Podcasts about Blackness

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.

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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.

Hey guys, We're back again with another episode! This week Deja shares her professional opinion on private versus public school. We move on to discuss "professionalism" in white spaces and how we show up in our full Blackness in the workplace and academic settings. We then delve into the themes of the blockbuster movie 'Sinners' such as culture appropriation, African spirituality, resistance and liberatio

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.

In this inspiring return episode, hosts Nick and Christine sit down with Rochester artist Amanda Chestnut to explore her powerful and deeply personal artistic journey. With over 30 years of experience in photography and a growing passion for ceramics, bookmaking, and fiber art, Amanda shares how she creates meaningful work that challenges perceptions and honors Black identity.The conversation explores the intersections of race, history, and community, highlighting Amanda's advocacy for equity in the arts and her ongoing efforts to make Rochester's cultural history more inclusive. She speaks candidly about the challenges artists face in the city, particularly the housing crisis and lack of representation, and her commitment to uplifting others through collaboration and opportunity sharing.Don't miss this thoughtful discussion on resilience, creativity, and the transformative power of art.About Amanda ChestnutEmail: inthismoment585@gmail.comInstagram: https://www.instagram.com/blk_amanda/Amanda Chestnut is a multimedia artist, curator, educator, publisher, and local arts loud-mouth in Rochester, New York. They have made image-based art as a photographer for 30 years. Their artwork has been exhibited throughout New York State, including at the Center for Book arts in Manhattan. Chestnut holds an MFA in Visual Studies from Visual Studies Workshop through The College at Brockport, SUNY. During that time, they held graduate assistantships at Visual Studies Workshop and in the Criminal Justice Department, both at the College at Brockport. Recent lectures and radio appearances focused on community action, equity in user experiences in digital platforms, curatorial practices, arts funding, the English language, and the over-policing of Blackness in the United States.More About That Sounds Terrific in the 585 – Hosts Nick Koziol & Christine GreenFor more information on That Sounds Terrific in the 585, visit our website at That Sounds Terrific and be sure to follow us on Facebook, Twitter, and Instagram. If you or someone you know is doing something terrific in the 585 area and should be featured on our show, email us at thatsoundsterrific@gmail.com.Special Thanks To Our Key Supporters585 Magazine and their team for their support with the That Sounds Terrific in the 585 podcast. Be sure to become a subscriber of this terrific magazine - learn more at https://585mag.comThank you to Morgan Brown and Meadow Viscuso, our terrific intern duo from SUNY Fredonia for all their hard work and for lending their voices and music to the Intro and Outro of the That Sounds Terrific in the 585!

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

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

University of Georgia professor, Rafiki Jenkins, joins Doc and Mike to discuss the origins of human monstrosity (can a human be monstrous?) and how horror fictions presents and complicates history and American culture. We hope you have a fortunate Friday the 13th!   Jerry Rafiki Jenkins is Assistant Director of the Institute for African American Studies at the University of Georgia. Rafiki holds a doctorate in Literature from the University of California, San Diego, and his research focuses on Black speculative fiction and film, with an emphasis on horror, and future human studies. Rafiki is the author of Anti-Blackness and Human Monstrosity in Black American Horror Fiction (Ohio State UP, 2024) and The Paradox of Blackness in African American Vampire Fiction (Ohio State UP, 2019), and he co-edited, with Martin Japtok, Human Contradictions in Octavia E. Butler's Work (Palgrave Macmillan, 2020) and Authentic Blackness/Real Blackness: Essays on the Meaning of Blackness in Literature and Culture (Peter Lang, 2011). Rafiki has also authored several book chapters, and his peer-reviewed articles appear in Pacific Coast Philology, Screening Noir, African American Review, Journal of Children's Literature, and Science Fiction Studies.     About this podcast: MONSTERS! They haunt our days and chill our dreaming nights, to paraphrase Emily Dickinson. There's not a population on earth that does not have its own unique monster stories to tell to frighten, but also to instruct on the nature of good and evil, right and wrong. But what happens when monsters get out of control, when the monstrous imagination starts to bleed over into the real world? What are the effects of monsters on real people's real lives? This podcast examines the histories and mysteries of some of our favorite monsters to unlock their secrets and expose their influence on our lives.   About the hosts: Michael Chemers (MFA, PhD) is a Professor of Dramatic Literature in the Department of Theater Arts at UC Santa Cruz. His work on monsters includes The Monster in Theatre History: This Thing of Darkness (London, UK: Routledge 2018). Dr. Chemers is the Founding Director of The Center for Monster Studies. Formerly the Founding Director of the Bachelor of Fine Arts in Dramaturgy Program at Carnegie Mellon University, he joined the faculty of UCSC in 2012. He is also the author of Ghost Light: An Introductory Handbook for Dramaturgy (Carbondale, IL: Southern Illinois University Press, 2010) and Staging Stigma: A Critical Examination of the American Freak Show (New York: Palgrave MacMillan, 2007). Dr. Chemers is also an actor, a juggler, and a writer of drama. Mike Halekakis is an entrepreneur, business owner, internet marketer, software engineer, writer, musician, podcaster, and hardcore situational enthusiast. He is the co-founder of What We Learned, a company that specializes in compassionate training courses on complex adult subjects such as caregiving for people who are sick, planning for death, and administering after the loss of a loved one. He is also the CEO of Moneyfingers Inc., a company that trains people on how to successfully create, market, and sell products on the internet. When not burning the candle at both ends with a blowtorch, Mike loves video games, outdoor festivals, reading comics and novels, role-playing, writing and playing music, hanging out with the world's best cats, and spending time with his amazing wife and their collective worldwide friend-group.

