Podcasts about Cold War

Today, the US has seized two oil tankers — one Russian-flagged vessel in the North Atlantic and another ship in the Caribbean. Both vessels have links to Venezuela.The UK supported US efforts to seize the Russian-flagged ship, which is accused of breaking US sanctions by shipping Iranian oil.What do we know so far and is this the closest Russia and the US have been to confrontation since the Cold War? Adam is joined by BBC international editor Jeremy Bowen and Michelle Wiese Bockmann, senior maritime intelligence analyst at Windward.Also in the studio is BBC economics editor Faisal Islam, who's back from a visit to Google HQ in California, where they are developing a quantum computer which could have capabilities beyond anything the world has yet seen. Faisal fills us in on what he learned from his trip.You can now listen to Newscast on a smart speaker. If you want to listen, just say "Ask BBC Sounds to play Newscast”. It works on most smart speakers. You can join our Newscast online community here: https://bbc.in/newscastdiscordGet in touch with Newscast by emailing newscast@bbc.co.uk or send us a WhatsApp on +44 0330 123 9480.New episodes released every day. If you're in the UK, for more News and Current Affairs podcasts from the BBC, listen on BBC Sounds: https://bbc.in/4guXgXd Newscast brings you daily analysis of the latest political news stories from the BBC. The presenter was Adam Fleming. It was made by Rufus Gray with Shiler Mahmoudi and Laura Cain. The social producers were Beth Pritchard and Sophie Millward. The technical producer was Stephen Bailey. The assistant editor is Chris Gray. The senior news editor is Sam Bonham.

The tools in a spy's arsenal are more varied than you might think. But they all come under one name: Tradecraft. In our tenth round of insights from the world of espionage, Rhiannon Neads looks back on gadget masters, Cold War tunnel-digging and the art of the Mobile Debrief. From SPYSCAPE, the HQ of secrets. A Cup And Nuzzle production. Series producer: Joe Foley. Produced by Alex Burnard. Music by Nick Ryan. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode Summary:In this episode of Explaining History, Nick explores the escalating crisis that threatens to destroy the North Atlantic Treaty Organization (NATO). With Donald Trump eyeing Greenland as a territorial acquisition and European leaders issuing a rare, unified rebuke, the alliance forged in 1949 to contain Soviet power is facing its greatest existential threat.We delve into the history of NATO—from the Berlin Airlift and the Truman Doctrine to its expansion after the Cold War. How did an alliance built on the principle of "an attack on one is an attack on all" crumble into transactionalism? Nick argues that Trump doesn't see a Pax Americana; he sees a world of rival great powers where alliances are liabilities unless they pay cash.If the US moves against Danish sovereign territory, can NATO survive? And what does this mean for Vladimir Putin, who may be watching the disintegration of his greatest enemy with glee?Plus: Big announcements! We are launching on Patreon for ad-free listening, and tickets are now live for our Russian Revolution Masterclass on January 26th.Key Topics:The Greenland Crisis: European leaders draw a line in the sand over Danish sovereignty.The Origins of NATO: How the Berlin Blockade and the Marshall Plan built the Western alliance.Trump vs. The Alliance: Why the "America First" doctrine views NATO as a bad deal.A European Defense Force? What happens to European security if the US pulls out?Books Mentioned:The Cold War: A New History by John Lewis Gaddis (contextual reference)Explaining History helps you understand the 20th Century through critical conversations and expert interviews. We connect the past to the present. If you enjoy the show, please subscribe and share.▸ Support the Show & Get Exclusive ContentBecome a Patron: patreon.com/explaininghistory▸ Join the Community & Continue the ConversationFacebook Group: facebook.com/groups/ExplainingHistoryPodcastSubstack: theexplaininghistorypodcast.substack.com▸ Read Articles & Go DeeperWebsite: explaininghistory.org Hosted on Acast. See acast.com/privacy for more information.

THE MACKINTOSH MAN (1973) rarely gets top billing in Cold War spy cinema—but should it? In this episode of Cracking the Code of Spy Movies, Dan and Tom take a fresh, clear-eyed look at John Huston's subdued espionage thriller starring Paul Newman and James Mason. Overshadowed by flashier spy movies, THE MACKINTOSH MAN instead leans into bureaucracy, moral ambiguity, and procedural realism. The question is simple: does that restraint elevate the movie—or drain it of tension? We break down the movie's place in the evolution of spy cinema, tracing its DNA back to genre heavyweights like THE SPY WHO CAME IN FROM THE COLD, THE IPCRESS FILE, and FUNERAL IN BERLIN. Rather than gadgets and glamour, this movie focuses on tradecraft, false defections, institutional mistrust, and information as the true weapon. Loyalty is provisional, romance is transactional, and victory feels administrative rather than triumphant. Dan and Tom explore the movie's acting performances in detail, from Paul Newman's restrained and often criticized lead turn to James Mason's quietly menacing antagonist, whose civilized threat anchors the movie. They also examine Dominique Sanda's enigmatic role, the strong supporting British character actors, and how John Huston's classical storytelling style "borrows and defangs" familiar spy tropes. The episode contrasts THE MACKINTOSH MAN sharply with James Bond movies, highlighting fundamental differences in ideology, structure, and tone. Where Bond offers agency, clarity, and spectacle, Huston delivers opacity, manipulation, and unease. The discussion also covers reception, pacing issues, production trivia, and real-world influences behind the prison escape and defection plot. Whether you love slow-burn espionage or find it frustratingly opaque, this episode digs deep into what THE MACKINTOSH MAN gets right—and where it loses its edge. A must-listen for fans of serious spy movies and Cold War cinema history. Tell us what you think about our fresh look at THE MACKINTOSH MAN Finally, do you agree with our assessment here?  Are you a fan of this movie?    Let us know your thoughts, ideas for future episodes, and what you think of this episode. Just drop us a note at info@spymovienavigator.com.  The more we hear from you, the better the show will surely be!  We'll give you a shout-out in a future episode!   You can check out all our CRACKING THE CODE OF SPY MOVIES podcast episodes on your favorite podcast app or our website. In addition, you can check out our YouTube channel as well.   Episode Webpage:  https://bit.ly/4jrIWAl

Host Jeff delivers a solo deep-dive into the unfolding Venezuela crisis, arguing mainstream pundits have missed the real story. Across the episode he walks listeners through his research and interpretation of recent events, from the alleged nighttime extraction of Nicolás Maduro to broader geopolitical maneuvers in the Americas. Jeff analyzes an AI-produced declassified timeline of the operation—describing F‑35 airstrikes, Delta Force helicopters, communications blackouts, and claims of U.S. naval quarantine and special-forces urban extractions. He explores conflicting reports about combat, damaged Venezuelan helicopters, the role of Venezuelan, Russian and Chinese military equipment, and theories about inside cooperation and staged elements captured in photos and video. The episode places the Venezuela action in a wider context: oil and heavy crude needs for U.S. refineries, Venezuela's gold reserves, and the implications for the petrodollar and global currency alignments. Jeff outlines his view that the operation serves U.S. strategic aims—weakening intelligence-agency dark-money networks, targeting narco-trafficking hubs, and reshaping alliances across the Americas. Listeners hear strong claims about foreign influence in Venezuelan security (including Cuban guards), alleged CIA and intelligence-agency roles going back to the Cold War, and the idea that this action signals larger moves against cartels in Mexico, political pressure on Canada, and ripple effects involving Iran, Russia and China. The episode also includes commentary on symbolism and media staging—Jeff walks through photographs of Maduro in custody, costume changes and media framing—and how those visuals play into political messaging. He discusses social media posts from Trump and his team, including implications around election-fraud narratives and geopolitical signaling. There is a short commercial segment for EMP Shield that Jeff plays during the show. He closes by connecting his geopolitical reading to financial and intelligence power structures, arguing this is part of a long-term, methodical strategy and inviting listener feedback. Expect a mix of reportage, opinion, conspiracy-tinged analysis and geopolitical theory from Jeff—aimed at listeners who want an alternative, big-picture take on the Venezuela events and their global consequences. Want to Understand and Explain Everything Biblically?  Click Here: Decoding the Power of Three: Understand and Explain Everything or go to www.rightonu.com and click learn more.  Thank you for Listening to Right on Radio. Prayerfully consider supporting Right on Radio. Click Here for all links, Right on Community ROC, Podcast web links, Freebies, Products (healing mushrooms, EMP Protection) Social media, courses and more... https://linktr.ee/RightonRadio Live Right in the Real World! We talk God and Politics, Faith Based Broadcast News, views, Opinions and Attitudes We are Your News Now. Keep the Faith

289# Before Hawkins | The Montauk Project & the Real Stranger ThingsWe're heading to the very edge of Long Island, where a sealed military base refuses to stay silent. We're unpacking claims of psychic children, mind control, time travel, and a government project so controversial it may have erased itself from history. We'll follow the story from Nazi science to Cold War paranoia, explore why Stranger Things might be closer to reality than fiction, and ask the most uncomfortable question of all — if Montauk really happened, are we still feeling the consequences now?

