and Jeremy are joined by the brilliant and hilarious Dr. André Brock, Associate Professor at Georgia Tech and certified expert in all things digital culture. They dive into how Black communities—especially Black women—have shaped the online world, from memes to movements. Dr. Brock breaks down the magic of “distributed Blackness,” why African American rhetoric matters in tech, and how the internet just wouldn't be the same without a little (okay, a lot of) Black excellence. It's smart, it's funny, and it might just change the way you see your timeline. Tune in for hot takes, real talk, and maybe a few tweets worth quoting.
Host Wesley Morris has a confession to make: He loves Bruno Mars. Nothing wrong with that, right? With the help of the culture writer Niela Orr, Wesley untangles his crush from his discomfort with the pop star's cozy relationship to Blackness.Thoughts? Email us at cannonball@nytimes.comWatch our show on YouTube: youtube.com/@CannonballPodcastFor transcripts and more, visit: nytimes.com/cannonball Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.
This week on Black on Black Cinema, the crew returns to announce the next film, "All Day and a Night." The film follows a young man who has committed a homicide and deals with the repercussions of his action. The movie stars Ashton Sanders, Jeffrey Wright, and Isaiah John. The random topic this week is discussing an article that lists out what are some Black directors and Black actors favorite movies of all time. We go through the list and give our takes on the films we've seen, why those films may have influenced those particular people, and more.
In 1979, President Jimmy Carter officially recognized June as Black Music Month to honor the influence of Black musicians and artists in shaping American music. It's a reminder that Black music has been at the heart of almost every sound we know and love, including jazz, blues, rock, R&B, gospel, hip hop and even country. And in Minnesota, we've felt the impact — from the legacy of Prince to the Grammy Award-winning Sounds of Blackness. MPR News host Angela Davis talks with Gary Hines, the founder of Sounds of Blackness, about the history and influence of Black artists across all musical genres. Guests: Gary Hines is the founder, music director and producer of Sounds of Blackness, a Grammy Award-winning vocal and instrumental group from Minnesota that blends gospel, R&B, soul and jazz music. Subscribe to the MPR News with Angela Davis podcast on: Apple Podcasts, Spotify or RSS. Use the audio player above to listen to the full conversation.
In How Schools Make Race: Teaching Latinx Racialization in America, (Harvard Education PR, 2024) Laura C. Chávez-Moreno uncovers the process through which schools implicitly and explicitly shape their students' concept of race and the often unintentional consequences of this on educational equity. Dr. Chávez-Moreno sheds light on how the complex interactions among educational practices, policies, pedagogy, language, and societal ideas interplay to form, reinforce, and blur the boundaries of racialized groups, a dynamic which creates contradictions in classrooms and communities committed to antiracism. Dr. Chávez-Moreno urges readers to rethink race, to reconceptualize Latinx as a racialized group, and to pay attention to how schools construct Latinidad (a concept about Latinx experience and identity) in relation to Blackness, Indigeneity, Asianness, and Whiteness. The work explores, as an example, how Spanish-English bilingual education programs engage in race-making work. It also illuminates how schools can offer ambitious teachings to raise their students' critical consciousness about race and racialization. Ultimately, Dr. Chávez-Moreno's groundbreaking work makes clear that understanding how our schools teach about racialized groups is crucial to understanding how our society thinks about race and offers solutions to racial inequities. The book invites educators and scholars to embrace ambitious teaching about the ambivalence of race so that teachers and students are prepared to interrogate racist ideas and act toward just outcomes. Our host is: Dr. Christina Gessler, who is the producer of the Academic Life podcast. Playlist for listeners: Teaching About Race and Racism in the College Classroom Transforming Hispanic Serving Institutions for Equity and Justice We Are Not Dreamers: Undocumented Scholars Theorize Undocumented Life in the United States Presumed Incompetent Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading and sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 250+ Academic Life episodes? Find them here. And thank you for listening! Our guest is: Dr. Laura C. Chávez-Moreno, who is assistant professor in the César E. Chávez Department of Chicana/o and Central American Studies at the University of California Los Angeles. Her research has been recognized with multiple awards, including from the American Educational Research Association and the National Academy of Education/Spencer Foundation. She is the author of How Schools Make Race, winner of a 2025 AAHHE Book of the Year Award, and a 2025 Nautilus Silver Book Award. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latino-studies