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).

In this heartfelt episode of Hot Topics, hosts J. Fotsch and Will Cox sit down with Zach Troutman—coach, community leader and founder of Follow the Leader—to discuss the impact of intentional fatherhood, mentorship and vulnerability. Zach opens up about growing up without his dad, losing his best friend to suicide and how these experiences shaped his mission to provide stability, openness and support for his children and others. Key points include the power of transparency in fatherhood, how grief can be channeled into advocacy and mentorship and why dads must model emotional awareness for their kids. Zach also shares how his approach to parenting—screen-free weekdays, consistent structure and honest conversations—helps build strong, emotionally resilient sons. Through his coaching and suicide prevention work, he inspires others to love deeply, lead intentionally and step in as father figures where needed. Episode Highlights [02:56] – “Being their dad has opened me up because I don't want any of the dirtiness inside of me to get on them.” [05:57] – “I wanted to keep Adam's name alive… to create safe spaces for students, adults, businesses.” [10:39] – “Sometimes people don't understand—like, I can't meet you where you're at if I don't know where you're at.” [17:58] – “God, if they make a mistake today, let it be their mistake and not because they followed someone.” [25:23] – “I don't want my kids to ever think their Blackness is a handicap. I'm like, no—it's a superpower.” [30:54] – “It is literally set up for us to be mediocre parents... but being a great father, you gotta be intentional.” Resources

Episode 275 - IT STINKS We kick things off with #OFFTHEDOME

What does white supremacy culture look like in everyday organizational life — and how do we move beyond surface-level DEI efforts to create real change? In this 4 part micro-learning series, we invite back in anti-racist facilitator and previous Napcast guest, Toi Sing-Woo (she/her) to discuss white supremacy culture and ways it shows up in nonprofits and early learning spaces. In part 2 we trace how anti-Blackness, anti-Indigeneity, and anti-Asian racism show up in early childhood spaces and how they're all connected under the larger system of white supremacy culture. We talk about the importance of naming these patterns and why it matters in our classrooms, policies, and leadership decisions.Interested in bringing Nick and Mike to your community? Got an idea for an episode? Have some comments? Email us at napcast206.com and let's talk! Don't forget to follow us on Instagram at @napcast206 or https://www.instagram.com/napcast206/