A new and provocative take on the formerly classified history of accelerating superpower military competition in space in the late Cold War and beyond. In March 1983, President Ronald Reagan shocked the world when he announced the Strategic Defense Initiative (SDI), derisively known as “Star Wars,” a space-based missile defense program aimed at protecting the US from nuclear attack. In Weapons in Space, Aaron Bateman draws on recently declassified American, European, and Soviet documents to provide an insightful account of SDI, situating it within a new phase in the militarization of space following the collapse of superpower détente in the 1970s. In doing so, Bateman reveals the largely secret role of military space technologies in late–Cold War US defense strategy and foreign relations.In contrast to existing narratives, Weapons in Space shows how tension over the role of military space technologies in American statecraft was a central source of SDI's controversy, even more so than questions of technical feasibility. By detailing the participation of Western European countries in SDI research and development, Bateman reframes the militarization of space in the 1970s and 1980s as an international phenomenon. He further reveals that even though SDI did not come to fruition, it obstructed diplomatic efforts to create new arms control limits in space. Consequently, Weapons in Space carries the legacy of SDI into the post–Cold War era and shows how this controversial program continues to shape the global discourse about instability in space—and the growing anxieties about a twenty-first-century space arms race. Our guest is Aaron Bateman, an Assistant Professor of History and International Affairs at GWU. Our host is Eleonora Mattiacci, an Associate Professor of Political Science at Amherst College. She is the author of "Volatile States in International Politics" (Oxford University Press, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

A new and provocative take on the formerly classified history of accelerating superpower military competition in space in the late Cold War and beyond. In March 1983, President Ronald Reagan shocked the world when he announced the Strategic Defense Initiative (SDI), derisively known as “Star Wars,” a space-based missile defense program aimed at protecting the US from nuclear attack. In Weapons in Space, Aaron Bateman draws on recently declassified American, European, and Soviet documents to provide an insightful account of SDI, situating it within a new phase in the militarization of space following the collapse of superpower détente in the 1970s. In doing so, Bateman reveals the largely secret role of military space technologies in late–Cold War US defense strategy and foreign relations.In contrast to existing narratives, Weapons in Space shows how tension over the role of military space technologies in American statecraft was a central source of SDI's controversy, even more so than questions of technical feasibility. By detailing the participation of Western European countries in SDI research and development, Bateman reframes the militarization of space in the 1970s and 1980s as an international phenomenon. He further reveals that even though SDI did not come to fruition, it obstructed diplomatic efforts to create new arms control limits in space. Consequently, Weapons in Space carries the legacy of SDI into the post–Cold War era and shows how this controversial program continues to shape the global discourse about instability in space—and the growing anxieties about a twenty-first-century space arms race. Our guest is Aaron Bateman, an Assistant Professor of History and International Affairs at GWU. Our host is Eleonora Mattiacci, an Associate Professor of Political Science at Amherst College. She is the author of "Volatile States in International Politics" (Oxford University Press, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/world-affairs

In this episode, host Steve Yates is joined by Andrew J. Phelan, Australian med-tech entrepreneur, former government advisor, and longtime China watcher, for a wide-ranging conversation on the growing global confrontation with the Chinese Communist Party.Phelan reflects on recent events in Australia, including the Bondi tragedy, and examines how information warfare, social media platforms like TikTok, and foreign influence operations are shaping public opinion—especially among younger generations. From there, the discussion expands to Australia's China policy under Prime Minister Albanese, U.S.–Australia alliance dynamics, and the limits of appeasement.The conversation dives deep into the technology Cold War: export controls, semiconductors, AI, supply-chain dependence, Chinese overcapacity, and the role of Western capital in financing China's rise. Phelan argues that 2025 marks a true inflection point—one defined by economic bifurcation, strategic risk, and growing pressure around Taiwan.This episode offers a clear-eyed assessment of where things stand heading into 2026—and why democracies must respond by grounding strategy in values, sovereignty, and long-term discipline rather than short-term convenience. Watch Full-Length Interviews: https://www.youtube.com/@ChinaDeskFNW

Stone and Jake are back and fresh off an unforgettable trip to Iceland, breaking down everything from jaw-dropping landscapes to the little moments that made the trip legendary. Along the way, they crack open a couple packs of Pokémon cards they picked up overseas (because souvenirs don't get better than that).The guys also pour up and review “Cold War” from Manhattan Project Beer Company, sharing their honest thoughts while the conversation takes its usual unpredictable turns. From sleeping straight through alarms to debating the best fictional places from Disney Channel and Nickelodeon shows they'd actually want to visit in real life, this episode is packed with laughs, nostalgia, and classic side-quests.Grab a beer, hit play, and hang out with us.

A new and provocative take on the formerly classified history of accelerating superpower military competition in space in the late Cold War and beyond. In March 1983, President Ronald Reagan shocked the world when he announced the Strategic Defense Initiative (SDI), derisively known as “Star Wars,” a space-based missile defense program aimed at protecting the US from nuclear attack. In Weapons in Space, Aaron Bateman draws on recently declassified American, European, and Soviet documents to provide an insightful account of SDI, situating it within a new phase in the militarization of space following the collapse of superpower détente in the 1970s. In doing so, Bateman reveals the largely secret role of military space technologies in late–Cold War US defense strategy and foreign relations.In contrast to existing narratives, Weapons in Space shows how tension over the role of military space technologies in American statecraft was a central source of SDI's controversy, even more so than questions of technical feasibility. By detailing the participation of Western European countries in SDI research and development, Bateman reframes the militarization of space in the 1970s and 1980s as an international phenomenon. He further reveals that even though SDI did not come to fruition, it obstructed diplomatic efforts to create new arms control limits in space. Consequently, Weapons in Space carries the legacy of SDI into the post–Cold War era and shows how this controversial program continues to shape the global discourse about instability in space—and the growing anxieties about a twenty-first-century space arms race. Our guest is Aaron Bateman, an Assistant Professor of History and International Affairs at GWU. Our host is Eleonora Mattiacci, an Associate Professor of Political Science at Amherst College. She is the author of "Volatile States in International Politics" (Oxford University Press, 2023). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/national-security

Today Justin sits down with Dr. Brian J. Ellison. Brian has a Master's degree in International Security from American University and a PhD in War Studies from King's College London. He's worked as a senior research scientist at the Center for Naval Analysis and at the Johns Hopkins University Applied Physics Laboratory where he has specialized in Chinese strategic affairs, naval warfare and intelligence. His work has led to significant policy, operational, and institutional changes within the Office of the Secretary of Defense, the Navy, the Marine Corps, and the overall intelligence community. In 2014, Brian was awarded the commendation for Meritorious Civilian Service by Commander Mar Fork Pack for his research and analysis of the Marine Corps's organizational challenges in the Indo-Pacific. He's here today to discuss human intelligence operations by the US Navy in the Pacific Theater of Operations, which he details in his new book. Connect with Brian: brian.j.ellison@gmail.com Check out the book, Quiet Wars: U.S. Naval Human Intelligence Operations during Crises with China, 1931–1965, here. https://a.co/d/7CS3Gs9 Connect with Spycraft 101: Get Justin's latest book, Murder, Intrigue, and Conspiracy: Stories from the Cold War and Beyond, here. spycraft101.com IG: @spycraft101 Shop: shop.spycraft101.com Patreon: Spycraft 101 Find Justin's first book, Spyshots: Volume One, here. Check out Justin's second book, Covert Arms, here. Download the free eBook, The Clandestine Operative's Sidearm of Choice, here. Kruschiki The best surplus military goods delivered right to your door. Use code SPYCRAFT101 for 10% off! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The United States spends over a $100 billion dollars more a year on the military than it did at the height of the Cold War. What does it get year upon year for that money? Since 2001, America's overseas war have led to nearly a million deaths. Ben Freeman discusses the intersection of interests that drive America's military spending, including the private contractors who receive half of the US military budget and the universities, Hollywood movies, and media funded by the Pentagon or their arms manufacturers. William D. Hartung and Ben Freeman, The Trillion Dollar War Machine: How Runaway Military Spending Drives America into Foreign Wars and Bankrupts Us at Home Bold Type Books, 2025 Think Tank Funding Tracker The post The Trillion Dollar War Machine appeared first on KPFA.

