Podcasts about Blackness

In the past three months, more than 300,000 Black women have left the labor force. Economist and author Anna Gifty Opoku-Agyeman calls this the double tax—the compounded burden of being both a woman and a person of color in an economy designed to take more and give less. From higher prices for haircare and beauty products, to childcare that consumes a larger share of income, to systemic barriers in jobs, salaries, housing, and wealth—these hidden costs fall on women of color across the board. But for Black women, they are especially stark, leaving them with fewer opportunities, lower pay, higher living costs, and far less generational wealth than their white counterparts. Her groundbreaking book, The Double Tax: How Women of Color Are Overcharged and Underpaid, shows how these inequities aren't incidental—they're structural. And unless they're confronted, everyone pays the price. (00:01) The Double Tax on Black Women Black women's "double tax" in labor force discussed with author Anna Gifty Opoku-Agyeman, emphasizing solutions and self-advocacy. (07:06) Cost of Hair Emotional and Financial Perceived progress in racial equality, false sense of progress, hair burdens for Black women, generational trauma and societal expectations. (13:58) Navigating Beauty Standards as Black Women Growing up in predominantly Black and white educational environments, facing anti-Blackness and challenges in PWIs, finding representation and redefining beauty standards. (22:01) The Double Tax on Beauty Standards Representation and accessibility in the beauty industry for Black and Asian American women, highlighting the "double tax" and need for inclusive representation. (34:03) The Double Tax in the Workplace Legislation is needed to combat hair discrimination in the workplace, along with addressing white beauty standards and the "double tax" faced by Black professionals. (41:41) Power Dynamics and Motherhood Impact Proximity to power is unequal among races and genders, with white men dominating top professions and Black women facing the most barriers. (47:11) The Burden of Motherhood Motherhood's financial burden, childcare costs, Black women as breadwinners, and the impact of technology on education and employment. (01:01:19) The Cost of Womanhood Empowering women at all stages, advocating for oneself, and the cost of womanhood are discussed in a heartfelt chapter. #DoubleTax Learn more about your ad choices. Visit megaphone.fm/adchoices

Pulitzer Prize–winning journalist Trymaine Lee joins Shifting Culture to talk about his new book A Thousand Ways to Die and the true cost of violence in America. Known as a griot of Black survival and death, Trymaine has spent decades reporting on the lives and communities most affected by gun violence. But when he suffered a sudden heart attack at just 38, he was forced to reckon with the weight of the trauma he had carried in his body and in his family's history of generational loss. In this conversation, Trymaine traces the roots of America's cycles of violence back to slavery, systemic racism, and disinvestment, showing how those forces still shape families and neighborhoods today. He also shares how identity, mentorship, and joy can disrupt the cycle, and why nothing stops a bullet like dignity, opportunity, and love. This episode is heavy, but it's also filled with hope. Because as Trymaine reminds us, there may be a thousand ways to die, but there are also a thousand ways to live.Trymaine Lee is a Pulitzer Prize and Emmy award winning journalist and MSNBC contributor. He's the host of the “Into America” podcast where he covers the intersection of Blackness, power, and politics. A contributing author to the “1619 Project”, he has reported for The New York Times, the Huffington Post, and the New Orleans Times-Picayune. A Thousand Ways to Die is his first book.Trymaine's Book:A Thousand Ways to DieTrymaine's Recommendation:JamesSubscribe to Our Substack: Shifting CultureConnect with Joshua: jjohnson@allnations.usGo to www.shiftingculturepodcast.com to interact and donate. Every donation helps to produce more podcasts for you to enjoy.Follow on Facebook, Instagram, Twitter, Threads, Bluesky or YouTubeConsider Giving to the podcast and to the ministry that my wife and I do around the world. Just click on the support the show link belowThe Balance of GrayFaith That Challenges. Conversations that Matter. Laughs included. Subscribe Now!Listen on: Apple Podcasts SpotifySupport the show

Send us a textOn today's Concrete Genius Pod, Sauce Mackenzie sits down with Jody McFly—one of the sharpest voices in sports talk and Black manhood—to keep it all the way real. We tap in on fatherhood and mental balance, the Eagles–Cowboys matchup (Jalen Hurts, shaky Philly secondary, Pickens vs. CeeDee), Steelers strengths & concerns, and a raw, unfiltered breakdown of how sports media frames Black QBs (Lamar Jackson, Shadour Sanders) versus peers like Joe Burrow and Josh Allen.We also hit culture talk: Dame Dash (health, legacy, bridges burned), the PJ Washington & Brittany Renner clip and what young fathers can learn, plus honesty about race, bias, and why community standards matter. It's thoughtful, funny, and uncomfortable in the right ways.“I was Black before I was a fan of any team. When I see unfairness, I'm calling it.” — Jody McFly⚠️ Note: Contains strong language.Chapters00:00 – Intro: ConcreteGeniusMedia.com • Why Jody's voice matters01:00 – Family check-in: kids' sports, cheer, daycare drama, making “chicken salad” out of life03:20 – Fatherhood & mental balance: hobbies, venting, support systems, giving your partner grace05:15 – Grill therapy, early mornings, and finding stillness05:50 – Eagles–Cowboys first takes: offense ahead of defense, Hurts vs. the shaky Philly secondary07:10 – RB/WR talk: CeeDee's drops, why George Pickens makes the tough ones09:05 – Cowboys outlook, Parsons trade fallout, contract-year emotions10:18 – Jalen Carter spit vs. Dak: respect, intent, and plausible deniability12:50 – NFC favorites + a Commanders sleeper; who drops off most (Lions?)15:55 – AFC chalk: Chiefs • Bills • Ravens and why16:40 – Steelers deep dive: OL questions, WR2 concerns, Rodgers effect, win-total vibes21:30 – Week 1 script, pass rush, and “every fan's plan”21:55 – Media double standards: Lamar vs. Burrow, Shadour vs. the excuses25:00 – Pressure, rule changes, and the Josh Allen conversation27:00 – Who's fair on TV? Kurt Warner shoutout; agendas in sports media28:40 – Pablo Torre / Clippers / Ballmer: under-the-table narratives & how media fawns shift32:20 – LeBron narratives vs. reality; when honesty left the zeitgeist35:30 – Dame Dash: health, legacy, and the cost of burning bridges40:55 – PJ Washington & Brittany Renner: composure, bait, and lessons for young fathers47:30 – Passes for “racially ambiguous” women vs. Black women's labels53:00 – Michael Jackson, Blackness, and truth vs. opticsGuestJody McFly — analyst, culture critic, and unapologetic truth-teller on sports and society. Follow him on X/Twitter: @Jody_McFlyTap In / Links