Episode 275 - IT STINKS We kick things off with #OFFTHEDOME

Ep. 248 Adrienne L. Childs is an independent scholar, art historian, and curator. She is Senior Consulting Curator at The Phillips Collection. Her current book is an exploration of Black figures in European decorative arts entitled Ornamental Blackness: The Black Figure in European Decorative Arts, published by Yale University Press. She is currently co-curator of Vivian Browne: My Kind of Protest for The Phillips Collection. She recently co-curated The Colour of Anxiety: Race, Sexuality and Disorder in Victorian Sculpture at The Henry Moore Institute in Leeds, England. She was the guest curator of Riffs and Relations: African American Artists and the European Modernist Tradition at The Phillips Collection in Washington DC, 2020. In April 2022 The High Museum of Art awarded Childs the 2022 Driskell Prize in recognition of her contribution to African American art and art history. Childs co-curated The Black Figure in the European Imaginary at The Cornell Fine Arts Museum at Rollins College in 2017. She is co-editor of the volume essays Blacks and Blackness in European Art of the Long Nineteenth Century, Routledge. She also contributed an essay on art and activism to Volume V, part II of The Image of the Black in Western Art edited by Henry Louis Gates, Jr. and David Bindman. As former curator at the David C. Driskell Center at the University of Maryland she curated many exhibitions including Her Story: Lithographs by Margo Humphrey; Arabesque: The Art of Stephanie Pogue; Creative Spirit: The Art of David C. Driskell and Tradition Redefined: The Larry and Brenda Thompson Collection of African American Art. Childs holds a BA from Georgetown University, an MBA from Howard University and a PhD in the History of Art from the University of Maryland. Photocredit: Rodrigo Salido Moulinié  Website https://www.adriennelchilds.com/ Phillips Collection  Vivian Browne: My Kind of Protest |The Phillips Collection https://www.phillipscollection.org/sites/default/files/2025-04/phillips-collection-presents-vivian-browne-my-kind-of-protest-press-release.pdf  https://www.phillipscollection.org/press/phillips-collection-presents-multiplicity-blackness-contemporary-american-collage https://www.phillipscollection.org/event/2020-02-28-riffs-and-relations-african-american-artists-and-european-modernist-tradition Ornamental Blackness https://www.ornamentalblackness.com/ The Driskell Center https://driskellcenter.umd.edu/news/former-driskell-center-curator-adrienne-childs-phd-wins-2022-driskell-prize High Museum https://high.org/driskell-prize/adrienne-l-childs/ The Clark https://www.clarkart.edu/fellow/detail/adrienne-childs-(1) Courtauld https://courtauld.ac.uk/whats-on/reconsidering-riffs-and-relations/ Columbia University https://abolitionism.universityseminars.columbia.edu/people/adrienne-l-childs The Wadsworth https://www.thewadsworth.org/event/public-lecture-pearl-drops-and-blackamoors-the-black-body-and-pearlescent-adornment-in-european-art-with-adrienne-l-childs/ ARTnews https://www.artnews.com/art-news/news/adrienne-l-childs-david-c-driskell-prize-high-museum-1234620561/ Culture Type https://www.culturetype.com/tag/adrienne-l-childs/Enfilade  https://enfilade18thc.com/2024/09/20/lecture-adrienne-childs-on-pearl-drops-and-blackamoors/ MontclairArt Museum https://www.montclairartmuseum.org/press/press-room/montclair-art-museum-presents-landmark-exhibition-century-100-years-black-art-mam Portland Museum https://www.portlandmuseum.org/eventscalendar/2021-bernard-osher-lecture Journal Panorama https://journalpanorama.org/article/riffs-and-relations/ AHNCA https://ahnca.org/event/the-colour-of-anxiety-race-sexuality-and-disorder-in-victorian-sculpture/

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

A'ja Wilson Fans ATTACK Napheesa Collier over BLACKNESS, Sue Bird on Caitlin Clark's Ticket Refunds, Angel Reese WORST Layup Shooter in W, Reese & Nalyssa Smith Near SCRAP!

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! :)

Season 11 of Broke-ish is here! Amber and Erika are back for a new season, and they're kicking things off by bringing the Brokers up to speed about what went down during the break. After the shenanigans, the duo laid out their vision for Season 11 and how Season 10 inspired its format. Season 10's episodes were based upon debunking the ever plentiful myths and misstatements of our most infamous guest: John Hope Bryant. Like Season 10, this new season will be centered around a central figure, but it will be in celebration and pursuit of his ideals instead of debunking them. Malcolm X spent his life opposing White Supremacy and capitalism and left a Black Radical framework for the pursuit of liberation. We'll explore how Minister Malcolm's work informs our current pursuit for Black unity and the fight against systemic anti-Blackness. Tune in to get the blueprint!

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Subscribe to Bad Faith on Patreon to instantly unlock this episode and our entire premium episode library: http://patreon.com/badfaithpodcast 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).

Today on The Horror, The Hermit's Cave brings us a story from April 6, 1947, titled, The Blackness Of Terror. Listen to more from The Hermit's Cave https://traffic.libsyn.com/forcedn/e55e1c7a-e213-4a20-8701-21862bdf1f8a/TheHorror1228.mp3 Download TheHorror1228 | Subscribe | Spotify | Support The Horror