https://bbvproductions.co.uk/products/Faction-Paradox-The-Confession-of-Brother-Signet-AUDIO-DOWNLOAD-p389922366 The first season of the American science fiction horror drama television series Stranger Things premiered worldwide on the streaming service Netflix on July 15, 2016. The series was created by the Duffer Brothers, who also serve as executive producers along with Shawn Levy and Dan Cohen. This season stars Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Natalia Dyer, Charlie Heaton, Cara Buono, and Matthew Modine, with Noah Schnapp, Joe Keery, and Shannon Purser in recurring roles. The first season of Stranger Things received critical acclaim, in particular for its originality, homages to the 1980s, characterization, tone, visuals, and performances (particularly those of Ryder, Harbour, Wolfhard, Brown, Heaton and Modine). Premise The first season begins on November 6, 1983, in a small town called Hawkins. Researchers at Hawkins National Laboratory open a rift to the "Upside Down," an alternate dimension that reflects the real world. A monstrous humanoid creature escapes and abducts a boy named Will Byers and a teenage girl. Will's mother, Joyce, and the town's police chief, Jim Hopper, search for Will. At the same time, a young psychokinetic girl who goes by the name "Eleven" escapes from the laboratory and assists Will's friends, Mike Wheeler, Dustin Henderson, and Lucas Sinclair, in their efforts to find Will.[1] Cast and characters See also: List of Stranger Things characters Main cast Winona Ryder as Joyce Byers[2] David Harbour as Jim Hopper[2] Finn Wolfhard as Mike Wheeler[3] Millie Bobby Brown[3] as Eleven ("El") Gaten Matarazzo as Dustin Henderson[3] Caleb McLaughlin as Lucas Sinclair[3] Natalia Dyer as Nancy Wheeler[3] Charlie Heaton as Jonathan Byers[3][4][5] Cara Buono as Karen Wheeler[6] Matthew Modine as Martin Brenner[7] Recurring Noah Schnapp as Will Byers Joe Keery as Steve Harrington Shannon Purser as Barbara "Barb" Holland[8] Joe Chrest as Ted Wheeler Ross Partridge as Lonnie Byers[9] Rob Morgan as Officer Powell John Paul Reynolds as Officer Callahan Randy Havens as Scott Clarke Catherine Dyer as Connie Frazier Aimee Mullins as Terry Ives[10] Amy Seimetz as Becky Ives Peyton Wich as Troy[11] Tony Vaughn as Principal Coleman Charles Lawlor as Mr. Melvald Tinsley and Anniston Price as Holly Wheeler Cade Jones as James Chester Rushing as Tommy H. Chelsea Talmadge as Carol Glennellen Anderson as Nicole Cynthia Barrett as Marsha Holland Jerri Tubbs as Diane Hopper Elle Graham as Sara Hopper Chris Sullivan as Benny Hammond Tobias Jelinek as lead agent Robert Walker-Branchaud as repairman agent Susan Shalhoub Larkin as Florence ("Flo") Episodes See also: List of Stranger Things episodes No. overall No. in season Title Directed by Written by Original release date 1 1 "Chapter One: The Vanishing of Will Byers" The Duffer Brothers The Duffer Brothers July 15, 2016 On November 6, 1983, in Hawkins, Indiana, a scientist is attacked by an unseen creature at a U.S. government laboratory. 12-year-old Will Byers encounters the creature and mysteriously vanishes while cycling home from a Dungeons & Dragons session with his friends Mike Wheeler, Dustin Henderson and Lucas Sinclair. The following day, Will's single mother Joyce Byers reports his disappearance to the police chief Jim Hopper, who starts a search but assures Joyce that almost all missing children are quickly found. The lab's director, Dr. Martin Brenner, investigates an organic substance oozing from the lab's basement, claiming that "the girl" cannot have gone far. A nervous young girl wearing a hospital gown wanders into a local diner. The owner, Benny, finds a tattoo of "011" on her arm and learns that her name is Eleven. Brenner, monitoring the phone lines, sends agents to the diner after Benny calls social services. The agents kill Benny, but Eleven manages to escape using telekinetic abilities. Joyce's phone short circuits after receiving a mysterious phone call that she believes is from Will. While searching for Will in the woods, Mike, Dustin, and Lucas come across Eleven. 2 2 "Chapter Two: The Weirdo on Maple Street" The Duffer Brothers The Duffer Brothers July 15, 2016 The boys bring Eleven to Mike's house, where they disagree on what to do. Mike formulates a plan for Eleven to pretend to be a runaway and seek help from his mother, Karen. Eleven refuses, however, revealing that "bad men" are after her. Will's brother Jonathan visits his estranged father Lonnie in Indianapolis to search for Will, but Lonnie rebuffs him. Hopper's search party discovers a scrap of hospital gown near the lab. After recognizing Will in a photograph and demonstrating her telekinesis, Eleven convinces the boys to trust her, as they believe she can find Will. Using the Dungeons & Dragons board, Eleven indicates that Will is on the "Upside Down" side of the board and is being hunted by the "Demogorgon" (the creature). Mike's sister Nancy and her friend Barbara 'Barb' Holland go to a party with Nancy's boyfriend Steve Harrington. Searching for Will near Steve's house, Jonathan secretly photographs the party. Joyce receives another call from Will, hears music playing from his stereo, and sees a creature coming through the wall. Left alone by the swimming pool, Barb is attacked by the Demogorgon and vanishes. 3 3 "Chapter Three: Holly, Jolly" Shawn Levy Jessica Mecklenburg July 15, 2016 Barb awakens in the Upside Down: a decaying, overgrown alternate dimension. She attempts to escape but is attacked by the Demogorgon. Joyce believes Will is communicating through pulses in light bulbs. Hopper visits Hawkins Lab, and the staff permits him to view doctored security footage from the night Will vanished, leading Hopper to investigate Brenner and discover his involvement with Project MKUltra and that a woman named Terry Ives alleged years earlier that Brenner took her daughter. Eleven recalls Brenner, whom she calls "Papa," punishing her for refusing to hurt a cat telekinetically. Steve destroys Jonathan's camera after discovering the photos from the party. Nancy later recovers a photo of Barb, simultaneously realizing that Barb is missing. Returning to Steve's house to investigate, Nancy finds Barb's untouched Volkswagen and encounters the Demogorgon but manages to escape. Joyce paints an alphabetic board on her wall with Christmas lights, allowing Will to sign to her that he is "RIGHT HERE" and that she needs to "RUN" as the Demogorgon comes through the wall. Believing Eleven knows where Will is, the boys ask her to lead them to him. Eleven leads them, to their frustration, to Will's house. From there they follow emergency vehicles to a nearby quarry just as Will's body is recovered from the water. 4 4 "Chapter Four: The Body" Shawn Levy Justin Doble July 15, 2016 Joyce refuses to believe that the body found at the quarry is Will's. Mike feels betrayed by Eleven until she proves that Will is still alive, channeling his voice through Mike's walkie-talkie. The boys theorize that Eleven could use a ham radio at their school to communicate with Will. Nancy notices a figure behind Barb in Jonathan's photo, which Jonathan realizes matches his mother's description of the Demogorgon. Nancy tells the police about Barb's disappearance. She later fights with Steve, who only cares about not getting in trouble with his father. Hopper has suspicions regarding the authenticity of the body found in the quarry when he learns that the usual coroner was sent home. Hopper confronts the state trooper who found it and beats him until he admits he was ordered to lie. The boys sneak Eleven into their school to use the radio, while Joyce hears Will's voice through her living room wall. Tearing away the wallpaper, she sees him. Eleven uses the radio to channel Will talking to his mother. Hopper goes to the morgue and finds that the body is a fake, and, suspecting that Brenner is responsible, breaks into the lab. 5 5 "Chapter Five: The Flea and the Acrobat" The Duffer Brothers Alison Tatlock July 15, 2016 Hopper searches the lab before being knocked out by the lab's guards. The boys ask their science teacher, Mr. Clarke, if it would be possible to travel between alternate dimensions, to which he answers that there could be a theoretical "gate" between dimensions. Hopper awakens at his house and finds a hidden microphone, realizing that Joyce was right the whole time. The boys follow their compasses, searching for a gate that could disrupt the Earth's electromagnetic field. Eleven recalls memories of being placed in a sensory-deprivation tank to telepathically eavesdrop on a man speaking Russian; while listening, she came across the Demogorgon. Fearing another encounter with the Demogorgon, Eleven redirects the compasses. Lucas misinterprets this as an act of betrayal, leading Mike and Lucas to fight and Eleven to telekinetically fling Lucas away from Mike. While Dustin and Mike tend to the unconscious Lucas, Eleven runs off. Nancy and Jonathan formulate a plan to kill the Demogorgon. While searching in the woods, they come across a small gate to the Upside Down. Nancy crawls through it but inadvertently draws the Demogorgon's attention. Jonathan unsuccessfully tries to look for Nancy, as the gate to the Upside Down begins to close. 6 6 "Chapter Six: The Monster" The Duffer Brothers Jessie Nickson-Lopez July 15, 2016 Jonathan pulls Nancy back through the gate. That night, Nancy is afraid to be alone and asks Jonathan to stay in her bedroom. Steve, attempting to reconcile with Nancy, sees them together through her bedroom window and assumes they are dating. Joyce and Hopper track down Terry Ives, who is catatonic and tended by her sister Becky. Becky explains that Terry was a Project MKUltra participant while unknowingly pregnant and that Terry believes Brenner kidnapped her daughter Jane at birth due to her supposed telekinetic and telepathic abilities. Nancy and Jonathan stockpile weapons to kill the Demogorgon, theorizing that it is attracted by blood. Steve is brutally beaten up in a fistfight with Jonathan after he insults Will and calls Nancy a slut. Jonathan is arrested and held at the police station for beating up Steve and inadvertently punching one of the responding officers in the face. Eleven walks into a grocery store and shoplifts several boxes of Eggo waffles. Searching for Eleven, Mike and Dustin are ambushed by two bullies but are rescued by her, as she uses her powers to break one bully's arm after he attempts to kill Mike. Eleven collapses and recalls being asked by Brenner to contact the Demogorgon and, in her terror, inadvertently opening the gate. She tearfully admits to Mike that she is responsible for allowing the Demogorgon to enter this dimension. Lucas sees agents, who have tracked down Eleven, preparing to ambush Mike's house. 7 7 "Chapter Seven: The Bathtub" The Duffer Brothers Justin Doble July 15, 2016 Lucas warns Mike that agents are searching for Eleven. Mike, Dustin, and Eleven flee the house. Eleven telekinetically flips one of the vans that block their path as the kids escape. Lucas reconciles with Mike and Eleven, and the kids hide in the junkyard. Nancy and Jonathan reveal their knowledge of the Demogorgon to Joyce and Hopper. Hopper also learns that Eleven is with the kids. The group contacts the kids, and everyone meets at the Byers' house. Joyce and Hopper realize that Eleven is Jane Ives. The group asks Eleven to search for Will and Barb telepathically, but her earlier feats have weakened her. They break into the middle school and build a makeshift sensory deprivation tank to amplify Eleven's powers. After telepathically entering the Upside Down again, Eleven finds Barb dead and Will alive, hiding in the Upside Down version of his backyard fort. Realizing that the gate is in the basement of the lab, Hopper and Joyce break into the lab and are apprehended by security guards. Nancy and Jonathan sneak into the police station to retrieve the weapons they purchased previously, planning to lure and kill the Demogorgon. In the Upside Down, the Demogorgon breaks into Will's fort. 8 8 "Chapter Eight: The Upside Down" The Duffer Brothers Story by : Paul Dichter Teleplay by : The Duffer Brothers July 15, 2016 Hopper, haunted by the death of his daughter Sara from cancer years earlier, gives up Eleven's location to Brenner, who in exchange allows Hopper and Joyce to enter the Upside Down to rescue Will. Nancy and Jonathan cut their hands to attract the Demogorgon at the Byers' house. Steve, intending to apologize to Jonathan about their fight, arrives just as the Demogorgon appears. Steve, Nancy, and Jonathan fight the Demogorgon and light it on fire, forcing it to retreat to the Upside Down. Meanwhile, Eleven and the boys hide in the middle school when Brenner and his agents arrive to kidnap Eleven; she kills most of them before collapsing from exhaustion. As Brenner and his remaining agents pin Eleven and the boys down, the Demogorgon appears, attracted by the dead agents' blood, and attacks Brenner and the remaining agents as the boys escape with Eleven. Hopper and Joyce enter the Upside Down's version of the Hawkins library, where they encounter several corpses of the Demogorgon's victims, including Barb, and find Will unconscious with a tendril down his throat. Hopper revives him using CPR after removing the tendril. The Demogorgon corners the kids, but Eleven recovers from her exhaustion and disintegrates it, causing them both to disappear. Will recovers in the hospital, reuniting with his family and friends. One month later, it is Christmas and Nancy is back together with Steve, and both are friends with Jonathan. Will coughs up a slug-like creature and has a vision of the Upside Down, but hides this from his family. Production Development Ross (left) and Matt Duffer, the creators of the series Stranger Things was created by Matt and Ross Duffer, known professionally as the Duffer Brothers.[12] The two had completed writing and producing their 2015 film Hidden, which they had tried to emulate the style of M. Night Shyamalan, however, due to changes at Warner Bros., its distributor, the film did not see a wide release and the Duffers were unsure of their future.[13] To their surprise, television producer Donald De Line approached them, impressed with Hidden's script, and offered them the opportunity to work on episodes of Wayward Pines alongside Shyamalan. The brothers were mentored by Shyamalan during the episode's production so that when they finished, they felt they were ready to produce their own television series.[14] The Duffer Brothers prepared a script that would essentially be similar to the series' actual pilot episode, along with a 20-page pitch book to help shop the series around for a network.[15] They pitched the story to a number of cable networks, all of which rejected the script on the basis that they felt a plot centered around children as leading characters would not work, asking them to make it a children's show or to drop the children and focus on Hopper's investigation in the paranormal.[14] In early 2015, Dan Cohen, the VP of 21 Laps Entertainment, brought the script to his colleague Shawn Levy. They subsequently invited The Duffer Brothers to their office and purchased the rights for the series, giving full authorship of it to the brothers. After reading the pilot, the streaming service Netflix purchased the whole season for an undisclosed amount;[16] the show was subsequently announced for a planned 2016 release by Netflix in early April 2015.[17] The Duffer Brothers stated that at the time they had pitched to Netflix, the service had already been recognized for its original programming, such as House of Cards and Orange Is the New Black, with well-recognized producers behind them, and were ready to start giving upcoming producers like them a chance.[15] The brothers started to write out the series and brought Levy and Cohen in as executive producers to start casting and filming.[18] The series was originally known as Montauk, as the setting of the script was in Montauk, New York and nearby Long Beach locations.[17][19] The brothers had chosen Montauk as it had further Spielberg ties with the film Jaws, where Montauk was used for the fictional setting of Amity Island.[20] After deciding to change the narrative of the series to take place in the fictional town of Hawkins instead, the brothers felt they could now do things to the town, such as placing it under quarantine, that they really could not envision with a real location.