In How Schools Make Race: Teaching Latinx Racialization in America, (Harvard Education PR, 2024) Laura C. Chávez-Moreno uncovers the process through which schools implicitly and explicitly shape their students' concept of race and the often unintentional consequences of this on educational equity. Dr. Chávez-Moreno sheds light on how the complex interactions among educational practices, policies, pedagogy, language, and societal ideas interplay to form, reinforce, and blur the boundaries of racialized groups, a dynamic which creates contradictions in classrooms and communities committed to antiracism. Dr. Chávez-Moreno urges readers to rethink race, to reconceptualize Latinx as a racialized group, and to pay attention to how schools construct Latinidad (a concept about Latinx experience and identity) in relation to Blackness, Indigeneity, Asianness, and Whiteness. The work explores, as an example, how Spanish-English bilingual education programs engage in race-making work. It also illuminates how schools can offer ambitious teachings to raise their students' critical consciousness about race and racialization. Ultimately, Dr. Chávez-Moreno's groundbreaking work makes clear that understanding how our schools teach about racialized groups is crucial to understanding how our society thinks about race and offers solutions to racial inequities. The book invites educators and scholars to embrace ambitious teaching about the ambivalence of race so that teachers and students are prepared to interrogate racist ideas and act toward just outcomes. Our host is: Dr. Christina Gessler, who is the producer of the Academic Life podcast. Playlist for listeners: Teaching About Race and Racism in the College Classroom Transforming Hispanic Serving Institutions for Equity and Justice We Are Not Dreamers: Undocumented Scholars Theorize Undocumented Life in the United States Presumed Incompetent Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading and sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 250+ Academic Life episodes? Find them here. And thank you for listening! Our guest is: Dr. Laura C. Chávez-Moreno, who is assistant professor in the César E. Chávez Department of Chicana/o and Central American Studies at the University of California Los Angeles. Her research has been recognized with multiple awards, including from the American Educational Research Association and the National Academy of Education/Spencer Foundation. She is the author of How Schools Make Race, winner of a 2025 AAHHE Book of the Year Award, and a 2025 Nautilus Silver Book Award. 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 How Schools Make Race: Teaching Latinx Racialization in America, (Harvard Education PR, 2024) Laura C. Chávez-Moreno uncovers the process through which schools implicitly and explicitly shape their students' concept of race and the often unintentional consequences of this on educational equity. Dr. Chávez-Moreno sheds light on how the complex interactions among educational practices, policies, pedagogy, language, and societal ideas interplay to form, reinforce, and blur the boundaries of racialized groups, a dynamic which creates contradictions in classrooms and communities committed to antiracism. Dr. Chávez-Moreno urges readers to rethink race, to reconceptualize Latinx as a racialized group, and to pay attention to how schools construct Latinidad (a concept about Latinx experience and identity) in relation to Blackness, Indigeneity, Asianness, and Whiteness. The work explores, as an example, how Spanish-English bilingual education programs engage in race-making work. It also illuminates how schools can offer ambitious teachings to raise their students' critical consciousness about race and racialization. Ultimately, Dr. Chávez-Moreno's groundbreaking work makes clear that understanding how our schools teach about racialized groups is crucial to understanding how our society thinks about race and offers solutions to racial inequities. The book invites educators and scholars to embrace ambitious teaching about the ambivalence of race so that teachers and students are prepared to interrogate racist ideas and act toward just outcomes. Our host is: Dr. Christina Gessler, who is the producer of the Academic Life podcast. Playlist for listeners: Teaching About Race and Racism in the College Classroom Transforming Hispanic Serving Institutions for Equity and Justice We Are Not Dreamers: Undocumented Scholars Theorize Undocumented Life in the United States Presumed Incompetent Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading and sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 250+ Academic Life episodes? Find them here. And thank you for listening! Our guest is: Dr. Laura C. Chávez-Moreno, who is assistant professor in the César E. Chávez Department of Chicana/o and Central American Studies at the University of California Los Angeles. Her research has been recognized with multiple awards, including from the American Educational Research Association and the National Academy of Education/Spencer Foundation. She is the author of How Schools Make Race, winner of a 2025 AAHHE Book of the Year Award, and a 2025 Nautilus Silver Book Award. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