Brea and Mallory talk about their most anticipated books for September and October! Email us at readingglassespodcast at gmail dot com!Reading Glasses MerchRecommendations StoreLinks -Reading Glasses Facebook GroupReading Glasses Goodreads GroupAmazon Wish ListNewsletterLibro.fmTo join our Discord channel, email us proof of your Reading-Glasses-supporting Maximum Fun membership!www.maximumfun.org/joinReadathon - 9/13Glasser Book Club Pick - The BewitchingBooks Mentioned -The Good House by Tananarive DueAnother by Paul TremblaySeptember Mother Mary Comes to Me by Arundhati RoyNonfiction, memoir, mother/daughter relationship, IndiaHot Desk by Laura DickermanRomance, book world, rival book editorsWild Reverence by Rebecca RossSet in the Divine Rivals universeAll the Way to the River by Elizabeth GilbertMemoir, love, queer, addiction, codependencyThe Secret of Secrets by Dan BrownNew Robert Langdon bookHistory Matters by David McCulloughEssay collectionAwake by Jen HatmakerMemoir, grief, divorce, infidelity, marriageWhat Can We Know by Ian McEwanSci fi, a hundred years in the future an academic searches for a mysterious poem read out loud in 2014What a Time to Be Alive by Jade ChangGrieving broke young woman accidentally become viral self help guruIt's Me They Follow by Jeannine CookMagical realism, bookstore owner helps people find love through books but is lonely herselfBest Woman by Rose DommuLiterary fiction, family dramedy, coming-of-age, trans protagonist, wedding dramaThe Wilderness by Angela FlournoyLiterary fiction, female friendship across 25 yearsVianne by Joanne HarrisSequel to ChocolatWhatever Happened to Lori Lovely? by Sarah McCoyLiterary fiction, 1950s actress leaves to become a nunLife and Death and Giants by Ron RindoLiterary fiction, teenage boy who is almost eight feet tall and changes people who meet himThe Healing Hippo of Hinode Park by Michiko Aoyama, translated by Takami NiedaLiterary fiction, feel good, Japan, people get emotionally healed by a hippo ride at a playgroundWe Love You, Bunny by Mona AwadWeird fiction, both prequel and sequel to BunnyOne of Us by Dan ChaonHorror, historical, 1915, orphaned twins on the run join a carnivalDinner at the Night Library by Hika Harada, translated by Philip GabrielLiterary, Japan, food, Tokyo library/cafe that is only open at night and serves meals inspired by books by dead authorsA Different Kind of Tension by Jonathan LethemShort stories, literary, surreal, specificWill There Ever Be Another You by Patricia LockwoodLiterary, woman with strange disease starts to lose grip on reality in pandemicLittle Movements by Lauren MorrowLiterary, race, class, art, small town, choreographySympathy Tower Tokyo by Rie Qudan, translated by Jesse KirkwoodSci fi, Japan, near future, architect designing a skyscraper for housing criminals becomes friends with chatbotThe Killer Question by Janice HallettMystery, amateur sleuth must solve a murder set during pub trivia, clubs are revealed through trivia questions, texts, and emailsA Killer Wedding by Joan O'LearyMystery, matriarch of ultra-rich Irish family is found dead at expensive weddingA Murderous Business by Cathy PegauMystery, queer, historical, NYCA Rather Peculiar Poisoning by Chrystal SchleyerHistorical cozy mystery, turn of the century, two brothers vie for the same woman, one gets poisonedThe Librarians by Sherry ThomasMystery, four librarians band together after two patrons show up deadThe Belles by Lacey N. DunhamThriller, dark academia, historical, 1950s, secluded collegeOld Money by Kelsey MillerThriller, returning to a small town twenty years later to solve murder of family memberHot Wax by M. L. RioThriller, rock and roll, road tripWitch You Would by Lia AmadorContemporary romance, paranormal, low stakes, witchesSweet Heat by Bolu BabalolaContemporary romance, second chance, wedding dramaThe Austen Affair by Madeline BellParanormal romance, feuding stars of an Austen film adaptation accidentally travel back in timeIt Seemed Like a Good Idea by Lauren BlakelyContemporary romance, small town, rom com, grumpy/sunshine, bodyguard, mistaken identity, forbidden romance, only one bedEvery Step She Takes by Alison CochrunQueer contemporary romance, travel, Portugal, sapphic, “practice” relationship that turns realIt Had to be Him by Adib KhorramGay contemporary romance, spicy, second chance, former classmates reuniting in ItalyLady Like by Mackenzi LeeHistorical queer romance, Regency, two women vying for the same duke fall in love with each otherThe Most Unusual Haunting of Edgar Lovejoy by Roan ParrishGay contemporary romance, New Orleans, low stakes, ghosts, toasty, hauntsBy the Horns by Ruby DixonSecond book in Royal Artifactual Guild seriesWitch of the Wolves by Kaylee ArcherRomantasy, witches, werewolves, Victorian, enemies to loversSpellcaster by Jaymin EveRomantasy, slow burn, dark academia, enemies to lovers, spicy, magicWhat Fury Brings by Tricia LevensellerRomantasy, spicy, princess in matriarchal fantasy world must kidnap a husband to become queenThe Shattering Peace by John ScalziOld Man's War, book 7A Ruin, Great and Free by Cadwell TurnbullThe Convergence Saga, book 3The First Thousand Trees by Premee MohamedAnnual Migration of Clouds, book 3Sunward by William AlexanderLow stakes sci fi, found family, space, courier training androidsExtremity by Nicholas BingeSci fi horror, time travel, police procedural, end of the world, Philip K Dick meets True DetectiveThief of Night by Holly BlackSequel to Book of NightThe Formidable Miss Cassidy by Meihan BoeyFantasy, horror, supernatural creatures, historical, Singapore, governessFate's Bane by C.L. ClarkNovella, sapphic romantasy, tragic, adventure, warring clansA Land So Wide by Erin A. CraigHistorical romantasy, gothic, Scottish fairytale retelling, Canadian wildernessThe Macabre by Kosoko JacksonQueer horror, art history, gay, fantasy, cursed paintingsSaltcrop by Yume KitaseiSci fi, cli fi, dystopian, two sisters on search for thirdThe Maiden and Her Monster by Maddie MartinezSapphic romantasy, Jewish folklore, gothic horror, golemsThe Faerie Morgana by Louisa MorganFantasy, Morgan le Fay reimaginingThe Summer War by Naomi NovikFantasy novella, young witch trying to undo spellAmong the Burning Flowers by Samantha ShannonFantasy, prequel to Priory of the Orange TreeUncharmed by Lucy Jane WoodRomantasy, low stakes, witches, found familyAcquired Taste by Clay McLeod ChapmanHorror, short storiesThe Autumn Springs Retirement Home Massacre by Philip FracassiHorror, funny, final girl, slasherSpread Me by Sarah GaileyHorror, erotic, novella, sci fi, mysterious specimen in remote lab breaks freePlay Nice by Rachel HarrisonHorror, haunted houseFiend by Alma KatsuHorror, powerful family with evil secretsWe Are Always Tender with Our Dead by Eric LaRoccaHorror, queer, small town, New England, violence, goreGalloway's Gospel by Sam RebeleinHorror, cult, small townWhy I Love Horror by Becky SpratfordNonfiction anthology with essays about horrorThe October Film Haunt by Michael WehuntHorror, cult horror movie, filmmakingYou Weren't Meant to be Human by Andrew Joseph WhiteQueer horror, Alien meets MidsommarWhat Stalks the Deep by T. KingfisherSworn Soldier, book 3I Want to Be Where the Song Is by Mary J. BligeMemoirStill Bobbi by Bobbi BrownMemoir, makeup industryThe Improbable Victoria Woodhull: Suffrage, Free Love, and the First Woman To Run for President by Eden CollinsworthWomen's historyArticulate: A Deaf Memoir of Voice by Rachel Renee KolbMemoirLin-Manuel Miranda: The Education of an Artist by Daniel Pollack-PelznerBiographyTruly by Lionel RichieMemoirNight People: How To Be a DJ in '90s New York City by Mark RonsonMemoirSuper Natural: How Life Thrives in Impossible Places by Alex RileyScience, creatures who live in extreme environmentsReplaceable You: Adventures in Human Anatomy by Mary RoachScience, human bodyOctoberThe Irish Goodbye by Heather Aimee O'NeillLiterary fiction, sisters returning home, Long Island, family secretsOverdue by Stephanie PerkinsLiterary fiction, librarian protagonist, couple agrees to a month of dating other people before they get marriedTom's Crossing by Mark Z. DanielewskiEpic Western, 1980s, Utah, two friends determined to rescue a pair of horsesThe Devil is a SouthpawLiterary fiction, story within a story, teen escaping from a detention centerWe'll Prescribe You Another Cat by Syou Ishida, translated by E. Madison ShimodaSequelBad Bad Girl by Gish JenAuto-fiction, mother-daughter relationship, China, moving to USSoyangri Book Kitchen by Jee-hye Kim, translated by Shanna TanLiterary fiction, woman opens bookstore/cafe and transforms communityHeart the Lover by Lily KingPrequel/sequel to Writers and LoversThe Lucky Ride by Yasushi Kitagawa, translated by Takami NiedaMagical realism, a depressed man takes a magical taxi that changes his lifeThe Land of Sweet Forever by Harper LeeShort stories, essay collectionBog Queen by Anna NorthLiterary fiction, forensic anthropologist investigates strange ancient body found in bogMinor Black Figures by Brandon TaylorLiterary fiction, NYC, queer, Blackness, art worldMenu of Happiness by Hisashi Kashiwai, translated by Jesse KirkwoodKamogawa Food Detectives, book 3We Had a Hunch by Tom RyanMystery, 3 former famous teen detectives return home to solve a new murderMockingbird Court by Juneau BlackShady Hollow, book 6Mirage City by Lev AC RosenEvander Mills, book 4The Wayfinder by Adam JohnsonHistorical fiction, Polynesian Islands, young girl on quest to save her peopleChristmas at the Women's Hotel by Daniel M. LaverySequel to Women's HotelThe Women of Artemis by Hannah LynnGreek retelling, Amazon warriors building an army to fight abusive menI am Cleopatra by Natasha SolomonsCleopatra reimaginingThe Haunting of Paynes Hollow by Kelley ArmstrongHorror, strange inheritance, lakefront cottage, secrets, something in lakeThe Unveiling by Quan BarryHorror, survival horror, film scout on cruise to Antarctic, gets stuckGirl Dinner by Olivie BlakeHorror, dark academia, exclusive sorority with secretsHerculine by Grace ByronHorror, woman stalked by malevolent force flees to commune of trans women in IndianaThe Last Witch by C.J. CookeHistorical horror, 1400s Austria, witchcraft, witch huntsIf the Dead Belong Here by Carson FaustHorror, Indigenous Southern gothic, family ghosts, search for missing kidKing Sorrow by Joe HillHorror, dark academia, rare book thief, dragon who wants bloodCrafting for Sinners by Jenny KieferHorror, queer, religious cult, craftingThe Hong Kong Widow by Kristen LoeschHistorical horror, 1950s Hong Kong, competition between mediums in a haunted houseFutility by Nuzo OnohHorror, Nigeria, women summoning spirit to get revenge on bad menHer Wicked Roots by Tanya PellHorror, queer reimagining of Rappaccini's DaughterThe Graceview Patient by Caitling StarlingHorror, autoimmune disease, experimental medical trial at weird hospitalNowhere Burning by Catriona WardHorror, abandoned ranch of infamous movie star becomes refuge for teen runaways…but with a priceThe Salvage by Anbara SalamHorror, historical, gothic, Scotland, haunted shipwreckThe Devil She Knows by Alexandria BellefleurSapphic paranormal romance, deal with a sexy demonMate by Ali HazelwoodSequel to BrideWhen I Picture You by Sasha LaurensQueer contemporary romance, sapphic, music, forced proximity, workplace romanceJulia Song is Undateable by Susan LeeContemporary romance, high powered CEO hires dating coachThirsty by Lucy LehaneGay vampire romance, rom-com, screwball comedy, enemies to loversCover Story by Mhairi McFarlaneContemporary romance, fake dating, office cultureDealing with a Desperate Demon by Charlotte SteinParanormal romance, bookstore owner, demon, magicAnd Then There Was the One by Martha WatersHistorical romance, 1930s England, murder mysteryOur Vicious Oaths by N.E. DavenportRomantasy, magic, political intrigue, enemies to loversThe Ordeals by Rachel GreenlawRomantasy, elite magical college, deadly trials, dark academia, supernatural creaturesCinder House by Freya MarskeRomantasy, queer, Gothic romance, sapphic, Cinderella retellingThe Isle in the Silver Sea by Tasha SuriRomantasy, historical, sapphic, medieval folklore, Britain, knight and witchAlchemy of Secrets by Stephanie GarberFantasy, romantasy, dark academia, historical, Los Angeles, magicThe Everlasting by Alix E. HarrowFantasy, romance, genre-bendy, reluctant lady knight and historian travel through time to rewrite their fatesWhen They Burned the Butterfly by Wen-yi LeeFantasy, sapphic, reimagining of the secret societies of postcolonial SingaporeAll That We See or Seem by Ken LieSci fi thriller, hacking, technology, virtual reality mysteryRed City by Marie LuFantasy, romance, alternative Los Angeles, magic warfare, dystopiaWitches of Dubious Origin by Jenn McKinlayLow stakes fantasy, books, witches, magic, New EnglandThe Women of Wild Hill by Kirsten MillerFantasy, modern day witches waging war on the patriarchyPsychopomp and Circumstance by Eden RoyceFantasy, Southern gothic, historical, post Reconstruction, family funeral dramaKill the Beast by Serra SwiftFantasy, The Witcher meets Howl's Moving CastleQueen Demon by Martha WellsRising World, book 2A Mouthful of Dust by Nghi VoSinging Hills, book 6The Uncool by Cameron CroweMemoirVagabond by Tim CurryMemoirFuture Boy: Back to the Future and My Journey through the Space-Time Continuum by Michael J. Fox and Nelle FortenberryMemoirJoyride by Susan OrleanMemoir, creativityPride and Pleasure: The Schuyler Sisters in an Age of Revolution by Amanda VaillHistoryThe Man of Many Fathers by Roy Wood Jr.MemoirQueer Enlightenments: A Hidden History of Lovers, Lawbreakers, and Homemakers by Anthony DelaneyHistoryThe Zorg: A Tale of Greed and Murder That Inspired the Abolition of Slavery Siddharth KaraLetter from Japan by Marie Kondo and Marie IidaNonfiction, Japanese customs that inspired Kondo's philosophy

In this special crossover episode of the Urban Roots podcast and the Columbia GSAPP's Historic Preservation Podcast, host Deqah Hussein-Wetzel has a Black history and preservation-focused conversation with award-winning journalist and historian A'Lelia Bundles about her newest book Joy Goddess: A'Lelia Walker and the Harlem Renaissance. A'Lelia Walker—daughter of Madam C.J. Walker and heiress to America's first Black woman-made fortune—was more than a symbol of inherited wealth. She was a cultural impresario, a connector of artists and activists, and an architectural patron whose Vertner Tandy-designed Villa Lewaro Estate and (rehabbed) Harlem townhouse became vital gathering places for the Black intelligentsia of the 1920s.Together, Deqah and A'Lelia Bundles, the great-granddaughter of A'Lelia Walker, explore her interest in her family's history and what she's learned about her ancestor's role in shaping Harlem's cultural landscape through hospitality, preservation, and community. The episode also delves into the challenges of researching Black women's histories, the overlooked architectural legacy of Vertner Tandy, and the significance of cultural memory in contemporary preservation work. 