[20] With the change in location, they had to come up with a new title for the series under the direction from Netflix's Ted Sarandos so that they could start marketing it to the public. The brothers started by using a copy of Stephen King's Firestarter novel to consider the title's font and appearance and came up with a long list of potential alternatives. Stranger Things came about as it sounded similar to another King novel, Needful Things, though Matt noted they still had a "lot of heated arguments" over this final title.[21] Writing The idea of Stranger Things started with how the brothers felt they could take the concept of the 2013 film Prisoners, detailing the moral struggles a father goes through when his daughter is kidnapped, and expand it out over eight or so hours in a serialized television approach. As they focused on the missing child aspect of the story, they wanted to introduce the idea of "childlike sensibilities" they could offer and toyed around with the idea of a monster that could consume humans. The brothers thought the combination of these things "was the best thing ever". To introduce this monster into the narrative, they considered "bizarre experiments we had read about taking place in the Cold War" such as Project MKUltra, which gave a way to ground the monster's existence in science rather than something spiritual. This also helped them to decide on using 1983 as the time period, as it was a year before the film Red Dawn came out, which focused on Cold War paranoia.[14] Subsequently, they were able to use all their own personal inspirations from the 1980s, the decade they were born, as elements of the series,[14][22] crafting it in the realm of science fiction and horror.[23] The Duffer Brothers have cited as influence for the show (among others): Stephen King novels; films produced by Steven Spielberg, John Carpenter, Wes Craven, Robert Zemeckis, George Lucas and Guillermo del Toro; films such as Alien and Stand by Me; Japanese anime such as Akira and Elfen Lied; and video games such as Silent Hill and The Last of Us.[21][24][25][26][27][28][29][30][31] With Netflix as the platform, The Duffer Brothers were not limited to a typical 22-episode format, opting for the eight-episode approach. They had been concerned that a 22-episode season on broadcast television would be difficult to "tell a cinematic story" with that many episodes. Eight episodes allowed them to give time to characterization in addition to narrative development; if they had less time available, they would have had to remain committed to telling a horror film as soon as the monster was introduced and abandon the characterization.[15] Within the eight episodes, the brothers aimed to make the first season "feel like a big movie" with all the major plot lines completed so that "the audience feels satisfied", but left enough unresolved to indicate "there's a bigger mythology, and there's a lot of dangling threads at the end", something that could be explored in further seasons if Netflix opted to create more.[32] While explaining their intentions for the show, the Duffers adamantly stated their intentions to not explain the mythology in the show so they could leave a mystery and lot for the audience to speculate over their lack of understanding by the season finale, which they accepted but asked to be explained about at the very least, which they found like a really good exercise as they spent quite a bit of time with their writers' room figuring out exactly what the Upside Down would actually consist for, writing a 20-page mythology document whose details wouldn't be clarified for the audience until the show's fifth and final season.[33] Regarding writing for the children characters of the series, The Duffer Brothers considered themselves as outcasts from other students while in high school and thus found it easy to write for Mike Wheeler and his friends, and particularly for Barbara "Barb" Holland.[21] Joyce Byers was fashioned after Richard Dreyfuss's character Roy Neary in Close Encounters of the Third Kind, as she appears "absolutely bonkers" to everyone else as she tries to find her son Will Byers.[34] Other characters, such as Billy in the second season, have more villainous attributes that are not necessarily obvious from the onset; Matt explained that they took further inspiration from Stephen King for these characters, as King "always has really great human villains" that may be more malicious than the supernatural evil.[35] Casting The Duffers cast David Harbour as Sheriff Hopper believing this was his opportunity to play a lead character in a work. In June 2015, it was announced that Winona Ryder and David Harbour had joined the series as Joyce and as the unnamed chief of police, respectively.[2] The brothers' casting director Carmen Cuba had suggested Ryder for the role of Joyce, which the two were immediately drawn to because of her prominence in 1980s films.[14] Levy believed Ryder could "wretch up the emotional urgency and yet find layers and nuance and different sides of [Joyce]". Ryder praised that the show's multiple storylines required her to act for Joyce as "she's out of her mind, but she's actually kind of onto something", and that the producers had faith she could pull off the difficult role.[36] Upon being offered the role, Ryder felt intrigued at being given the pilot's script due to know knowing what streaming was and finding it "terrifying", with her sole condition to the Duffers for accepting the role being that, if a Beetlejuice sequel ever materialized as she and Tim Burton had been discussing since 2000, they had to let her take a break to shoot it, a condition the Duffers agreed and ultimately proved to work out when Beetlejuice Beetlejuice was greenlighted years later.[37] The Duffer Brothers had been interested in Harbour before, who until Stranger Things primarily had smaller roles as villainous characters, and they felt that he had been "waiting too long for this opportunity" to play a lead, while Harbour himself was thrilled by the script and the chance to play "a broken, flawed, anti-hero character".[21][38] Additional casting followed two months later with Finn Wolfhard as Mike, Millie Bobby Brown in an undisclosed role, Gaten Matarazzo as Dustin Henderson, Caleb McLaughlin as Lucas Sinclair, Natalia Dyer as Nancy Wheeler, and Charlie Heaton as Jonathan Byers]].[3] In September 2015, Cara Buono joined the cast as Karen Wheeler,[6] followed by Matthew Modine as Martin Brenner a month later.[7] Additional cast who recur for the first season include Noah Schnapp as Will,[3][5] Shannon Purser as Barbara "Barb" Holland,[8] Joe Keery as Steve Harrington,[39][5] and Ross Partridge as Lonnie Byers,[9] among others. Actors auditioning for the children's roles read lines from Stand By Me.[14] The Duffer Brothers estimated they went through about a thousand different child actors for the roles. They noted that Wolfhard was already "a movie buff" of the films from the 1980s period and easily filled the role, while they found Matarazzo's audition to be much more authentic than most of the other audition tapes, and selected him after a single viewing of his audition tape.[15] As casting was started immediately after Netflix greenlit the show, and prior to the scripts being fully completed, this allowed some of the actors' takes on the roles to reflect into the script. The casting of the young actors for Will and his friends had been done just after the first script was completed, and subsequent scripts incorporated aspects from these actors.[32] The brothers said Modine provided significant input on the character of Dr. Brenner, whom they had not really fleshed out before as they considered him the hardest character to write for given his limited appearances within the narrative.[34] Filming The brothers had desired to film the series around the Long Island area to match the initial Montauk concept. However, with filming scheduled to take place in November 2015, it was difficult to shoot in Long Island in the cold weather, and the production started scouting locations in and around the Atlanta, Georgia area. The brothers, who grew up in North Carolina, found many places that reminded them of their own childhoods in that area, and felt the area would work well with the narrative shift to the fictional town of Hawkins, Indiana.[20] The filming of the first season began on September 25, 2015, and was extensively done in Atlanta, Georgia, with The Duffer Brothers and Levy handling the direction of individual episodes.[40] Jackson served as the basis of the fictional town of Hawkins, Indiana.[41][42] Other shooting locations included the Georgia Mental Health Institute as the Hawkins National Laboratory site, Bellwood Quarry, Patrick Henry High School in Stockbridge, Georgia, for the middle and high school scenes,[43] Emory University's Continuing Education Department, the former city hall in Douglasville, Georgia, Georgia International Horse Park, the probate court in Butts County, Georgia, Old East Point Library and East Point First Baptist Church in East Point, Georgia, Fayetteville, Georgia, Stone Mountain Park, Palmetto, Georgia, and Winston, Georgia.[44] Set work was done at Screen Gem Studios in Atlanta.[44] The series was filmed with a Red Dragon digital camera.[34] Filming for the first season concluded in early 2016.[41] While filming, the brothers tried to capture shots that could be seen as homages to many of the 1980s references they recalled. Their goal was not necessarily to fill the work with these references, but instead to make the series seem to the viewer like a 1980s film.[21] They spent little time reviewing those works and instead went by memory. Matt further recognized that some of their filming homages were not purposely done but were found to be very comparable, as highlighted by a fan-made video comparing the show to several 1980s works side by side.[14][45] Matt commented on the video that "Some were deliberate and some were subconscious."[14] The brothers recognized that many of the iconic scenes from these 1980s films, such as with Poltergeist, was about "taking a very ordinary object that people deal with every day, their television set, and imbuing it with something otherworldly", leading to the idea of using the Christmas light strings for Will to communicate with Joyce.[21] The brothers attributed much of the 1980s feel to set and costume designers and the soundtrack composers that helped to recreate the era for them.[14] Lynda Reiss, the head of props, had about a $220,000 budget, similar to most films, to acquire artifacts of the 1980s, using eBay and searching through flea markets and estate sales around the Atlanta area. The bulk of the props were original items from the 1980s with only a few pieces, such as the Dungeons & Dragons books made as replicas.[46] Visual effects To create the aged effect for the series, a film grain was added over the footage, which was captured by scanning in film stock from the 1980s.[34] The Duffers wanted to scare the audience, but not to necessarily make the show violent or gory, following in line with how the 1980s Amblin Entertainment films drove the creation of the PG-13 movie rating. It was "much more about mood and atmosphere and suspense and dread than they are about gore", though they were not afraid to push into more scary elements, particularly towards the end of the first season.[34] The brothers had wanted to avoid any computer-generated effects for the monster and other parts of the series and stay with practical effects. However, the six-month filming time left them little time to plan out and test practical effects rigs for some of the shots. They went with a middle ground of using constructed props including one for the monster whenever they could, but for other shots, such as when the monster bursts through a wall, they opted to use digital effects. Post-production on the first season was completed the week before it was released on Netflix.[14] The title sequence uses closeups of the letters in the Stranger Things title with a red tint against a black background as they slide into place within the title. The sequence was created by the studio Imaginary Forces, formerly part of R/GA, led by creative director Michelle Doughtey.[47] Levy introduced the studio to The Duffer Brothers, who explained their vision of the 1980s-inspired show, which helped the studio to fix the concept the producers wanted. Later, but prior to filming, the producers sent Imaginary Forces the pilot script, the synth-heavy background music for the titles, as well as the various book covers from King and other authors that they had used to establish the title and imagery, and were looking for a similar approach for the show's titles, primarily using a typographical sequence. They took inspiration from several title sequences of works from the 1980s that were previously designed by Richard Greenberg under R/GA, such as Altered States and The Dead Zone. They also got input from Dan Perri, who worked on the title credits of several 1980s films. Various iterations included having letters vanish, to reflect the "missing" theme of the show, and having letters cast shadows on others, alluding to the mysteries, before settling into the sliding letters. The studio began working on the title sequence before filming and took about a month off during the filming process to let the producers get immersed in the show and come back with more input. Initially, they had been working with various fonts for the title and used close-ups of the best features of these fonts, but near the end the producers wanted to work with ITC Benguiat, requiring them to rework those shots. The final sequence is fully computer-generated, but they took inspiration from testing some practical effects, such as using Kodalith masks as would have been done in the 1980s, to develop the appropriate filters for the rendering software. The individual episode title cards used a "fly-through" approach, similar to the film Bullitt, which the producers had suggested to the studio.[48] Music Main articles: Music of Stranger Things and Stranger Things (soundtrack) The Stranger Things original soundtrack was composed by Michael Stein and Kyle Dixon of the electronic band Survive.[49] It makes extensive use of synthesizers in homage to 1980s artists and film composers including Jean-Michel Jarre, Tangerine Dream, Vangelis, Goblin, John Carpenter, Giorgio Moroder, and Fabio Frizzi.[50] According to Stein and Dixon, The Duffer Brothers had been fans of Survive's music, and used their song "Dirge" for the mock trailer that was used to sell the show to Netflix.[49][51] Once the show was green-lit, the Duffers contacted Survive around July 2015 to ask if they were still doing music; the two provided the production team with dozens of songs from their band's past to gain their interest, helping to land them the role.[49] Once aboard, the two worked with producers to select some of their older music to rework for the show, while developing new music, principally with character motifs.[51] The two had been hired before the casting process, so their motif demos were used and played over the actors' audition tapes, aiding in the casting selection.[51][52] The show's theme is based on an unused work Stein composed much earlier that ended up in the library of work they shared with the production staff, who thought that with some reworking would be good for the opening credits.[49] The first season's original soundtrack, consisting of 75 songs from Dixon and Stein split across two volumes, was released by Lakeshore Records. Digital release and streaming options were released on August 10 and 19, 2016 for the two volumes, respectively, while retail versions were available on September 16 and 23, 2016.[53][54] In addition to original music, Stranger Things features period music from artists including The Clash, Toto, New Order, The Bangles, Foreigner, Echo and the Bunnymen, Peter Gabriel and Corey Hart, as well as excerpts from Tangerine Dream, John Carpenter and Vangelis.[54][55] In particular, The Clash's "Should I Stay or Should I Go" was specifically picked to play at pivotal moments of the story, such as when Will is trying to communicate with Joyce from the Upside Down.[54] Music supervisor Nora Felder felt the song "furthered the story" and called it an additional, unseen, main character of the season.[56]