In How Schools Make Race: Teaching Latinx Racialization in America, (Harvard Education PR, 2024) Laura C. Chávez-Moreno uncovers the process through which schools implicitly and explicitly shape their students' concept of race and the often unintentional consequences of this on educational equity. Dr. Chávez-Moreno sheds light on how the complex interactions among educational practices, policies, pedagogy, language, and societal ideas interplay to form, reinforce, and blur the boundaries of racialized groups, a dynamic which creates contradictions in classrooms and communities committed to antiracism. Dr. Chávez-Moreno urges readers to rethink race, to reconceptualize Latinx as a racialized group, and to pay attention to how schools construct Latinidad (a concept about Latinx experience and identity) in relation to Blackness, Indigeneity, Asianness, and Whiteness. The work explores, as an example, how Spanish-English bilingual education programs engage in race-making work. It also illuminates how schools can offer ambitious teachings to raise their students' critical consciousness about race and racialization. Ultimately, Dr. Chávez-Moreno's groundbreaking work makes clear that understanding how our schools teach about racialized groups is crucial to understanding how our society thinks about race and offers solutions to racial inequities. The book invites educators and scholars to embrace ambitious teaching about the ambivalence of race so that teachers and students are prepared to interrogate racist ideas and act toward just outcomes. Our host is: Dr. Christina Gessler, who is the producer of the Academic Life podcast. Playlist for listeners: Teaching About Race and Racism in the College Classroom Transforming Hispanic Serving Institutions for Equity and Justice We Are Not Dreamers: Undocumented Scholars Theorize Undocumented Life in the United States Presumed Incompetent Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading and sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 250+ Academic Life episodes? Find them here. And thank you for listening! Our guest is: Dr. Laura C. Chávez-Moreno, who is assistant professor in the César E. Chávez Department of Chicana/o and Central American Studies at the University of California Los Angeles. Her research has been recognized with multiple awards, including from the American Educational Research Association and the National Academy of Education/Spencer Foundation. She is the author of How Schools Make Race, winner of a 2025 AAHHE Book of the Year Award, and a 2025 Nautilus Silver Book Award. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/academic-life
In How Schools Make Race: Teaching Latinx Racialization in America, (Harvard Education PR, 2024) Laura C. Chávez-Moreno uncovers the process through which schools implicitly and explicitly shape their students' concept of race and the often unintentional consequences of this on educational equity. Dr. Chávez-Moreno sheds light on how the complex interactions among educational practices, policies, pedagogy, language, and societal ideas interplay to form, reinforce, and blur the boundaries of racialized groups, a dynamic which creates contradictions in classrooms and communities committed to antiracism. Dr. Chávez-Moreno urges readers to rethink race, to reconceptualize Latinx as a racialized group, and to pay attention to how schools construct Latinidad (a concept about Latinx experience and identity) in relation to Blackness, Indigeneity, Asianness, and Whiteness. The work explores, as an example, how Spanish-English bilingual education programs engage in race-making work. It also illuminates how schools can offer ambitious teachings to raise their students' critical consciousness about race and racialization. Ultimately, Dr. Chávez-Moreno's groundbreaking work makes clear that understanding how our schools teach about racialized groups is crucial to understanding how our society thinks about race and offers solutions to racial inequities. The book invites educators and scholars to embrace ambitious teaching about the ambivalence of race so that teachers and students are prepared to interrogate racist ideas and act toward just outcomes. Our host is: Dr. Christina Gessler, who is the producer of the Academic Life podcast. Playlist for listeners: Teaching About Race and Racism in the College Classroom Transforming Hispanic Serving Institutions for Equity and Justice We Are Not Dreamers: Undocumented Scholars Theorize Undocumented Life in the United States Presumed Incompetent Welcome to Academic Life, the podcast for your academic journey—and beyond! You can support the show by downloading and sharing episodes. Join us again to learn from more experts inside and outside the academy, and around the world. Missed any of the 250+ Academic Life episodes? Find them here. And thank you for listening! Our guest is: Dr. Laura C. Chávez-Moreno, who is assistant professor in the César E. Chávez Department of Chicana/o and Central American Studies at the University of California Los Angeles. Her research has been recognized with multiple awards, including from the American Educational Research Association and the National Academy of Education/Spencer Foundation. She is the author of How Schools Make Race, winner of a 2025 AAHHE Book of the Year Award, and a 2025 Nautilus Silver Book Award. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/education
Dance Scholar Mora-Amina Parker illuminates the historical and cultural context of Mr. Talley Beatty's choreography as well as the significant impact on in her course as a professional dancer after discovering his ballets.