In today's episode Guilaine reflects on how the perception of language and linguistics can become dislocated through a primitive colonial imaginary to the point where people do not hear language as it is.She presents a hypothesis around the ways that the literal sound of racialised people talking can become distorted and dislocated in the ears of white people listening. She draws on two anecdotes as examples, both consisting of French speakers being heard as speaking non-French languages, one in an online video from a few years ago of two Black French people, and one a personal story of racial violence that she and her mother experienced. In addition she considers some passages by Frantz Fanon in his book Black Skin, White Masks: https://www.penguin.co.uk/books/313127/black-skin-white-masks-by-fanon-frantz/9780241396667She asks what happens to the white psyche when exposed to stimuli related to Blackness and African-ness absorbed through the white imaginary. And considers the way this phenomenon distorts reality impacting how The Other is perceived. She compares it to the racial hostility that happens when someone is speaking in a rational, clear and precise way but the interlocutor cannot understand. She calls this racial contempt where people of colour's words are seen as “mumbojumbo”.She posits that this distortion functions differently from epistemic credibility and violence, it acts more as an intellectual block, playing out as a distortion, an almost physical experience, where people are literally not heard, or what is heard is not heard as is, but as imagined.Subscribe, rate and review on Apple Podcasts, Spotify, Amazon Music or wherever you get your podcasts.

An expansive volume featuring over two decades of incisive reflections on race, art and pop culture by one of the greatest artists working today This long-awaited and essential volume collects writings and interviews by Glenn Ligon, whose canonical paintings, neons and installations have been delivering a cutting examination of race, history, sexuality and culture in America since his emergence in the late 1980s. No stranger to text, the artist has routinely utilized writings from James Baldwin, Zora Neale Hurston, Richard Pryor, Gertrude Stein and others to construct work that centers Blackness within the historically white backdrop of the art world and culture writ large. Ligon began writing in the early 2000s, engaging deeply with the work of peers such as Julie Mehretu, Chris Ofili and Lorna Simpson, as well as with artists who came before him, among them Philip Guston, David Hammons and Andy Warhol. Interweaving a singular voice and a magical knack for storytelling with an astute view of art history and broader cultural shifts, this collection cements Ligon's status as one of the great chroniclers of our time. Glenn Ligon was born in the Bronx in 1960. He began as an abstract painter but shifted to text-based works which often incorporate quotes from Black authors. His work can be found in the collections of the Art Institute of Chicago, the Baltimore Museum of Art and the Museum of Modern Art, New York. 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 Engendering Blackness: Slavery and the Ontology of Sexual Violence (Stanford UP, 2025) Patrice D. Douglass interrogates the relationship between sexual violence and modern racial slavery and finds it not only inseverable but also fundamental to the structural predicaments facing Blackness in the present. Douglass contends that the sexual violability of slaves is often misappropriated by frameworks on sexual violence that privilege its occurrences as a question of ethics, sexual agency, and feminine orders of gendering. Rather, this book foregrounds Blackness as engendered by sexual violence, which forcefully (re)produces Blackness, corporeally and conceptually, as a condition that lacks the capacity to ontologically distinguish its suffering from what it means to be human. By employing and critically revising Black feminist theory and Afro-pessimism, Douglass reveals that engaging primarily with the sexualization of the slave forces theories of sexual violence to interrogate why this violence—one of the most prevalent under slavery—continues to lack a grammar of fundamental redress. There are no reparations struggles for the generational transfer of sexual violation and the inability of present frameworks to rectify the sexual stains of slavery lies precisely in the fact that what made this history possible continues to haunt arrangements of life today. Engendering Blackness urgently articulates the way our present understandings of Blackness and humanness are bound by this vexed sexual history. 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 Engendering Blackness: Slavery and the Ontology of Sexual Violence (Stanford UP, 2025) Patrice D. Douglass interrogates the relationship between sexual violence and modern racial slavery and finds it not only inseverable but also fundamental to the structural predicaments facing Blackness in the present. Douglass contends that the sexual violability of slaves is often misappropriated by frameworks on sexual violence that privilege its occurrences as a question of ethics, sexual agency, and feminine orders of gendering. Rather, this book foregrounds Blackness as engendered by sexual violence, which forcefully (re)produces Blackness, corporeally and conceptually, as a condition that lacks the capacity to ontologically distinguish its suffering from what it means to be human. By employing and critically revising Black feminist theory and Afro-pessimism, Douglass reveals that engaging primarily with the sexualization of the slave forces theories of sexual violence to interrogate why this violence—one of the most prevalent under slavery—continues to lack a grammar of fundamental redress. There are no reparations struggles for the generational transfer of sexual violation and the inability of present frameworks to rectify the sexual stains of slavery lies precisely in the fact that what made this history possible continues to haunt arrangements of life today. Engendering Blackness urgently articulates the way our present understandings of Blackness and humanness are bound by this vexed sexual history. 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 Engendering Blackness: Slavery and the Ontology of Sexual Violence (Stanford UP, 2025) Patrice D. Douglass interrogates the relationship between sexual violence and modern racial slavery and finds it not only inseverable but also fundamental to the structural predicaments facing Blackness in the present. Douglass contends that the sexual violability of slaves is often misappropriated by frameworks on sexual violence that privilege its occurrences as a question of ethics, sexual agency, and feminine orders of gendering. Rather, this book foregrounds Blackness as engendered by sexual violence, which forcefully (re)produces Blackness, corporeally and conceptually, as a condition that lacks the capacity to ontologically distinguish its suffering from what it means to be human. By employing and critically revising Black feminist theory and Afro-pessimism, Douglass reveals that engaging primarily with the sexualization of the slave forces theories of sexual violence to interrogate why this violence—one of the most prevalent under slavery—continues to lack a grammar of fundamental redress. There are no reparations struggles for the generational transfer of sexual violation and the inability of present frameworks to rectify the sexual stains of slavery lies precisely in the fact that what made this history possible continues to haunt arrangements of life today. Engendering Blackness urgently articulates the way our present understandings of Blackness and humanness are bound by this vexed sexual history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

In Engendering Blackness: Slavery and the Ontology of Sexual Violence (Stanford UP, 2025) Patrice D. Douglass interrogates the relationship between sexual violence and modern racial slavery and finds it not only inseverable but also fundamental to the structural predicaments facing Blackness in the present. Douglass contends that the sexual violability of slaves is often misappropriated by frameworks on sexual violence that privilege its occurrences as a question of ethics, sexual agency, and feminine orders of gendering. Rather, this book foregrounds Blackness as engendered by sexual violence, which forcefully (re)produces Blackness, corporeally and conceptually, as a condition that lacks the capacity to ontologically distinguish its suffering from what it means to be human. By employing and critically revising Black feminist theory and Afro-pessimism, Douglass reveals that engaging primarily with the sexualization of the slave forces theories of sexual violence to interrogate why this violence—one of the most prevalent under slavery—continues to lack a grammar of fundamental redress. There are no reparations struggles for the generational transfer of sexual violation and the inability of present frameworks to rectify the sexual stains of slavery lies precisely in the fact that what made this history possible continues to haunt arrangements of life today. Engendering Blackness urgently articulates the way our present understandings of Blackness and humanness are bound by this vexed sexual history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In Engendering Blackness: Slavery and the Ontology of Sexual Violence (Stanford UP, 2025) Patrice D. Douglass interrogates the relationship between sexual violence and modern racial slavery and finds it not only inseverable but also fundamental to the structural predicaments facing Blackness in the present. Douglass contends that the sexual violability of slaves is often misappropriated by frameworks on sexual violence that privilege its occurrences as a question of ethics, sexual agency, and feminine orders of gendering. Rather, this book foregrounds Blackness as engendered by sexual violence, which forcefully (re)produces Blackness, corporeally and conceptually, as a condition that lacks the capacity to ontologically distinguish its suffering from what it means to be human. By employing and critically revising Black feminist theory and Afro-pessimism, Douglass reveals that engaging primarily with the sexualization of the slave forces theories of sexual violence to interrogate why this violence—one of the most prevalent under slavery—continues to lack a grammar of fundamental redress. There are no reparations struggles for the generational transfer of sexual violation and the inability of present frameworks to rectify the sexual stains of slavery lies precisely in the fact that what made this history possible continues to haunt arrangements of life today. Engendering Blackness urgently articulates the way our present understandings of Blackness and humanness are bound by this vexed sexual history. 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 Engendering Blackness: Slavery and the Ontology of Sexual Violence (Stanford UP, 2025) Patrice D. Douglass interrogates the relationship between sexual violence and modern racial slavery and finds it not only inseverable but also fundamental to the structural predicaments facing Blackness in the present. Douglass contends that the sexual violability of slaves is often misappropriated by frameworks on sexual violence that privilege its occurrences as a question of ethics, sexual agency, and feminine orders of gendering. Rather, this book foregrounds Blackness as engendered by sexual violence, which forcefully (re)produces Blackness, corporeally and conceptually, as a condition that lacks the capacity to ontologically distinguish its suffering from what it means to be human. By employing and critically revising Black feminist theory and Afro-pessimism, Douglass reveals that engaging primarily with the sexualization of the slave forces theories of sexual violence to interrogate why this violence—one of the most prevalent under slavery—continues to lack a grammar of fundamental redress. There are no reparations struggles for the generational transfer of sexual violation and the inability of present frameworks to rectify the sexual stains of slavery lies precisely in the fact that what made this history possible continues to haunt arrangements of life today. Engendering Blackness urgently articulates the way our present understandings of Blackness and humanness are bound by this vexed sexual history. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bitter Kalli, writer, land worker, and founder of the Star Apple Farm and Nursery, shares their new text “Mounted: On Horses, Blackness, and Liberation.”Become a supporter of this podcast: https://www.spreaker.com/podcast/tavis-smiley--6286410/support.