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Twilight Zone episode "The Monsters are Due on Maple Street" remains one of the most powerful and unsettling stories ever aired on television. In this video, Chris and Gerry break down the episode's plat, themes, and enduring relevance, exploring how fear, paranoia, and mob mentality turn ordinary neighbors into enemies. We'll examine Rod Serling's sharp social commentary, the episode's Cold War context, and why its message feels just as timely today. From suspicion and scapegoating to the terrifying idea that we are the real monsters, this Twilight Zone classic delivers a lesson that still resonates. If you enjoy thoughtful analysis of classic television, horror, and science fiction, this deep dive into The Twilight Zone is for you.

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

How can we—jazz fans, musicians, writers, and historians—understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness (Oxford UP, 2023) uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries. Nathan Smith is a PhD Student in Music Theory at Yale University (nathan.smith@yale.edu). Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Send us a textToday, we cover the Korean War and other Cold War activities that the US and the USSR dabbled in. Support the show

During the Cold War, rumours of a black limousine prowling Eastern Bloc streets chilled generations. From satanic kidnappers to cursed machines, the legend of the Black Volga became a terrifying mirror of life under authoritarian governance.Subscribe to our PATREONEMAIL us your storiesJoin us on INSTAGRAMJoin us on TWITTERJoin us on FACEBOOKVisit our WEBSITEResearch:https://culture.pl/en/article/the-black-volga-a-communist-urban-legendhttps://tbsnews.net/splash/haunting-urban-legend-black-volgahttps://woodsidecredit.com/blog/the-creepy-legend-of-the-black-volga/https://jahernandez.com/the-legend-of-the-black-volga/https://medium.com/@matthew.redfern/black-volga-ghost-car-of-the-soviet-union-d44516576ba9https://en.wikipedia.org/wiki/Black_Volgahttps://carthrottle.com/post/the-creepy-soviet-urban-legend-of-the-black-volga/https://www.reddit.com/r/UrbanMyths/comments/7e9q56/the_black_volga_an_old_eastern_european_urban/Sarah xx"Spacial Winds," Kevin MacLeod (incompetech.com)Licenced under Creative Commons: By Attribution 4.0 Licencehttp://creativecommons.org/licenses/by/4.0/SURVEY Hosted on Acast. See acast.com/privacy for more information.

'Keep a hold of those 99 balloons, tear down this wall Mr Gorbachev and make a shelter of your internal doors, we're diving into the Cold War in Britain'. Sean is joined by Imperial War Museum employee and author of Cold War Britain: 50 Years in the Shadow of the Bomb, Fraser McCallum.A two-hour exploration of the Cold War from a purely British stand-point, this begins as a discussion of Fraser's book and rapidly becomes an in-depth, humorous and passionate discussion between two lads who love history.References:-The parade that Sean was talking about was the "Victory Celebration" Parade in London on 8th June 1946, which omitted the Polish Forces.-The Channel Four programme Sean was talking about was the 2010 documentary 'Bloody Foreigners: The Untold Battle of Britain'.Our Guest:https://shop.iwm.org.uk/blogs/news/cold-war-britain -A blog about the book on the Imperial War Museum Website, with a link to the shop. This podcast is not an advertisement, and the link is here for you to do your own research on the book. You can buy it from whatever seller you want, we're not trying to influence you. Sean and Sarah highly recommend the book though!Podcast Sting:Marv from Pods Like Us podcast. Find It Here: https://marvsmooth.podbean.com/Chapters: 0:05 Welcome to Cold War Britain0:27 The Role of the NHS3:13 Labour Government and Idealism versus Reality5:32 Making History Accessible6:30 The Lack of books on Britain's role in the Cold War8:17 The Cold War and British Identity8:47 The Challenge of Academic History9.40 A book with Winston Churchill and David Bowie0:05 Welcome to Cold War Britain0:27 The Role of the NHS3:25 Historical Context and Modern Politics5:32 Making History Accessible8:17 The Cold War and British Identity8:47 The Challenge of Academic History12:48 Did Churchill under-estimate Stalin?16:44 The Dilemma of Poland18:13 The Suez Crisis19:10 The Vietnam War and British Involvement23:45 The UK/US 'Special Relationship'25:20 The UK/USSR relationship-A Marriage of Convenience?42:09 Protests and Changing Attitudes44:15 The Cultural Impact of the Cold War50:23 Cinema and Cold War Narratives56:16 Reflections on History and Film59:00 The Evolution of Britain's Nuclear ArsenalThanks for Listening!Find us here: X: @YourselfReviewInstagram: reviewityourselfpodcast2021 Hosted on Acast. See acast.com/privacy for more information.