Get access to this entire episode as well as all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.We went exceptionally long on the late John Singleton's undersung period western Rosewood, a film (and filmmaker) whose fingerprints are all over Ryan Coogler's recent box office sensation, Sinners. Rosewood tells the story of an independent Black township in Florida and the barbaric racial violence it faced in 1923, incited by a white woman's false accusation of assault and the Klan-assisted mob that followed. It's believed that over 100 Black citizens were murdered during the attacks, though the true number has never been properly counted.Despite the brutality, the legacy of Rosewood was forgotten—suppressed for nearly 60 years by both those who endured it and those who carried out the violence—until investigators uncovered the truth. That reckoning ultimately led to a 1994 vote in the Florida State Legislature to pay reparations to the survivors and their descendants.In Singleton's hands, the story of Rosewood becomes a rich, downtempo historical epic of properly grave tone; a film that never shies away from the violent realities of Black life in America's south in the early 20th century, the racial animus stoked by class anxieties and lingering slavery era resentments, and the complicity of white audiences and their ancestors in carrying out the violence that shaped our country's past and present.We discuss Singleton's inimitable capacity to juggle the rhythms of mainstream studio moviemaking with the formal radicalism of a Black story told with limited equivocation and compromise, as well as how blockbuster moviemaking primes us for absolution rather than honest reckoning. Then, we explore the rich character work within the film, how Singleton utlizies the embellishments of genre and archetype to root Blackness in a cinematic history linked conspicuously to white supremacy, and the refreshing stroke of having "no good white guys" in the movie. Finally, we relate the film to Coogler's latest, where it achieves a similar filmic mastery as well as where we feel it falls short of Singleton's vision.Read The Rosewood Massacre at Esquire MagazineWatch The 1983 Rosewood Massacre segment from 60 MinutesRead Robert Daniels on Sinners at Roger Ebert....Our theme song is "Mirror" by Chris Fish.
Will Ian return? Will there be a Halo of Blackness? Will Tuon die? Come listen and find out! LAFO! Enjoy!
Gloria Purvis joins the pod to discuss Carmelite spirituality, the legacy of Black Americans in the Catholic Church, and Church politics. Read our first interview in America https://www.americamagazine.org/faith/2020/09/23/gloria-purvis-interview-racism-pro-life-politics-devilSubscribe to the Substack: https://cracksinpomo.substack.com
In this episode, Jordan and Leticia interview Lydia Diamond and learn about her career as a playwright and her hopes for expanding Black theatre.
The Ghanaian artist Amoako Boafo has attracted global fame for his bold and sensual portraits. He paints bodies and faces using his fingertips instead of a brush, capturing form through direct, tactile gestures. When he went to art school in Vienna, he was struck by the extent to which Black subjects had been overlooked in global art. Determined to change the status quo, he drew inspiration from early 20th Century Viennese artists like Gustav Klimt and Egon Schiele and added his own techniques to invent a fresh new style of portraiture. Lucy Ash follows his preparations for a major new show at Gagosian in London. It involves a transformation of the gallery space into a full-scale recreation of a Ghanaian courtyard – just like the shared space in which he was raised. With the help of his collaborator, Glenn De Roché, an architect famous for community buildings and with an artist friend who produced a set of playing cards, especially for the event. This episode of The Documentary, comes to you from In the Studio, exploring the processes of the world's most creative people.