Biographer Nicholas Boggs joins co-hosts Whitney Terrell and V.V. Ganeshananthan to discuss his groundbreaking new book, Baldwin: A Love Story, the first major biography of James Baldwin to be published in three decades. Boggs recalls how finding Baldwin's only children's book in a Yale library as a college student led him to track down the volume's illustrator, the French artist Yoran Cazac, Baldwin's last great love. He talks about interviewing people who had never previously spoken about their relationships with the iconic author, including Cazac, whom at least one previous biographer had wrongly guessed was deceased. Boggs reflects on the importance of considering Blackness, queerness, and chosen family as central to Baldwin's life and art. He discusses Baldwin's youth in Harlem, his years in Europe and Istanbul, and his relationships with the painters Beauford Delaney and Lucien Happersberger, the actor Engin Cezzar, and Cazac, as well as many others. Boggs considers how Baldwin's deepest friendships and romances influenced his life and work, including Another Country, Go Tell It on the Mountain, Notes of a Native Son, and Giovanni's Room. He reads from the book. To hear the full episode, subscribe through iTunes, Google Play, Stitcher, Spotify, or your favorite podcast app (include the forward slashes when searching). You can also listen by streaming from the player below. Check out video versions of our interviews on the ⁠Fiction/Non/Fiction Instagram account⁠, the ⁠Fiction/Non/Fiction YouTube Channel⁠, and our show website: ⁠https://www.fnfpodcast.net/⁠ This podcast is produced by V.V. Ganeshananthan, Whitney Terrell, and Moss Terrell. ⁠Nicholas Boggs⁠ ⁠Baldwin: A Love Story⁠ ⁠Little Man, Little Man (ed.)⁠ ⁠“They Will Try to Kill You”: James Baldwin's Fraught Hollywood Journey | Vanity Fair⁠ ⁠James Baldwin's Love Stories | Vogue⁠  ⁠James Baldwin⁠ ⁠"Open Letter to the Born Again" | The Nation⁠ “⁠If Black English Isn't a Language, Then Tell Me, What Is?⁠” | The New York Times ⁠Giovanni's Room⁠ ⁠Another Country ⁠ ⁠Notes of a Native Son⁠ ⁠Go Tell It on the Mountain⁠ ⁠Everybody's Protest Novel⁠ Others: ⁠James Baldwin′s Turkish Decade by Magdalena J. Zaborowska⁠  ⁠James Baldwin: A Biography by David Leeming Learn more about your ad choices. Visit megaphone.fm/adchoices

✦ "Cinematheque," Emory's film screening series, leads us on a deep dive into the history, present, and possible futures of cinema every spring and fall. Beginning tomorrow, August 27, through December, "Cinematheque" looks back exactly 50 years to 1975, an explosive and groundbreaking year for film, with blockbusters like "Jaws," underdog hits like "One Flew Over the Cuckoo's Nest" and offbeat outsider works like "Grey Gardens." Emory film and media professors Matthew Bernstein and Dan Reynolds recently sat down with City Lights Collective Co-host Kim Drobes to detail this season's series. ✦ WABE's Sounds Like ATL documentary series explores the vibrant Atlanta music scene. Each week, it either introduces or reintroduces you to a local artist, sharing their creative process and a few live performances. You can watch, dance, and sing along on the YouTube channel, @WABEATL. Here's a preview featuring Thee Blk Pearl. ✦ City Lights Collective member and award-winning Atlanta comedian Joel Byars is one of the hardest-working people in the business. Aside from his podcast, "Hot Breath Pod," he's always hosting comedy events around town, and now, he joins us weekly to share his picks for this week's must-see comedy events. ✦ A strange realm both familiar and unsettling greets visitors in Victoria Dugger's solo exhibition, "Must Be Nice." She's been praised for the mesmerizing marriage of cuteness and grotesque in her work, which explores Blackness, femininity, disability, and domesticity. She was recently awarded the 2024 Hudgens Prize for her work. Dugger joined WABE arts reporter Summer Evans to talk about her collection currently on view at the Hudgens Center in Duluth. ✦ Over the past decade and a half, the Atlanta-based public art organization Living Walls has transformed Atlanta's streets into a vibrant gallery of murals and cultural storytelling. And now, Living Walls is all grown up and celebrating its 15th birthday with a full quinceañera at the Goat Farm on September 13. City Lights Collective producer Josh Thane spoke with creative director Tatiana Bell about why a quinceañera felt like the perfect way to honor the milestone, and how the organization continues to shape the city's creative landscape.See omnystudio.com/listener for privacy information.

Send us a textBassist/Guitarist/Vocalist Sergeant Salsten (Deathhammer, Torpedo, Impunger, x-Warfield) visits the Morgue to give us a look into his musical journey and a history lesson on Norway's Death Black Speed Metal band Deathhammer. We will also discuss their new record “Crimson Dawn” that comes out on Hell's Headbangers Records. See you at the Morgue!music:Deathhammer-Total MetalDeathhammer-Black Speed InfernoDeathhammer-Bestial SlaughterDeathhammer-Devilish DirgeTorpedo-Heavy RockerDeathhammer-Satans HellDeathhammer-Legacy Of Paincontact: thetampamorgue@gmail.com  The Tampa Morgue Podcast can be found on Spotify, Amazon Music, Apple Music, Apple Podcasts, YouTube and most places you listen to your podcasts. 

Dom and D are back once again with another great episode. This episode they discuss: 07:54 Tyla's Identity and Backlash 09:00 Debate on Blackness and Global Identity 24:36 Klay Thompson has Spaghetti and Catfish for the first time with Meg 37:19 Jermaine Dupri on Usher vs. Chris Brown and him helping him make a classic 56:34 George Wright's story needs to be a movie 1:03:41 Uncle Nearest Lawsuit Update 1:05:38 Taral Hicks and her having a Body double in Belly    Subscribe to the Everyone Needs an Aquarius Patreon https://bit.ly/3tXnnCz  Go cop your candles from Dom at www.saint-angeles.com/candles and use the promo code: Aquarius Email the show at straightolc@gmail.com           Follow SOLC Network online Instagram: https://bit.ly/39VL542                                    Twitter: https://bit.ly/39aL395                                     Facebook: https://bit.ly/3sQn7je                            To Listen to the podcast Podbean https://bit.ly/3t7SDJH                                YouTube http://bit.ly/3ouZqJU                                Spotify http://spoti.fi/3pwZZnJ                                Apple http://apple.co/39rwjD1                                                         IHeartRadio http://ihr.fm/2L0A2y 

With previous work hailed by the New York Times as “unflinching” and “piercing,” Ashley M. Jones's Lullaby for the Grieving (Hub City Press, 2025) is her most personal collection to date. In it, Jones studies the multifaceted nature of grief: the personal grief of losing her father, and the political grief tied to Black Southern identity. How does one find a path through the deep sorrow of losing a parent? What wonders of Blackness must be suppressed to make way for “progress?” Journeying through landscapes of Alabama, the Middle Passage and Underground Railroad, interior spaces of loss and love, and her father's garden, Jones constructs both an elegy for her father and a celebration of the sacred exuberance and audacity of life. Featuring poems from her tenure as Alabama's first Black and youngest Poet Laureate, Lullaby for the Grieving finds calm in unimaginable storms and attempts to listen for the sounds of healing. Ashley M. Jones is the Poet Laureate of Alabama (2022-2026). She is the first person of color and youngest person in Alabama's history to hold this position, which was created in 1930. You can find her online at Ashley M. Jones Poetry. You can find host, Sullivan Summer at her website, on Instagram, and on Substack, where she and Ashley discuss Ashley's tenure as Poet Laureate. 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

With previous work hailed by the New York Times as “unflinching” and “piercing,” Ashley M. Jones's Lullaby for the Grieving (Hub City Press, 2025) is her most personal collection to date. In it, Jones studies the multifaceted nature of grief: the personal grief of losing her father, and the political grief tied to Black Southern identity. How does one find a path through the deep sorrow of losing a parent? What wonders of Blackness must be suppressed to make way for “progress?” Journeying through landscapes of Alabama, the Middle Passage and Underground Railroad, interior spaces of loss and love, and her father's garden, Jones constructs both an elegy for her father and a celebration of the sacred exuberance and audacity of life. Featuring poems from her tenure as Alabama's first Black and youngest Poet Laureate, Lullaby for the Grieving finds calm in unimaginable storms and attempts to listen for the sounds of healing. Ashley M. Jones is the Poet Laureate of Alabama (2022-2026). She is the first person of color and youngest person in Alabama's history to hold this position, which was created in 1930. You can find her online at Ashley M. Jones Poetry. You can find host, Sullivan Summer at her website, on Instagram, and on Substack, where she and Ashley discuss Ashley's tenure as Poet Laureate. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

In this episode, Antoinette is inspired by the NFL draft to create her own version: The Black Draft. We compete to select the strongest combinations of Blackness under the categories of "Blackest Movies, Albums, and Influential Figures of All Time to name a few. Who do you think won? Who did we miss? Join us...Contact Us:Hotline: (215) 948-2780Email: aroundthewaycurls@gmail.comPatreon: www.patreon.com/aroundthewaycurls for exclusive videos & bonus episodesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode of Faculty Spotlight, hosts Mark and Lauren sit down with faculty Alfred Lee and Xafsa Ciise, colleagues whose shared concerns—with race, bias, politics, human consciousness, and the history of science—have cultivated a fascinating and fruitful cross-disciplinary conversation. Xafsa, a social psychologist by training, kicks off the conversation with description of how she found her way into a historical investigation of trauma and its discourses, after which Alfred, a physicist by training and data scientist in practice, details the social and political questions that animate his concern with digital innovation and data applications. Along the way, their conversation touches on the surprising origins of trauma in mesmerism and animal magnetism; the experimenter's effect; simulation and deception in both trauma studies and AI discourse; scientism's bracketing of politics, and politics' return by way of history; conflicting concepts of “intelligence”; contextuality and relationality versus the conceit of universality; Freud, Fanon, and how psychoanalysis thinks about Blackness; the return of eugenics and race IQ discourses; longtermism and what a view to the far-distant future implies about the present; and the dangerously autarkic character of big tech.  The Podcast for Social Research is produced by Ryan Lentini.  Learn more about upcoming courses on our website. Follow Brooklyn Institute for Social Research on Twitter / Facebook / Instagram / Bluesky.  