Sean and Fraser McCallum, Imperial War Museum employee and author of Cold War Britain: 50 Years in the Shadow of the Bomb, continue their Cold War discussion.Our Guest:https://shop.iwm.org.uk/blogs/news/cold-war-britain -A blog about the book on the Imperial War Museum Website, with a link to the shop. This podcast is not an advertisement, and the link is here for you to do your own research on the book. You can buy it from whatever seller you want, we're not trying to influence you. Sean and Sarah highly recommend the book though!Chapters:0:10 The Evolution of Airborne Weapons1:03 Scotland's Nuclear Dilemma2:20 Greenham Common and Women's Activism3:51 The Anxiety of Nuclear Threats5:20 Eisenhower and Churchill's Perspectives10:14 The Impact of Cold War Culture14:09 Remembering Cold War Conflicts19:38 The Falklands War and Its Legacy26:01 The Aftermath of Yugoslavia's Conflict27:29 Short Attention Spans in History31:14 The Depressing Continuity of Conflict35:21 Cultural Reflections on Cold War40:45 The Legacy of 'Threads'47:58 The Evolution of Cold War Cinema53:59 The Book as a Gateway to History55:08 Final Thoughts on Cold War LegacyThanks for Listening!Find us here: X: @YourselfReviewInstagram: reviewityourselfpodcast2021 Hosted on Acast. See acast.com/privacy for more information.

In the 1970s, a network of radical extremists terrorised the West with intricately planned plane hijackings and hostage-takings. Among them was the young Leila Khaled with her jewellery made from grenade rings, the hard-drinking Carlos the Jackal in shades and designer suits, and the radical leftists of the Baader-Meinhof Gang. United by their hatred of Israel, capitalism and ‘Western imperialism', they unleashed a series of audacious attacks that brought governments to their knees and glued the world to their televisions in morbid fascination. Drawing on decades of research, recently declassified government files, secret documents, and original interviews with hijackers, spies, witnesses and victims, I speak with Jason Burke, the author of “The Revolutionists - The Story of the Extremists Who Hijacked the 1970s” takes us into the lives and minds of the perpetrators of these often-deadly operations. Buy the book here https://uk.bookshop.org/a/1549/9781847926067 Related episodes: Watching the Jackals: Prague's Covert Liaisons with Cold War Terrorists and Revolutionaries https://coldwarconversations.com/episode382/ Terrorism in the Cold War https://coldwarconversations.com/episode205/ Episode extras ⁠⁠⁠⁠https://coldwarconversations.com/episode437⁠ The fight to preserve Cold War history continues and via a simple monthly donation, you will give me the ammunition to continue to preserve Cold War history. You'll become part of our community, get ad-free episodes, and get a sought-after CWC coaster as a thank you and you'll bask in the warm glow of knowing you are helping to preserve Cold War history. Just go to ⁠⁠https://coldwarconversations.com/donate/⁠⁠ If a monthly contribution is not your cup of tea, We also welcome one-off donations via the same link. Find the ideal gift for the Cold War enthusiast in your life! Just go to ⁠⁠https://coldwarconversations.com/store/⁠⁠ CONTINUE  THE COLD WAR CONVERSATION Follow us on BlueSky ⁠⁠https://bsky.app/profile/coldwarpod.bsky.social⁠⁠ Follow us on Threads ⁠⁠https://www.threads.net/@coldwarconversations⁠ Follow us on Twitter ⁠⁠https://twitter.com/ColdWarPod⁠ Facebook ⁠⁠https://www.facebook.com/groups/coldwarpod/⁠ Instagram ⁠⁠https://www.instagram.com/coldwarconversations/⁠ Youtube ⁠⁠https://youtube.com/@ColdWarConversations⁠⁠   Learn more about your ad choices. Visit podcastchoices.com/adchoices

From her start playing paddle tennis on the streets of Harlem as a young teenager to her eleven Grand Slam tennis wins to her professional golf career, Althea Gibson became the most famous black sportswoman of the mid-twentieth century. In her unprecedented athletic career, she was the first African American to win titles at the French Open, Wimbledon, and the US Open. In this comprehensive biography, Ashley Brown narrates the public career and private struggles of Althea Gibson (1927-2003). Based on extensive archival work and oral histories, Serving Herself: The Life and Times of Althea Gibson (Oxford UP, 2023) sets Gibson's life and choices against the backdrop of the Great Migration, Jim Crow racism, the integration of American sports, the civil rights movement, the Cold War, and second wave feminism. Throughout her life Gibson continuously negotiated the expectations of her supporters and adversaries, including her patrons in the black-led American Tennis Association, the white-led United States Lawn Tennis Association, and the media, particularly the Black press and community's expectations that she selflessly serve as a representative of her race.  An incredibly talented, ultra-competitive, and not always likeable athlete, Gibson wanted to be treated as an individual first and foremost, not as a member of a specific race or gender. She was reluctant to speak openly about the indignities and prejudices she navigated as an African American woman, though she faced numerous institutional and societal barriers in achieving her goals. She frequently bucked conventional norms of femininity and put her career ahead of romantic relationships, making her personal life the subject of constant scrutiny and rumors. Despite her major wins and international recognition, including a ticker tape parade in New York City and the covers of Sports Illustrated and Time, Gibson endeavored to find commercial sponsorship and permanent economic stability. Committed to self-sufficiency, she pivoted from the elite amateur tennis circuit to State Department-sponsored goodwill tours, attempts to find success as a singer and Hollywood actress, the professional golf circuit, a tour with the Harlem Globetrotters and her own professional tennis tour, coaching, teaching children at tennis clinics, and a stint as New Jersey Athletics Commissioner. As she struggled to support herself in old age, she was left with disappointment, recounting her past achievements decades before female tennis players were able to garner substantial earnings. A compelling life and times portrait, Serving Herself offers a revealing look at the rise and fall of a fiercely independent trailblazer who satisfied her own needs and simultaneously set a pathbreaking course for Black athletes. 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

Today Joe speaks with Retired United States Marine Corps Major Patrick J. McLain. Patrick began his military career as a Communications Officer in our United States Marine Corps. During the Cold War he deployed to Norway with his platoon of Marines, laying communications lines in the Northern Hemisphere darkness as well as enjoying spectacular views of the Aurora Borealis. He then transitioned to law school and served the rest of his military career with the Judge Advocate General. Finally we learn about his post-military career where he now has his own law practice.Our library of shows can be found at www.veteranscornerradio.comJoin us on Facebook at the page Veterans Corner RadioYou can contact our host Joe Muhlberger at joseph.muhlberger@gmail.com

From her start playing paddle tennis on the streets of Harlem as a young teenager to her eleven Grand Slam tennis wins to her professional golf career, Althea Gibson became the most famous black sportswoman of the mid-twentieth century. In her unprecedented athletic career, she was the first African American to win titles at the French Open, Wimbledon, and the US Open. In this comprehensive biography, Ashley Brown narrates the public career and private struggles of Althea Gibson (1927-2003). Based on extensive archival work and oral histories, Serving Herself: The Life and Times of Althea Gibson (Oxford UP, 2023) sets Gibson's life and choices against the backdrop of the Great Migration, Jim Crow racism, the integration of American sports, the civil rights movement, the Cold War, and second wave feminism. Throughout her life Gibson continuously negotiated the expectations of her supporters and adversaries, including her patrons in the black-led American Tennis Association, the white-led United States Lawn Tennis Association, and the media, particularly the Black press and community's expectations that she selflessly serve as a representative of her race.  An incredibly talented, ultra-competitive, and not always likeable athlete, Gibson wanted to be treated as an individual first and foremost, not as a member of a specific race or gender. She was reluctant to speak openly about the indignities and prejudices she navigated as an African American woman, though she faced numerous institutional and societal barriers in achieving her goals. She frequently bucked conventional norms of femininity and put her career ahead of romantic relationships, making her personal life the subject of constant scrutiny and rumors. Despite her major wins and international recognition, including a ticker tape parade in New York City and the covers of Sports Illustrated and Time, Gibson endeavored to find commercial sponsorship and permanent economic stability. Committed to self-sufficiency, she pivoted from the elite amateur tennis circuit to State Department-sponsored goodwill tours, attempts to find success as a singer and Hollywood actress, the professional golf circuit, a tour with the Harlem Globetrotters and her own professional tennis tour, coaching, teaching children at tennis clinics, and a stint as New Jersey Athletics Commissioner. As she struggled to support herself in old age, she was left with disappointment, recounting her past achievements decades before female tennis players were able to garner substantial earnings. A compelling life and times portrait, Serving Herself offers a revealing look at the rise and fall of a fiercely independent trailblazer who satisfied her own needs and simultaneously set a pathbreaking course for Black athletes. 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

Marta Havryshko, a historian specializing in Holocaust Pedagogy and Antisemitism Studies at the Strassler Center for Holocaust and Genocide Studies, examines Ukraine's ethno-nationalist legacy and its anti-Semitic past. She highlights instances of anti-Jewish violence and pogroms, noting that many Ukrainians, including prisoners of war, collaborated with German auxiliary units during World War II, particularly in the formation of a Ukrainian SS battalion within the Waffen-SS. Havryshko points out a significant gap in the national memory of Ukraine, where the suffering of Jewish individuals is acknowledged only superficially, while Ukrainian involvement in pogroms remains largely unrecognized. She critiques the portrayal of Ukrainian nationalist heroes—freedom fighters who often engaged in ethnic cleansing—as central figures in history, with their narrative overshadowing the suffering they inflicted on others, thus creating a hierarchy of suffering in the retelling of Ukraine's past. Havryshko traces the revival of historical celebrations of ethno-nationalists, such as Stepan Bandera, while noting the reluctance of contemporary Ukrainian leaders to confront the existence of neo-Nazi elements within the military. Referencing her research on the Waffen-SS Galicia Division, Havryshko discusses how Ukraine's neo-Nazi groups have historically found support in the West, largely due to their value as intelligence sources during the Cold War, despite being specifically labeled as “fascists” and “murderers” in CIA reports. Similarly today, Havryshko notes how the mythology of the Ukraine hero continues within the current war with Russia, as the stories of the sexual violence perpetrated by Ukraine forces are elided, not least because the victims of sexual violence in this conflict are primarily men and boys. Get full access to Savage Minds at savageminds.substack.com/subscribe