This week we will use the origin story of Philadelphia Freedom Schools to revisit the essential components of an African education: The intergenerational transmission of knowledge, values and wisdom; the development of character, social responsibility and accountability; and the training of next and future generations to assume roles currently held by elders. By re-membering from the deep well of African thought and practice, can “Blackness,” a concept invented as a tool of oppression, be recrafted beyond a strategy for resistance to become a space for social perfectibility?JOIN KNARRATIVE: https://www.knarrative.com it's the only way to get into #Knubia, where these classes areheld live with a live chat.To shop Go to:TheGlobalMajorityMore from us:Knarrative Twitter: https://twitter.com/knarrative_Knarrative Instagram: https://www.instagram.com/knarrative/In Class with Carr Twitter: https://twitter.com/inclasswithcarrSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
On this payday, Amber and Erika are joined by Broke-ish all-star, Dr. Kehinde Andrews, to discuss his latest book, “Nobody Can Give You Freedom: The Real Mission of Malcolm X”. Malcolm X, the foundational inspiration of Season 11, articulated a vision of Black radicalism and liberation that informs how we engage the global fight against anti-Blackness and systemic oppression. Dr. Andrews helps us clarify Malcolm's liberatory strategies and political ethos—compellingly outlining America's injustice to the broader quest for freedom for all people of African descent. This season's episodes will not just focus on the broken “ish”, but each payday we will highlight what viable solutions we can glean from Minister Malcolm's work. Press play to get the scoop!
Alice Walker is a renowned author. She's also a grave hunter. In the 1970s, she set out to discover the final resting place of a long lost voice of authentic Blackness. What she found changed history forever. _____________ 2-Minute Black History is produced by PushBlack, the nation's largest non-profit Black media company. PushBlack exists to amplify the stories of Black history you didn't learn in school. You make PushBlack happen with your contributions at BlackHistoryYear.com — most people donate $10 a month, but every dollar makes a difference. If this episode moved you, share it with your people! Thanks for supporting the work.The production team for this podcast includes Cydney Smith, Len Webb, and Lilly Workneh. Our editors are Lance John and Avery Phillips from Gifted Sounds Network. Julian Walker serves as executive producer." To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
The Manhattan Institute, a conservative think tank, ended its relationship with noted Brown University economist Glenn Loury after he was critical of Israel's actions in Gaza. The cancelation followed an appearance from fellow Brown professor and Israeli historian Omar Bartov on his podcast, during which Bartov offered an analysis of the Gaza genocide that reflected international consensus on Israeli violations of international law. Professor Loury joins Briahna Joy Gray for a must-watch two hour discussion in which Loury reflects on his career as a Black conservative, Ta-Nehesi Coates' book The Message, and the fact that his own Blackness informs his sympathetic attitude toward the Palestinian people. Does identity matter after all? As conservatives attempt to strip funding from the National African American History Museum and obstruct educators from teaching diverse histories, does Loury have any regrets about supporting attacks on "woke" pedagogy? Also, Loury debriefs on his viral interview with Tucker Carlson, and how his lefty wife has helped him to become more establishment in recent years. Subscribe to Bad Faith on YouTube for video of this episode. Find Bad Faith on Twitter (@badfaithpod) and Instagram (@badfaithpod).
Episode 275 - IT STINKS We kick things off with #OFFTHEDOME
Episode No. 709 features author Adrienne L. Childs and curator Iris Moon. Childs is the author of "Ornamental Blackness: The Black Figure in European Decorative Arts." The book, which was published by Yale University Press, examines the role decorative arts played in the representation of Black people within European visual and material culture. Amazon and Bookshop offer it for $44-78. From the show: The exhibition guide to the 2022-23 Henry Moore Institute exhibition "Race, Sexuality and Disorder in Victorian Sculpture," which Childs co-curated. Moon is the curator of "Monstrous Beauty: A Feminist Revision of Chinoiserie" at the Metropolitan Museum of Art, New York. The exhibition is a feminist construction of the story of European porcelain. Chinese porcelain arrived in early modern Europe and led to the emergence of chinoiserie, a decorative style that foregrounded European fantasies about the East and the exotic, as well as about women, sexuality, and race. It is on view through August 17. The exhibition catalogue was published by the Met. Amazon and Bookshop offer it for about $35. Instagram: Adrienne Childs, Tyler Green.