A conversation with Jimmy Jam and Terry Lewis – legendary production duo who have collaborated, and had massive chart hits with Janet Jackson, Alexander O'Neal, The SOS Band, Mariah Carey, Vanessa Williams, Chaka Khan, The Human League, Sounds of Blackness and so many more... we only had ten minutes together backstage before their live show at Summer Sonic 2025 in Tokyo but it was an insightful and inspiring conversation with two all true gentlemen who also selected their own favourite music tracks.

An expansive volume featuring over two decades of incisive reflections on race, art and pop culture by one of the greatest artists working today This long-awaited and essential volume collects writings and interviews by Glenn Ligon, whose canonical paintings, neons and installations have been delivering a cutting examination of race, history, sexuality and culture in America since his emergence in the late 1980s. No stranger to text, the artist has routinely utilized writings from James Baldwin, Zora Neale Hurston, Richard Pryor, Gertrude Stein and others to construct work that centers Blackness within the historically white backdrop of the art world and culture writ large. Ligon began writing in the early 2000s, engaging deeply with the work of peers such as Julie Mehretu, Chris Ofili and Lorna Simpson, as well as with artists who came before him, among them Philip Guston, David Hammons and Andy Warhol. Interweaving a singular voice and a magical knack for storytelling with an astute view of art history and broader cultural shifts, this collection cements Ligon's status as one of the great chroniclers of our time. Glenn Ligon was born in the Bronx in 1960. He began as an abstract painter but shifted to text-based works which often incorporate quotes from Black authors. His work can be found in the collections of the Art Institute of Chicago, the Baltimore Museum of Art and the Museum of Modern Art, New York. 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

An expansive volume featuring over two decades of incisive reflections on race, art and pop culture by one of the greatest artists working today This long-awaited and essential volume collects writings and interviews by Glenn Ligon, whose canonical paintings, neons and installations have been delivering a cutting examination of race, history, sexuality and culture in America since his emergence in the late 1980s. No stranger to text, the artist has routinely utilized writings from James Baldwin, Zora Neale Hurston, Richard Pryor, Gertrude Stein and others to construct work that centers Blackness within the historically white backdrop of the art world and culture writ large. Ligon began writing in the early 2000s, engaging deeply with the work of peers such as Julie Mehretu, Chris Ofili and Lorna Simpson, as well as with artists who came before him, among them Philip Guston, David Hammons and Andy Warhol. Interweaving a singular voice and a magical knack for storytelling with an astute view of art history and broader cultural shifts, this collection cements Ligon's status as one of the great chroniclers of our time. Glenn Ligon was born in the Bronx in 1960. He began as an abstract painter but shifted to text-based works which often incorporate quotes from Black authors. His work can be found in the collections of the Art Institute of Chicago, the Baltimore Museum of Art and the Museum of Modern Art, New York. 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

We're joined by Ramon Amaro, Creative Director of Design Academy Eindhoven — an engineer, philosopher, writer, curator, and altogether critical-force-to-be-reckoned-with on the subject of computation as it intersects with concepts like culture, race, and being. We were drawn to his tour-de-force “The Black Technical Object: On Machine Learning and the Aspiration of Black Being” (2023), which is an absolute banger, re-reading Gilbert Simondon's technical object through the lens of blackness, race, and racialized technologies. This one is a wild ride, a really deep and incredibly thoughtful episode, and we make an effort to define some initial terms on the podcast — specifically the ‘pre-individuated milieu' (the space where things or ideas live before they become crystalized into social or racialized relations) and the ‘technical object' (a way that Simondon helps us think through the autonomies enjoyed by technology, that even though technological objects may be initially bound in some ways to their human partners, they are able to exert influences not just backwards on us, but influences that determine their own design evolution over time). Ramon starts the conversation with a distinction that is critical to the whole episode — that blackness is not a racial category, or moreover, that blackness is distinct from race. Race is something that happens after blackness, that impinges upon blackness as it moves from pre-individuated space and enters into the field of social relations we currently live within. This independence is critical, because it invites alternatives (and suggests, we think very rightly, that this field of social relations we currently live within, while historically situated in imperial or colonial violence, is arbitrary and exchangeable with any other possibility). A few works that are important to consider here: W.E.B Du Bois, The Souls of Black Folk — total canonSylvia Wynter's work is discussed throughout, specifically on the concept of “Man” (particularly Unsettling the Coloniality of Being/Power/Truth/Freedom: Towards the Human, After Man, Its Overrepresentation—An Argument).Gilbert Simondon, On the Mode of Existence of Technical Objects and Two Lessons on Animal and Man — both places to look for autonomy in Simondon's workFrantz Fanon, Black Skin, White Masks — implied by discussions of phenomenology/perception under racialization.Stefano Harney and Fred Moten, The Undercommons — no spoilers, but more on this later :)Thanks soooo much to Dr. Amaro for joining us! 

An expansive volume featuring over two decades of incisive reflections on race, art and pop culture by one of the greatest artists working today This long-awaited and essential volume collects writings and interviews by Glenn Ligon, whose canonical paintings, neons and installations have been delivering a cutting examination of race, history, sexuality and culture in America since his emergence in the late 1980s. No stranger to text, the artist has routinely utilized writings from James Baldwin, Zora Neale Hurston, Richard Pryor, Gertrude Stein and others to construct work that centers Blackness within the historically white backdrop of the art world and culture writ large. Ligon began writing in the early 2000s, engaging deeply with the work of peers such as Julie Mehretu, Chris Ofili and Lorna Simpson, as well as with artists who came before him, among them Philip Guston, David Hammons and Andy Warhol. Interweaving a singular voice and a magical knack for storytelling with an astute view of art history and broader cultural shifts, this collection cements Ligon's status as one of the great chroniclers of our time. Glenn Ligon was born in the Bronx in 1960. He began as an abstract painter but shifted to text-based works which often incorporate quotes from Black authors. His work can be found in the collections of the Art Institute of Chicago, the Baltimore Museum of Art and the Museum of Modern Art, New York. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In the United States, the back-to-school season signals more than just a return to “traditional” classrooms—in a moment of open white nationalist warfare on our common humanity, it is also a moment for renewed reflection on origins, connections, and relationships. This fall, a new iteration of that search in the discipline of Africana Studies takes shape with the launch of “The Black University,” an open public course running in parallel with a Howard University class that initiates students into a deeper investigation of the meaning and purpose of Black educational institutions. Rooted in our ongoing project to “Jailbreak the Black University,” the course will center on uncovering the origins of Africana Ways of Knowing, Governance formations, and the search for connected traces of Movement and Memory. As our annual Kemetic (Ancient Egyptian) Study Tour draws to a close, we are guided by a central conviction: A search for “foundational Blackness” is essential to understanding and advancing the intellectual and cultural traditions of the African world. This pursuit of “foundational Blackness”—tracing the origins, structures, and living memory of Africana educational and cultural practices—is a critical effort for reimagining and revitalizing Black institutions today.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.

America calls it pluralism, but too often it feels like something else entirely. What looks and feels like racism or cultural hostility is frequently the machinery of assimilation doing its work: the endless sanding down of edges until difference is smoothed into something palatable for the hegemon. America doesn't usually admit this outright, but it has always been the deal. The promise of pluralism was never truly “come here and be yourself.” It was “come here and add your spice to the stew — but don't change the recipe.”The metaphor is familiar: hamburgers and apple pie. That is the base, the civic religion, the cultural grammar that does not yield. On top of that, you can sprinkle flavor: salsa, turmeric, kimchi, soul food, whatever reminds you of where you came from. But try to cook an entirely different dish, live by an entirely different set of civic rules, and the sanding begins. This sanding is what many communities experience as racism — hostility, punishment, exclusion — though from the hegemon's point of view, it is simply enforcement of the rules of assimilation. The sanding will continue until you comply.I saw this more clearly when I lived in Germany under Merkel. There, the state required immigrants to attend German-language and civics classes. The demand was blunt: you can stay, but you must learn to be German in the public square. Even then, Germans would never call you “German” unless you were born to it. That is the frank honesty of an ethnostate masquerading as pluralist. America, by contrast, plays coy. Instead of explicit requirements, it wraps its assimilationist expectations in sitcoms, pop culture, advertising. Norman Lear's TV shows in the '70s told mainstream America that minorities and immigrants could be quirky, lovable, even rough around the edges — but only insofar as they were harmless and destined for eventual assimilation. The sweathogs weren't building a parallel society; they were on their way to becoming “regular” Americans.The difference today is that we've drifted into what might be called “settlement pluralism.” Entire enclaves function with little English, fully translated services, schools that allow students to test in their parents' language, and communities that operate as if the hegemon doesn't exist. This can feel tolerant, but it comes at a cost: the erosion of a shared civic baseline. The longer the hamburger-and-apple-pie core is ignored, the more likely the hegemon is to reassert itself — and when it does, it won't be with laugh tracks but with police, courts, and policy. The Dremel always comes back.African Americans, of course, have lived with this longer than anyone. Their presence predated pluralism itself, and their difference — skin color — could not be sanded away. The friction never ended. Instead, Black culture was alternately punished, tolerated as “flavor,” or commodified into the mainstream. Black churches, Black History Month, and Black Pride are acceptable flavors. But the moment Blackness asserts itself as a sovereign civic code, the sanding resumes.Pluralism in America has never been true multiculturalism. It has always been assimilation plus flavor. You can keep your parades, your cuisines, your accents, so long as you play by the hegemon's civic rules when it counts. To call the resistance to this “racism” is both right and incomplete. It is prejudice, yes — but it is also the sound of the machine grinding away, doing exactly what it was built to do.America's pluralism is real enough to allow difference, but only as garnish. The main dish never changes. And the sooner we name that honestly, the better we can understand the grinding sound that so often gets mistaken for something else.