From her start playing paddle tennis on the streets of Harlem as a young teenager to her eleven Grand Slam tennis wins to her professional golf career, Althea Gibson became the most famous black sportswoman of the mid-twentieth century. In her unprecedented athletic career, she was the first African American to win titles at the French Open, Wimbledon, and the US Open. In this comprehensive biography, Ashley Brown narrates the public career and private struggles of Althea Gibson (1927-2003). Based on extensive archival work and oral histories, Serving Herself: The Life and Times of Althea Gibson (Oxford UP, 2023) sets Gibson's life and choices against the backdrop of the Great Migration, Jim Crow racism, the integration of American sports, the civil rights movement, the Cold War, and second wave feminism. Throughout her life Gibson continuously negotiated the expectations of her supporters and adversaries, including her patrons in the black-led American Tennis Association, the white-led United States Lawn Tennis Association, and the media, particularly the Black press and community's expectations that she selflessly serve as a representative of her race.  An incredibly talented, ultra-competitive, and not always likeable athlete, Gibson wanted to be treated as an individual first and foremost, not as a member of a specific race or gender. She was reluctant to speak openly about the indignities and prejudices she navigated as an African American woman, though she faced numerous institutional and societal barriers in achieving her goals. She frequently bucked conventional norms of femininity and put her career ahead of romantic relationships, making her personal life the subject of constant scrutiny and rumors. Despite her major wins and international recognition, including a ticker tape parade in New York City and the covers of Sports Illustrated and Time, Gibson endeavored to find commercial sponsorship and permanent economic stability. Committed to self-sufficiency, she pivoted from the elite amateur tennis circuit to State Department-sponsored goodwill tours, attempts to find success as a singer and Hollywood actress, the professional golf circuit, a tour with the Harlem Globetrotters and her own professional tennis tour, coaching, teaching children at tennis clinics, and a stint as New Jersey Athletics Commissioner. As she struggled to support herself in old age, she was left with disappointment, recounting her past achievements decades before female tennis players were able to garner substantial earnings. A compelling life and times portrait, Serving Herself offers a revealing look at the rise and fall of a fiercely independent trailblazer who satisfied her own needs and simultaneously set a pathbreaking course for Black athletes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sports

From her start playing paddle tennis on the streets of Harlem as a young teenager to her eleven Grand Slam tennis wins to her professional golf career, Althea Gibson became the most famous black sportswoman of the mid-twentieth century. In her unprecedented athletic career, she was the first African American to win titles at the French Open, Wimbledon, and the US Open. In this comprehensive biography, Ashley Brown narrates the public career and private struggles of Althea Gibson (1927-2003). Based on extensive archival work and oral histories, Serving Herself: The Life and Times of Althea Gibson (Oxford UP, 2023) sets Gibson's life and choices against the backdrop of the Great Migration, Jim Crow racism, the integration of American sports, the civil rights movement, the Cold War, and second wave feminism. Throughout her life Gibson continuously negotiated the expectations of her supporters and adversaries, including her patrons in the black-led American Tennis Association, the white-led United States Lawn Tennis Association, and the media, particularly the Black press and community's expectations that she selflessly serve as a representative of her race.  An incredibly talented, ultra-competitive, and not always likeable athlete, Gibson wanted to be treated as an individual first and foremost, not as a member of a specific race or gender. She was reluctant to speak openly about the indignities and prejudices she navigated as an African American woman, though she faced numerous institutional and societal barriers in achieving her goals. She frequently bucked conventional norms of femininity and put her career ahead of romantic relationships, making her personal life the subject of constant scrutiny and rumors. Despite her major wins and international recognition, including a ticker tape parade in New York City and the covers of Sports Illustrated and Time, Gibson endeavored to find commercial sponsorship and permanent economic stability. Committed to self-sufficiency, she pivoted from the elite amateur tennis circuit to State Department-sponsored goodwill tours, attempts to find success as a singer and Hollywood actress, the professional golf circuit, a tour with the Harlem Globetrotters and her own professional tennis tour, coaching, teaching children at tennis clinics, and a stint as New Jersey Athletics Commissioner. As she struggled to support herself in old age, she was left with disappointment, recounting her past achievements decades before female tennis players were able to garner substantial earnings. A compelling life and times portrait, Serving Herself offers a revealing look at the rise and fall of a fiercely independent trailblazer who satisfied her own needs and simultaneously set a pathbreaking course for Black athletes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

9 Hours and 5 MinutesPG-13Here are episode 1-9 of the Cold War series with Thomas777.The 'Cold War" Pt. 1 - The End Informs the Beginning w/ Thomas777The 'Cold War" Pt. 2 - How It Starts, and Bonus Election Talk w/ Thomas777The 'Cold War" Pt. 3 - The Korean War w/ Thomas777The 'Cold War" Pt. 4 - Konrad Adenauer and the Bundesrepublik w/ Thomas777The 'Cold War' Pt. 5 - 'The Cuban Missile Crisis' w/ Thomas777The 'Cold War' Pt. 6 - Ho Chi Minh and the Origin of the Vietnam War w/ Thomas777The 'Cold War' Pt. 7 - Robert McNamara, Vietnam, and a World Turning 'Red' w/ Thomas777The Cold War Pt. 8 - How the On the Ground Battles in Vietnam Were Fought w/ Thomas777The 'Cold War' Pt. 9 - Battling the Khmer Rouge w/ Thomas777Thomas' SubstackRadio Free Chicago - T777 and J BurdenThomas777 MerchandiseThomas' Book "Steelstorm Pt. 1"Thomas' Book "Steelstorm Pt. 2"Thomas on TwitterThomas' CashApp - $7homas777Pete and Thomas777 'At the Movies'Support Pete on His WebsitePete's PatreonPete's SubstackPete's SubscribestarPete's GUMROADPete's VenmoPete's Buy Me a CoffeePete on FacebookPete on TwitterBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-pete-quinones-show--6071361/support.

6 Hours and 33 MinutesPG-13Here are episodes 10-16 of the Cold War series with Thomas777.The 'Cold War' Pt. 10 - The Vietnam War Comes to an End w/ Thomas777The 'Cold War' Pt. 11 - Nixon, Detente, and Their Inevitable End w/ Thomas777The 'Cold War' Pt. 12 - Able Archer and Operation R.Y.A.N. - w/ Thomas777The 'Cold War' Pt. 13 - The Downing of Korean Air Lines Flight 007- w/ Thomas777The 'Cold War' Pt. 14 - The 'Red Square' Flight of Mathias Rust - w/ Thomas777The 'Cold War' Pt. 15 - The Berlin Wall Comes Down - w/ Thomas777The 'Cold War' Pt. 16 - The Q&A Finale - w/ Thomas777Thomas' SubstackThomas777 MerchandiseThomas' Book "Steelstorm Pt. 1"Thomas' Book "Steelstorm Pt. 2"Thomas on TwitterThomas' CashApp - $7homas777Pete and Thomas777 'At the Movies'Support Pete on His WebsitePete's PatreonPete's SubstackPete's SubscribestarPete's GUMROADPete's VenmoPete's Buy Me a CoffeePete on FacebookPete on TwitterBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-pete-quinones-show--6071361/support.

This week on Sinica, recorded at Yale University, I speak with Michael Brenes and Van Jackson, coauthors of The Rivalry Peril: How Great-Power Competition Threatens Peace and Weakens Democracy. Their argument is that framing the U.S.-China relationship as geopolitical rivalry has become more than just a foreign policy orientation — it's a domestic political project that reshapes budgets, norms, and coalitions in ways that actively harm American democracy and the American people. Rivalry narrows political possibility, makes dissent suspect, encourages neo-McCarthyism (the China Initiative, profiling of Chinese Americans), produces anti-AAPI hate, and redirects public investment away from social welfare and into defense spending through what they call "national security Keynesianism."Mike is interim director of the Brady Johnson Program in Grand Strategy at Yale, while Van is a senior lecturer in international relations at Victoria University of Wellington and host of the Un-Diplomatic Podcast. We discuss the genesis of their collaboration during the Biden administration, how they navigate China as a puzzle for the American left, canonical misrememberings of the Cold War that distort current China policy, the security dilemma feedback loop between Washington and Beijing, why defense-heavy stimulus is terrible at job creation, how rivalry politics weakens democracy, recent polling showing a shift toward engagement, and their vision for a "geopolitics of peace" anchored in Sino-U.S. détente 2.0.5:47 – The genesis of the book: recognizing Biden's Cold War liberalism 11:26 – How they approached writing together from different disciplinary homes 13:20 – Navigating China as a puzzle for the American left21:39 – How great power competition hardened from analytical framework into ideology 28:15 – Mike on two canonical misrememberings of the Cold War 33:18 – Van on the security dilemma and the nuclear feedback loop 39:55 – National security Keynesianism: why defense spending is bad at job creation 44:38 – How rivalry politics weakens democracy and securitizes dissent 48:09 – Building durable coalitions for restraint-oriented statecraft 51:27 – Has the post-COVID moral panic actually abated? 53:27 – The master narrative we need: a geopolitics of peace 55:29 – Associative balancing: achieving equilibrium through accommodation, not armsRecommendations:Van: The Long Twentieth Century by Giovanni Arrighi Mike: The World of the Cold War: 1945-1991 by Vladislav Zubok Kaiser: Pluribus (Apple TV series by Vince Gilligan)See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This is a re-broadcast of Class Unity Transmissions Ep. 18: Technofeudalism versus Total Capitalism (w/ Alex Hochuli) In this episode, we're joined by writer and political analyst Alex Hochuli to discuss his recent essay in American Affairs, “Technofeudalism Versus Total Capitalism.” The conversation explores the rising popularity of the “technofeudalist” thesis — associated with thinkers like Yanis Varoufakis, Cédric Durand, and Jodi Dean — and the claim that capitalism is undergoing a structural mutation into a new mode marked by digital rent extraction, platform dominance, and fragmented sovereignty. We ask: – What is technofeudalism, really? – Has rent overtaken profit as capitalism's core mechanism? – Are Big Tech and asset managers forming a new feudal elite? – What does this mean for politics, ideology, and the future of the left? – And are we just caught in another cycle of declaring new “ages” without structural transformation? Hochuli argues that what many read as a feudal regression is better understood as a deepening of capitalist modernity itself — marked by desocialization, the hollowing out of collective institutions, and the rise of algorithmic governance. The conversation also addresses the limits of post-ideological strategies, the political role of the state, and the importance of resisting the moralization of industrial capitalism. Hochuli is a writer and political analyst based in São Paulo. He is co-host of the @BungaCast podcast (Aufhebunga Bunga), a leading platform for critical discussion on global politics, post-liberalism, and ideological drift in the post-Cold War era. His work has appeared in American Affairs, Compact, UnHerd, Damage, and other venues. He is co-author of The End of the End of History (Zero Books, 2021), a critique of political stagnation in the neoliberal era and the rise of populist disruption. Links: Follow Hochuli on Twitter/X: @Alex__1789 Explore the podcast: @BungaCast / www.bungacast.com The End of the End of History – Available from Zero Books Hochuli, “Technofeudalism Versus Total Capitalism” (American Affairs, Summer 2025)

For Xi Jinping the Cold War never really ended. What we saw as a victory of democracy was a failure of weak men and a cautionary tale for Xi and the Chinese Communist Party. In this episode we talk about the chaos and suffering Xi endured in his young life to make him into the man he is today. The Cold War was a visceral experience for him that made him wary of chaos and disorder. I think looking at his Cold War experience helps explain this leader who is elusive to the outside world.