The Dominican Republic has deported nearly 150,000 people it claims are of Haitian descent since October 2024. Many of them are unaccompanied minors or people born in the Dominican Republic but stripped of citizenship in 2013. While officials say they are enforcing immigration laws, a recent Al Jazeera documentary points to a deeper history of anti-Blackness and anti-Haitian sentiment on the island. In this episode: Natasha Del Toro (@ndeltoro), Al Jazeera journalist Episode credits: This episode was produced by Tamara Khandaker, Sonia Bhagat and Ashish Malhotra, with Phillip Lanos, Spencer Cline, Khaled Soltan, Mariana Navarrete, Kisaa Zehra, Remas Alhawari, Kingwell Ma, and our guest host, Manuel Rapalo. It was edited by Kylene Kiang. Our sound designer is Alex Roldan. Our video editors are Hisham Abu Salah,Mohannad Al-Melhem, Kylene Kiang. Alexandra Locke is The Take’s executive producer. Ney Alvarez is Al Jazeera’s head of audio. Connect with us: @AJEPodcasts on Instagram, X, Facebook, Threads and YouTube
BA Fam, Buckle up! This week’s episode is a ride. Mandi sits down with author Cebo Campbell to talk about his debut novel “Sky Full of Elephants”, a bold, emotional story that begins with every white person in North America vanishing and unfolds into a layered exploration of Blackness, identity, and healing. Cebo opens up about the personal roots of the story, the inspiration behind its unforgettable characters, and how fiction helps us imagine freedom. He also shares his journey from broke front desk clerk to building a million-dollar creative agency and why giving yourself permission to fail might be the key to your best work. What You’ll Hear in This Episode: -The real-life microaggression that inspired the title *Sky Full of Elephants* -What it’s like to grow up biracial in a 98% white town—and how that shows up in fiction -The power of water, lavender, and legacy in Black storytelling -Cebo’s career pivot from college football to creative strategy to published author -Why writing a bad book might be the first step to writing a great one
Hear an Afro-Dominican perspective on Sicily, Vienna, Sri Lanka, India, Strasbourg, the Paris Olympics, Mexico & Vietnam. _____________________________ Subscribe to The Maverick Show's Monday Minute Newsletter where I email you 3 short items of value to start each week that you can consume in 60 seconds (all personal recommendations like the latest travel gear I'm using, my favorite destinations, discounts for special events, etc.). Follow The Maverick Show on Instagram ____________________________________ Elsie Paulino joins Matt in person in New York City for this conversation over a bottle of French wine, and they start talking about the recent WITS Travel Creator Summit that they both attended in NYC. Elsie then talks about her parents story immigrating to the U.S. from the Dominican Republic and her experience growing up in an immigrant home in the NYC-area. She reflects on navigating the milieu of Blackness in the U.S. as an Afro-Latina and also the dynamics of anti-Blackness in the DR. Next, she explains how her interest in world travel developed and shares her journey studying abroad in Sicily in high school and Vienna in College. Elsie then shares travel stories from Sri Lanka, India, Vietnam, Strasbourg, and attending the closing ceremony of the 2024 Paris Olympics. Finally, she talks about falling in love with Mexico and the life-changing experience of attending Dia de Los Muertos in Oaxaca. FULL SHOW SHOWS INCLUDING DIRECT LINKS TO EVERTHING DISCUSSED ARE AVAILABLE HERE. ____________________________________ See my Top 10 Apps For Digital Nomads See my Top 10 Books For Digital Nomads See my 7 Keys For Building A Remote Business (Even in a space that's not traditionally virtual) Watch my Video Training on Stylish Minimalist Packing so you can join #TeamCarryOn See the Travel Gear I Use and Recommend See How I Produce The Maverick Show Podcast (The equipment, services & vendors I use) ____________________________________ ENJOYING THE SHOW? Please Leave a Rating and Review. It really helps the show and I read each one personally. You Can Buy Me a Coffee. Espressos help me produce significantly better podcast episodes! :)
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