So during this show we began at 125bpm, worked our way up to 135bpm and came back down to 127.5bpm.  A journey through Disco, beginning with a beautiful mix from the Sounds of Blackness, some fabulous Frankie Knuckles, into a Carl Cox remix of Maria.  After that, moving into Katy B and upping the tempo straight into Inner City before coming back down to brand new music with Samm and Ell Murphy.  Then going old skool with De Lacy, Shut up and Dance before finally finishing on a GTO classic..... What a journey and what an enjoyable set to play....Hope you like it as much as I did playing it

Hi Loyal Readers. Thank you for opening this week's issue of Article Club.Today's issue is dedicated to a beautiful conversation with Saint Trey W, author of this month's featured article, “They Burn Books to Burn Us Too.” He shares space with Sarai Bordeaux, Article Club contributor and Poet Laureate of Eureka, California.If you haven't yet, I hope you read the article. Then if you appreciate it, which I predict you will, I invite you to listen to the conversation, then join our discussion next Sunday, August 24. Kind, thoughtful people (like you!) will engage deeply with Saint Trey's piece on Zoom, beginning at 2:00 pm PT and ending at 3:30 pm PT.If you're interested, you can learn more and sign up by clicking the button below.When I first read “They Burn Books to Burn Us Too,” I was deeply moved. I was moved by the power of Saint Trey W's message. But I was equally moved by the beauty of his writing. Saint Trey is a poet. This essay is lyrical.“When a government begins to fear its own history,” Saint Trey writes, “it has already declared war on the people who survived it.”Yes, this is an essay about book banning. It is about erasure, the war on memory, and our government's attempt to dominate and destroy Black people. But the piece is also about dreaming. No matter the government's violence, Black people will not be silenced. They will not be unwritten. Saint Trey writes:What they do not know is that we were never written in the first place. We were sung. We were carved into tree trunks and kitchen counters and braided into our mother's hair. We are older than their archives. And our stories do not end with silence.When I finished the piece, I had three immediate thoughts:* I must share this essay with Sarai right now* Hopefully they appreciate it as much as I do* Wouldn't it be perfect if Sarai and Saint Trey got to talk to each other?If you're newish to Article Club, you may not have met Sarai yet, so here are a few words of (re)introduction: Sarai is one of the most astute readers I have ever met. Whenever we talk, they make me smarter. More importantly, Sarai helps me connect the dots and act with more compassion.So it was an obvious next step — given my three thoughts above — that I should reach out to Sarai and gather their perspective. The rest is history. Sarai loved the essay, I contacted Saint Trey, he generously said yes to doing the interview, and they met up on Zoom to talk about his beautiful piece.The result is this wholehearted conversation. Sarai and Saint Trey cover a wide range of topics. I won't try to list them all here. It was clear to me, as I listened to Sarai and Saint Trey — two poets thinking together and sharing their perspectives about a powerful essay — that I was struck by the mutual care they shared with one another. In their discussion of Saint Trey's piece, they centered on imagination and possibility, as well as the power of language and lineage.Here's an excerpt from the conversation that I especially appreciated. About ancestors, language, Blackness, libraries, and God, Saint Trey says:Our ancestors are not just bloodlines, right? They're also our bookshelves. People like Toni Morrison, you know — she taught me that language can be a spell. It can be a sword, but it also can be a sanctuary. Reading Beloved and The Bluest Eye — it was the first time I understood the sacredness of Blackness in a way, especially in its unspoken parts — her reminding us that, if you are free, then you must free somebody else.I think libraries are a portal to that. James Baldwin, giving permission to tell the truth, especially when it burns. This sort of clarity — this heat, this refusal to perform respectability — and his teaching that moral authority doesn't require approval. Audre Lorde, reminding us that silence is not going to protect us. She made queerness feel like gospel. So the reason I mentioned libraries is because they're all-encompassing of these stories. They're in a sense, I would say, akin to church, right, to those who are believers, right? For me, the way I have reimagined faith in God is in language, it is in words that, you know, are passed through vessels — the artists, the writers, the griots. All have showed me that craft and conviction can dance, right? — that words don't have to be soft to be sacred. And I think libraries, they feed us when the world try has tried to starve us.Seriously: I could listen to that passage over and over again. The clarity of Saint Trey's words — both spoken here in this conversation, as well as in “They Burn Books to Burn Us Too” — is a gift.I hope you take a listen to the conversation. A little disclaimer: The quality of the audio is a bit patchy at times, particularly at the beginning. The Internet was not behaving. It tried to be a nuisance. But it was unsuccessful, for two reasons: First, the audio smooths out after the first few minutes. Second, the quality of Sarai and Saint Trey's words will make you listen more closely and tune out the distractions.One more time, I'd like to thank Saint Trey for bringing us this piece. It's an essay I believe that everyone should read and reflect on. I appreciate your words and your generosity of spirit. And Sarai, I am grateful to you as well, not only for this conversation but also for your contribution to our reading community. An invitation to our discussion on August 24I warmly invite you to participate in our discussion on Sunday, August 24, 2:00 - 3:30 pm PT. We'll meet on Zoom. You can sign up below, it's free.Thank you for reading and listening to this week's issue. Hope you liked it.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists.   In this two-part series of Oakland Asian Cultural Center's “Let's Talk” podcast Eastside Arts Alliance is featured. Elena Serrano and Susanne Takehara, two of the founders of Eastside Arts Alliance, and staff member Aubrey Pandori will discuss the history that led to the formation of Eastside and their deep work around multi-racial solidarity.   Transcript: Let's Talk podcast episode 9  [00:00:00] Emma: My name is Emma Grover, and I am the program and communications coordinator at the Oakland Asian Cultural Center, known also as OACC. Today we are sharing the ninth episode of our Let's Talk Audio Series. Let's Talk is part of OACC'S Open Ears for Change Initiative, which was established in 2020. With this series, our goals are to address anti-Blackness in the APIA communities, discuss the effects of colorism and racism in a safe space, and highlight Black and Asian solidarity and community efforts specifically in the Oakland Chinatown area. Today's episode is a round table discussion with Elena Serrano, Susanne Takahara, and Aubrey Pandori of Eastside Arts Alliance.  [00:00:53] Aubrey: Hello everybody. This is Aubrey from Eastside Arts Alliance, and I am back here for the second part of our Let's Talk with Suzanne and Elena. We're gonna be talking about what else Eastside is doing right now in the community. The importance of art in activism, and the importance of Black and Asian solidarity in Oakland and beyond.  So I am the community archivist here at Eastside Arts Alliances. I run CARP, which stands for Community Archival Resource Project. It is a project brought on by one of our co-founders, Greg Morozumi. And it is primarily a large chunk of his own collection from over the years, but it is a Third World archive with many artifacts, journals, pens, newspapers from social movements in the Bay Area and beyond, international social movements from the 1960s forward. We do a few different programs through CARP. I sometimes have archival exhibitions. We do public engagement through panels, community archiving days. We collaborate with other community archives like the Bay Area Lesbian Archives and Freedom Archives here in Oakland and the Bay Area. And we are also working on opening up our Greg Morozumi Reading Room in May. So that is an opportunity for people to come in and relax, read books, host reading groups, or discussions with their community. We're also gonna be opening a lending system so people are able to check out books to take home and read. There'll be library cards coming soon for that and other fun things to come.  [00:02:44] So Suzanne, what are you working on at Eastside right now? [00:02:48] Susanne: Well, for the past like eight or nine years I've been working with Jose Ome Navarrete and Debbie Kajiyama of NAKA Dance Theater to produce Live Arts and Resistance (LAIR), which is a Dance Theater Performance series. We've included many artists who, some of them started out here at Eastside and then grew to international fame, such as Dohee Lee, and then Amara Tabor-Smith has graced our stages for several years with House Full of Black Women. This year we're working with Joti Singh on Ghadar Geet: Blood and Ink, a piece she choreographed, and shot in film and it's a multimedia kind of experience. We've worked with Cat Brooks and many emerging other artists who are emerging or from all over, mostly Oakland, but beyond. It's a place where people can just experiment and not worry about a lot of the regulations that bigger theaters have. Using the outside, the inside, the walls, the ceiling sometimes. It's been an exciting experience to work with so many different artists in our space.  [00:04:03] Elena: And I have been trying to just get the word out to as many different folks who can help sustain the organization as possible about the importance of the work we do here. So my main job with Eastside has been raising money. But what we're doing now is looking at cultural centers like Eastside, like Oakland Asian Cultural Center, like the Malonga Casquelord Center, like Black Cultural Zone, like the Fruitvale Plaza and CURJ's work. These really integral cultural hubs. In neighborhoods and how important those spaces are.  [00:04:42] So looking at, you know, what we bring to the table with the archives, which serve the artistic community, the organizing community. There's a big emphasis, and we had mentioned some of this in the first episode around knowing the history and context of how we got here so we can kind of maneuver our way out. And that's where books and movies and posters and artists who have been doing this work for so long before us come into play in the archives and then having it all manifest on the stage through programs like LAIR, where theater artists and dancers and musicians, and it's totally multimedia, and there's so much information like how to keep those types of places going is really critical.  [00:05:28] And especially now when public dollars have mostly been cut, like the City of Oakland hardly gave money to the arts anyway, and they tried to eliminate the entire thing. Then they're coming back with tiny bits of money. But we're trying to take the approach like, please, let's look at where our tax dollars go. What's important in a neighborhood? What has to stay and how can we all work together to make that happen?  [00:05:52] Susanne: And I want to say that our Cultural Center theater is a space that is rented out very affordably to not just artists, but also many organizations that are doing Movement work, such as Palestinian Youth Movement, Bala, Mujeres Unidas Y Activas, QT at Cafe Duo Refugees, United Haiti Action Committee, Freedom Archives, Oakland Sin Fronteras, Center for CPE, and many artists connected groups.  [00:06:22] Aubrey: Yeah, I mean, we do so much more than what's in the theater and Archive too, we do a lot of different youth programs such as Girl Project, Neighborhood Arts, where we do public murals. One of our collective members, Angie and Leslie, worked on Paint the Town this past year. We also have our gallery in between the Cultural Center and Bandung Books, our bookstore, which houses our archive. We are celebrating our 25th anniversary exhibition.  [00:06:54] Susanne: And one of the other exhibits we just wrapped up was Style Messengers, an exhibit of graffiti work from Dime, Spy and Surge, Bay Area artists and Surge is from New York City, kind of illustrating the history of graffiti and social commentary.  [00:07:30] Elena: We are in this studio here recording and this is the studio of our youth music program Beats Flows, and I love we're sitting here with this portrait of Amiri Baraka, who had a lot to say to us all the time. So it's so appropriate that when the young people are in the studio, they have this elder, magician, poet activist looking at him, and then when you look out the window, you see Sister Souljah, Public Enemy, and then a poster we did during, when Black Lives Matter came out, we produced these posters that said Black Power Matters, and we sent them all over the country to different sister cultural centers and I see them pop up somewhere sometimes and people's zooms when they're home all over the country. It's really amazing and it just really shows when you have a bunch of artists and poets and radical imagination, people sitting around, you know, what kind of things come out of it. [00:08:31] Aubrey: I had one of those Black Power Matters posters in my kitchen window when I lived in Chinatown before I worked here, or visited here actually. I don't even know how I acquired it, but it just ended up in my house somehow.  [00:08:45] Elena: That's perfect. I remember when we did, I mean we still do, Malcolm X Jazz Festival and it was a young Chicana student who put the Jazz Festival poster up and she was like, her parents were like, why is Malcolm X? What has that got to do with anything? And she was able to just tell the whole story about Malcolm believing that people, communities of color coming together  is a good thing. It's a powerful thing. And it was amazing how the festival and the youth and the posters can start those kind of conversations.  [00:09:15] Aubrey: Malcolm X has his famous quote that says “Culture is an indispensable weapon in the freedom struggle.” And Elena, we think a lot about Malcolm X and his message here at Eastside about culture, but also about the importance of art. Can we speak more about the importance of art in our activism?  [00:09:35] Elena: Well, that was some of the things we were touching on around radical imagination and the power of the arts. But where I am going again, is around this power of the art spaces, like the power of spaces like this, and to be sure that it's not just a community center, it's a cultural center, which means we invested in sound good, sound good lighting, sprung floors. You know, just like the dignity and respect that the artists and our audiences have, and that those things are expensive but critical. So I feel like that's, it's like to advocate for this type of space where, again, all those groups that we listed off that have come in here and there's countless more. They needed a space to reach constituencies, you know, and how important that is. It's like back in the civil rights organizing the Black church was that kind of space, very important space where those kind of things came together. People still go to church and there's still churches, but there's a space for cultural centers and to have that type of space where artists and activists can come together and be more powerful together.  [00:10:50] Aubrey: I think art is a really powerful way of reaching people. [00:10:54] Elena: You know, we're looking at this just because I, being in the development end, we put together a proposal for the Environmental Protection Agency before Donald (Trump) took it over. We were writing about how important popular education is, so working with an environmental justice organization who has tons of data about how impacted communities like East Oakland and West Oakland are suffering from all of this, lots of science. But what can we, as an arts group, how can we produce a popular education around those things? And you know, how can we say some of those same messages in murals and zines, in short films, in theater productions, you know, but kind of embracing that concept of popular education. So we're, you know, trying to counter some of the disinformation that's being put out there too with some real facts, but in a way that, you know, folks can grasp onto and, and get.  [00:11:53] Aubrey: We recently had a LAIR production called Sky Watchers, and it was a beautiful musical opera from people living in the Tenderloin, and it was very personal. You were able to hear about people's experiences with poverty, homelessness, and addiction in a way that was very powerful. How they were able to express what they were going through and what they've lost, what they've won, everything that has happened in their lives in a very moving way. So I think art, it's, it's also a way for people to tell their stories and we need to be hearing those stories. We don't need to be hearing, I think what a lot of Hollywood is kind of throwing out, which is very white, Eurocentric beauty standards and a lot of other things that doesn't reflect our neighborhood and doesn't reflect our community. So yeah, art is a good way for us to not only tell our stories, but to get the word out there, what we want to see changed.  So our last point that we wanna talk about today is the importance of Black and Asian solidarity in Oakland. How has that been a history in Eastside, Suzanne?  [00:13:09] Susanne: I feel like Eastside is all about Third World solidarity from the very beginning. And Yuri Kochiyama is one of our mentors through Greg Morozumi and she was all about that. So I feel like everything we do brings together Black, Asian and brown folks. [00:13:27] Aubrey: Black and Asian solidarity is especially important here at Eastside Arts Alliance. It is a part of our history. We have our bookstore called Bandung Books for a very specific reason, to give some history there. So the Bandung Conference happened in 1955 in Indonesia, and it was the first large-scale meeting of Asian and African countries. Most of which were newly independent from colonialism. They aimed to promote Afro-Asian cooperation and rejection of colonialism and imperialism in all nations. And it really set the stage for revolutionary solidarity between colonized and oppressed people, letting way for many Third Worlds movements internationally and within the United States.  [00:14:14] Eastside had an exhibition called Bandung to the Bay: Black and Asian Solidarity at Oakland Asian Cultural Center the past two years in 2022 and 2023 for their Lunar New Year and Black History Month celebrations. It highlighted the significance of that conference and also brought to light what was happening in the United States from the 1960s to present time that were creating and building solidarity between Black and Asian communities. The exhibition highlighted a number of pins, posters, and newspapers from the Black Liberation Movement and Asian American movement, as well as the broader Third World movement. The Black Panthers were important points of inspiration in Oakland, in the Bay Area in getting Asian and Pacific Islanders in the diaspora, and in their homelands organized.  [00:15:07] We had the adoption of the Black Panthers 10-point program to help shape revolutionary demands and principles for people's own communities like the Red Guard in San Francisco's Chinatown, IWK in New York's Chinatown and even the Polynesian Panthers in New Zealand. There were so many different organizations that came out of the Black Panther party right here in Oakland. And we honor that by having so many different 10-point programs up in our theater too. We have the Brown Berets, Red Guard Party, Black Panthers, of course, the American Indian Movement as well. So we're always thinking about that kind of organizing and movement building that has been tied here for many decades now.  [00:15:53] Elena: I heard that the term Third World came from the Bandung conference. [00:15:58] Aubrey: Yes, I believe that's true.  [00:16:01] Elena: I wanted to say particularly right now, the need for specifically Black Asian solidarity is just, there's so much misinformation around China coming up now, especially as China takes on a role of a superpower in the world. And it's really up to us to provide some background, some other information, some truth telling, so folks don't become susceptible to that kind of misinformation. And whatever happens when it comes from up high and we hate China, it reflects in Chinatown. And that's the kind of stereotyping that because we have been committed to Third World solidarity and truth telling for so long, that that's where we can step in and really, you know, make a difference, we hope. I think the main point is that we need to really listen to each other, know what folks are going through, know that we have more in common than we have separating us, especially in impacted Black, brown, Asian communities in Oakland. We have a lot to do.  [00:17:07] Aubrey: To keep in contact with Eastside Arts Alliance, you can find us at our website: eastside arts alliance.org, and our Instagrams at Eastside Cultural and at Bandung Books to stay connected with our bookstore and CArP, our archive, please come down to Eastside Arts Alliance and check out our many events coming up in the new year. We are always looking for donations and volunteers and just to meet new friends and family.  [00:17:36] Susanne: And with that, we're gonna go out with Jon Jang's “The Pledge of Black Asian Alliance,” produced in 2018.  [00:18:29] Emma: This was a round table discussion at the Eastside Arts Alliance Cultural Center with staff and guests: Elena, Suzanne and Aubrey.  Let's Talk Audio series is one of OACC'S Open Ears for Change projects and as part of the Stop the Hate Initiative with funds provided by the California Department of Social Services in consultation with the commission of Asian and Pacific Islander American Affairs to administer $110 million allocated over three years to community organizations. These organizations provide direct services to victims of hate and their families and offer prevention and intervention services to tackle hate in our communities. This episode is a production of the Oakland Asian Cultural Center with engineering, editing, and sound design by Thick Skin Media.  [00:19:18] A special thanks to Jon Jang for permission to use his original music. And thank you for listening.  [00:19:32] Music: Life is not what you alone make it. Life is the input of everyone who touched your life and every experience that entered it. We are all part of one another. Don't become too narrow, live fully, meet all kinds of people. You'll learn something from everyone. Follow what you feel in your heart. OACC Podcast [00:00:00] Emma: My name is Emma Grover, and I am the program and communications coordinator at the Oakland Asian Cultural Center, known also as OACC. Today we are sharing the eighth episode of our Let's Talk audio series. Let's talk as part of OACC's Open Ears for Change Initiative, which was established in 2020. With this series, our goals are to address anti-blackness in the APIA communities, discuss the effects of colorism and racism in a safe space, and highlight black and Asian solidarity and community efforts specifically in the Oakland Chinatown area.   [00:00:43] Today's guests are Elena Serrano and Suzanne Takahara, co-founders of Eastside Arts Alliance. Welcome Elena and Suzanne, thank you so much for joining today's episode. And so just to kick things off, wanna hear about how was Eastside Arts Alliance started?   [00:01:01] Susanne: Well, it was really Greg Morozumi who had a longstanding vision of creating a cultural center in East Oakland, raised in Oakland, an organizer in the Bay Area, LA, and then in New York City where he met Yuri Kochiyama, who became a lifelong mentor.   [00:01:17] Greg was planning with one of Yuri's daughters, Ichi Kochiyama to move her family to Oakland and help him open a cultural center here. I met Greg in the early nineties and got to know him during the January, 1993 “No Justice, No Peace” show at Pro Arts in Oakland. The first Bay Graffiti exhibition in the gallery. Greg organized what became a massive anti-police brutality graffiti installation created by the TDDK crew. Graffiti images and messages covered the walls and ceiling complete with police barricades. It was a response to the Rodney King protests. The power of street art busted indoors and blew apart the gallery with political messaging. After that, Greg recruited Mike Dream, Spy, and other TDK writers to help teach the free art classes for youth that Taller Sin Fronteras was running at the time.   [00:02:11] There were four artist groups that came together to start Eastside. Taller Sin Fronteras was an ad hoc group of printmakers and visual artists activists based in the East Bay. Their roots came out of the free community printmaking, actually poster making workshops that artists like Malaquias Montoya and David Bradford organized in Oakland in the early 70s and 80s.   [00:02:34] The Black Dot Collective of poets, writers, musicians, and visual artists started a popup version of the Black Dot Cafe. Marcel Diallo and Leticia Utafalo were instrumental and leaders of this project. 10 12 were young digital artists and activists led by Favianna Rodriguez and Jesus Barraza in Oakland. TDK is an Oakland based graffiti crew that includes Dream, Spie, Krash, Mute, Done Amend, Pak and many others evolving over time and still holding it down.   [00:03:07] Elena: That is a good history there. And I just wanted to say that me coming in and meeting Greg and knowing all those groups and coming into this particular neighborhood, the San Antonio district of Oakland, the third world aspect of who we all were and what communities we were all representing and being in this geographic location where those communities were all residing. So this neighborhood, San Antonio and East Oakland is very third world, Black, Asian, Latinx, indigenous, and it's one of those neighborhoods, like many neighborhoods of color that has been disinvested in for years. But rich, super rich in culture.   [00:03:50] So the idea of a cultural center was…let's draw on where our strengths are and all of those groups, TDKT, Taller Sin Fronters, Black artists, 10 – 12, these were all artists who were also very engaged in what was going on in the neighborhoods. So artists, organizers, activists, and how to use the arts as a way to lift up those stories tell them in different ways. Find some inspiration, ways to get out, ways to build solidarity between the groups, looking at our common struggles, our common victories, and building that strength in numbers.   [00:04:27] Emma: Thank you so much for sharing. Elena and Suzanne, what a rich and beautiful history for Eastside Arts Alliance.   [00:04:34] Were there any specific political and or artistic movements happening at that time that were integral to Eastside's start?   [00:04:41] Elena: You know, one of the movements that we took inspiration from, and this was not happening when Eastside got started, but for real was the Black Panther Party. So much so that the Panthers 10-point program was something that Greg xeroxed and made posters and put 'em up on the wall, showing how the 10-point program for the Panthers influenced that of the Young Lords and the Brown Berets and I Wor Kuen (IWK).   [00:05:07] So once again, it was that Third world solidarity. Looking at these different groups that were working towards similar things, it still hangs these four posters still hang in our cultural, in our theater space to show that we were all working on those same things. So even though we came in at the tail end of those movements, when we started Eastside, it was very much our inspiration and what we strove to still address; all of those points are still relevant right now.   [00:05:36] Susanne: So that was a time of Fight The Power, Kaos One and Public Enemy setting. The tone for public art murals, graphics, posters. So that was kind of the context for which art was being made and protests happened.   [00:05:54] Elena: There was a lot that needed to be done and still needs to be done. You know what? What the other thing we were coming on the tail end of and still having massive repercussions was crack. And crack came into East Oakland really hard, devastated generations, communities, everything, you know, so the arts were a way for some folks to still feel power and feel strong and feel like they have agency in the world, especially hip hop and, spray can, and being out there and having a voice and having a say, it was really important, especially in neighborhoods where things had just been so messed up for so long.   [00:06:31] Emma: I would love to know also what were the community needs Eastside was created to address, you know, in this environment where there's so many community needs, what was Eastside really honing in on at this time?   [00:06:41] Elena: It's interesting telling our story because we end up having to tell so many other stories before us, so things like the, Black Arts movement and the Chicano Arts Movement. Examples of artists like Amiri Baraka, Malaguias Montoya, Sonya Sanchez. Artists who had committed themselves to the struggles of their people and linking those two works. So we always wanted to have that. So the young people that we would have come into the studio and wanna be rappers, you know, it's like, what is your responsibility?   [00:07:15] You have a microphone, you amplify. What are some of the things you're saying? So it was on us. To provide that education and that backstory and where they came from and the footsteps we felt like they were in and that they needed to keep moving it forward. So a big part of the cultural center in the space are the archives and all of that information and history and context.   [00:07:37] Susanne: And we started the Malcolm X Jazz Arts Festival for that same reason coming out of the Bandung Conference. And then the Tri Continental, all of this is solidarity between people's movements.   [00:07:51] Emma: You've already talked about this a little bit, the role of the arts in Eastside's foundation and the work that you're doing, and I'd love to hear also maybe how the role of the arts continues to be important in the work that you're doing today as a cultural center.   [00:08:04] And so my next question to pose to you both is what is the role of the arts at Eastside?   [00:08:10] Elena: So a couple different things. One, I feel like, and I said a little bit of this before, but the arts can transmit messages so much more powerfully than other mediums. So if you see something acted out in a theater production or a song or a painting, you get that information transmitted in a different way.   [00:08:30] Then also this idea of the artists being able to tap into imagination and produce images and visions and dreams of the future. This kind of imagination I just recently read or heard because folks aren't reading anymore or hardly reading that they're losing their imagination. What happens when you cannot even imagine a way out of things?   [00:08:54] And then lastly, I just wanted to quote something that Favianna Rodriguez, one of our founders always says “cultural shift precedes political shift.” So if you're trying to shift things politically on any kind of policy, you know how much money goes to support the police or any of these issues. It's the cultural shift that needs to happen first. And that's where the cultural workers, the artists come in.   [00:09:22] Susanne: And another role of Eastside in supporting the arts to do just that is honoring the artists, providing a space where they can have affordable rehearsal space or space to create, or a place to come safely and just discuss things that's what we hope and have created for the Eastside Cultural Center and now the bookstore and the gallery. A place for them to see themselves and it's all um, LGBTA, BIPOC artists that we serve and honor in our cultural center. To that end, we, in the last, I don't know, 8, 9 years, we've worked with Jose Navarrete and Debbie Kajiyama of Naka Dance Theater to produce live arts and resistance, which gives a stage to emerging and experienced performance artists, mostly dancers, but also poets, writers, theater and actors and musicians.   [00:10:17] Emma: The last question I have for you both today is what is happening in the world that continues to call us to action as artists?   [00:10:27] Elena: Everything, everything is happening, you know, and I know things have always been happening, but it seems really particularly crazy right now on global issues to domestic issues. For a long time, Eastside was um, really focusing in on police stuff and immigration stuff because it was a way to bring Black and brown communities together because they were the same kind of police state force, different ways.   [00:10:54] Now we have it so many different ways, you know, and strategies need to be developed. Radical imagination needs to be deployed. Everyone needs to be on hand. A big part of our success and our strength is organizations that are not artistic organizations but are organizing around particular issues globally, locally come into our space and the artists get that information. The community gets that information. It's shared information, and it gives us all a way, hopefully, to navigate our way out of it.   [00:11:29] Susanne: The Cultural Center provides a venue for political education for our communities and our artists on Palestine, Haiti, Sudan, immigrant rights, prison abolition, police abolition, sex trafficking, and houselessness among other things.   [00:11:46] Elena: I wanted to say too, a big part of what's going on is this idea of public disinvestment. So housing, no such thing as public housing, hardly anymore. Healthcare, education, we're trying to say access to cultural centers. We're calling that the cultural infrastructure of neighborhoods. All of that must be continued to be supported and we can't have everything be privatized and run by corporations. So that idea of these are essential things in a neighborhood, schools, libraries, cultural spaces, and you know, and to make sure cultural spaces gets on those lists.   [00:12:26] Emma: I hear you. And you know, I think every category you brought up, actually just now I can think of one headline or one piece of news recently that is really showing how critically these are being challenged, these basic rights and needs of the community. And so thank you again for the work that you're doing and keeping people informed as well. I think sometimes with all the news, both globally and, and in our more local communities in the Bay Area or in Oakland. It can be so hard to know what actions to take, what tools are available. But again, that's the importance of having space for this type of education, for this type of activism. And so I am so grateful that Eastside exists and is continuing to serve our community in this way.   What is Eastside Arts Alliance up to today? Are there any ways we can support your collective, your organization, what's coming up?   [00:13:18] Elena: Well, this is our 25th anniversary. So the thing that got us really started by demonstrating to the community what a cultural center was, was the Malcolm X Jazz Arts Festival, and that this year will be our 25th anniversary festival happening on May 17th.   [00:13:34] It's always free. It's in San Antonio Park. It's an amazing day of organizing and art and music, multi-generational. It's beautiful. It's a beautiful day. Folks can find out. We have stuff going on every week. Every week at the cultural center on our website through our socials. Our website is Eastside Arts alliance.org, and all the socials are there and there's a lot of information from our archives that you can look up there. There's just just great information on our website, and we also send out a newsletter.   [00:14:07] Emma: Thank you both so much for sharing, and I love you bringing this idea, but I hear a lot of arts and activism organizations using this term radical imagination and how it's so needed for bringing forth the future that we want for ourselves and our future generations.   [00:14:24] And so I just think that's so beautiful that Eastside creates that space, cultivates a space where that radical imagination can take place through the arts, but also through community connections. Thank you so much Elena and Suzanne for joining us today.   [00:14:40] Susanne: Thank you for having us.   [00:15:32] Emma: Let's Talk Audio series is one of OACC'S Open Ears for Change projects and is part of the Stop the Hate Initiative with funds provided by the California Department of Social Services. In consultation with the commission of Asian and Pacific Islander American Affairs to administer $110 million allocated over three years to community organizations. These organizations provide direct services to victims of hate and their families, and offer prevention and intervention services to tackle hate in our communities.   This episode is a production of the Oakland Asian Cultural Center with engineering, editing, and sound design by Thick Skin Media. A special thanks to Jon Jang for permission to use his original music, and thank you for listening.   [00:16:34] Music: Life is not what you alone make it. Life is the input of everyone who touched your life and every experience that entered it. We are all part of one another. Don't become too narrow. Live fully, meet all kinds of people. You'll learn something from everyone. Follow what you feel in your heart. The post APEX Express – August 14, 2025 appeared first on KPFA.

The robots are coming, the robots are coming … baby they are already here!

Are believers the only ones noticing the defilement in the world today? In today's episode, Rabbi Schneider teaches on the end times prophecies in the Old Testament as well as the Book of Revelation and how today is like the days of Lot and the days of Noah.

Episode No. 718 features artist Masako Miki and artist/curator Katherine Simóne Reynolds. The Institute of Contemporary Art San Francisco is presenting "Midnight March," a far-ranging presentation of Miki's two-dimensional and three-dimensional practice. The Japanese-born Miki's paintings, sculptures, and installations live between the sacred and the secular. Her often exuberant sculptures are rooted in the blending of Japanese and US cultures. Her previous solo shows have been at museums such as the de Young Museum, San Francisco, the Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley, and the ICA San José. Her work is in the permanent collections of BAMPFA, the San Francisco Museum of Modern Art, and more. Reynolds is the curator of "Held Impermanence (Artists Select: Katherine Simóne Reynolds)" at the Clyfford Still Museum, Denver. The exhibition uses the museum's art collection and archive to consider multiple competing desires, including Still's and the desires of art institutions, such as the unknown future museum to which he directed his art and archive be entrusted. Reynolds is an artist and curator who investigates emotional dialects and psychogeographies of Blackness. Her previous exhibitions have been at venues such as SculptureCenter, New York, Counterpublic 2023, St. Louis, and the Stanley Museum of Art, University of Iowa. As mentioned on the program: The CSM's gallery booklet. Instagram: Masako Miki, Tyler Green.

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/critical-theory

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.

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!

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.

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

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.