Episode Summary:In the first episode of 2026, Nick embarks on a year-long exploration of Eric Hobsbawm's monumental work, The Age of Extremes: The Short Twentieth Century, 1914–1991.We begin by examining Hobsbawm's premise: that the 20th century was defined by a binary struggle between ideologies that mutually excluded one another—capitalism vs. communism, democracy vs. fascism. But as Nick argues, this Western-centric view often simplifies the complex realities of national liberation struggles in China, Vietnam, and the Global South.The episode also delves into one of the most pressing issues for modern historians: "historical amnesia." Why, despite living in an age of information saturation, do we feel increasingly disconnected from the past? Drawing on Tony Judt and Hobsbawm, we explore how the breakdown of intergenerational storytelling and the allure of the "endless now" have created a society adrift in a permanent present.Plus: Important announcements about our upcoming live masterclasses for history students launching later this month!Key Topics:The Short 20th Century: Hobsbawm's definition of the era from 1914 to 1991.Historical Amnesia: Why the destruction of social memory is the eerie hallmark of the late 20th century.The Problem of Judgment: Why understanding the context of atrocities like the Holocaust does not mean forgiving them.The Binary Trap: Moving beyond the simple "Good vs. Evil" narrative of the Cold War.Books Mentioned:The Age of Extremes by Eric HobsbawmPostwar by Tony JudtExplaining History helps you understand the 20th Century through critical conversations and expert interviews. We connect the past to the present. If you enjoy the show, please subscribe and share.▸ Support the Show & Get Exclusive ContentBecome a Patron: patreon.com/explaininghistory▸ Join the Community & Continue the ConversationFacebook Group: facebook.com/groups/ExplainingHistoryPodcastSubstack: theexplaininghistorypodcast.substack.com▸ Read Articles & Go DeeperWebsite: explaininghistory.org Hosted on Acast. See acast.com/privacy for more information.

Find the 9 Points Rating System here: https://www.alostplot.com/9-points/ In this episode, Maverick and Nick delve into the 1983 film WarGames, exploring its themes of technology, youth, and the ethical implications of automation. They analyze the protagonist, David, and the antagonist, WOPR, discussing how the film reflects on the dangers of technology without human oversight. The conversation highlights the film's relevance in today's discussions about AI and the human experience, making it a thought-provoking review of a classic 80s film.----------Highlights:0:00 ‘WarGames' Introduction4:40 Opening Scene11:24 David the Protagonist15:20 WOPR, Joshua, and the Machine21:53 Tension & Stakes29:03 The Climax33:51 Themes & Messages36:38 Side Characters40:20 Lasting Impact#wargames #matthewbroderick #warfilm #alostplot #podcast #film #filmthoughts #dialup #ai #coldwar #sovietunion #1980scinema #1980s 

UNKNOWN: The Montauk ProjectJoin Josh as he kicks off the new year by diving into the real-world conspiracy that helped inspire Stranger Things. From the documented history of Camp Hero to unsettling claims of psychic experiments, mind control, memory suppression, time manipulation, and interdimensional portals, this episode explores how fact and legend became dangerously intertwined.Were these stories born from Cold War secrecy, unethical government experiments, and decades of rumor? Or was the truth buried beneath claims so unbelievable that no one would ever take them seriously?Follow us on Instagram @outtherecryptids and support the show on Patreon @outtherecryptids.

Ringing in the new year from the "Gopher Gulch" video store, DJ and Matt take a time-traveling trip back to 1992. After reflecting on the historic shifts and cinematic blockbusters of the early 90s, the duo dives into the hidden gem of British television: the supernatural sitcom Mulberry. They explore themes of compassion, the "family business" of death, and why a show about a cheerful apprentice Grim Reaper remains a poignant watch decades later.Timeline & Key Highlights00:00 – New Year at the Video Store: Banter about the "office party," the controversy of "fun-sized" Snickers, and the legendary Lula Mae.02:14 – Holiday Chaos in Gopher Gulch: A recap of local trailer park drama involving "Cooter Jack," moonshine eggnog, and unexpected bonuses.03:22 – Destination 1992: The "Time Traveler VCR" sets the stage with a look at 1992—a year of LA Riots, the end of the Cold War, and the birth of future stars like Selena Gomez and Miley Cyrus.04:06 – 90s Fashion & TV Curiosities: A discussion on the "macho man" basketball shorts trend and the original Saved by the Bell pilot starring Hayley Mills.06:52 – The Class of '92 at the Movies: Revisiting the year's heavy hitters, including Aladdin, The Bodyguard, Basic Instinct, and Lethal Weapon 3.11:03 – Memorializing a Legend: A quick tribute to French film icon and animal rights activist Brigitte Bardot.11:41 – Feature Discussion: Mulberry (1992): An in-depth look at the British sitcom following a cheerful apprentice Grim Reaper who takes a shine to an "acerbic spinster".18:17 – The BBC Cancellation Mystery: Why the show ended after two seasons and the "heebie-jeebies" that led a high-ranking official to pull the plug.23:16 – Transformation & Symbolism: How the character of Rose Farnaby "comes to life" through the show's set design and color palette.31:30 – The Art of the Obituary: A concluding reflection on personal legacy and why everyone should consider drafting their own highlights.Featured Series: MulberryThe Premise: Mulberry, the son of Death and Springtime, is sent on his first mission to escort the bitter Miss Rose Farnaby to the afterlife. Instead, he poses as her manservant to help her rediscover joy.The Vibe: Described as "Dickensian" with a touch of Greek mythology (Hades and Persephone), the show balances dark themes with gentle, British humor.The Verdict: A compassionate look at dignity in death and the potential for late-life change.Notable Mentions & References

“The story Unger weaves with those earlier accounts and his original reporting is fresh, illuminating and more alarming than the intelligence channel described in the Steele dossier.”—The Washington PostHouse of Trump, House of Putin offers the first comprehensive investigation into the decades-long relationship among Donald Trump, Vladimir Putin, and the Russian Mafia that ultimately helped win Trump the White House. It is a chilling story that begins in the 1970s, when Trump made his first splash in the booming, money-drenched world of New York real estate, and ends with Trump's first inauguration as president of the United States. That moment was the culmination of Vladimir Putin's long mission to undermine Western democracy, a mission that he and his hand-selected group of oligarchs and Mafia kingpins had ensnared Trump in, starting more than twenty years ago with the massive bailout of a string of sensational Trump hotel and casino failures in Atlantic City. This book confirms the most incredible American paranoias about Russian malevolence. To most, it will be a hair-raising revelation that the Cold War did not end in 1991—that it merely evolved, with Trump's apartments offering the perfect vehicle for billions of dollars to leave the collapsing Soviet Union. In House of Trump, House of Putin, Craig Unger methodically traces the deep-rooted alliance between the highest echelons of American political operatives and the biggest players in the frightening underworld of the Russian Mafia. He traces Donald Trump's sordid ascent from foundering real estate tycoon to leader of the free world. He traces Russia's phoenix like rise from the ashes of the post–Cold War Soviet Union as well as its ceaseless covert efforts to retaliate against the West and reclaim its status as a global superpower. Without Trump, Russia would have lacked a key component in its attempts to return to imperial greatness. Without Russia, Trump would not be president. This essential book is crucial to understanding the real powers at play in the shadows of today's world. The appearance of key figures in this book—Paul Manafort, Michael Cohen, and Felix Sater to name a few—ring with haunting significance in the wake of Robert Mueller's report and as others continue to close in on the truth.https://amzn.to/4qjR9JHBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Dejan Djokić's book A Concise History of Serbia (Cambridge UP, 2023) covers the full span of Serbia's history – from the sixth-century Slav migrations through until the present day – in an effort to understand the country's position at the crossroads of east and west. The book traces key developments surrounding the medieval and modern polities associated with Serbs, offering fresh interpretations and revealing a fascinating history of entanglements and communication between southeastern and wider Europe, which often had global implications. In structuring his inquiry around several recurring themes including migration, shifting borders, and the fate of small nations, Djokic challenges some of the prevailing stereotypes about Serbia and reveals the vitality of Serbian identity through the centuries. Dejan Djokić is Professor of Modern and Contemporary History and Founding Director of the Centre for the Study of the Balkans at Goldsmiths College, University of London. In June 2023, he will join the National University of Ireland, Maynooth, as Professor of History. Djokic's research brings together three main strands of inquiry: the Yugoslav war; the global and cultural history of the Cold War; and the history of Southeastern Europe since the Middle Ages. His publications include Nikola Pašić and Ante Trumbić: The Kingdom of Serbs, Croats and Slovenes (2010) and Elusive Compromise: A History of Interwar Yugoslavia (2007), as well as contributions to numerous edited volumes, including New Perspectives on Yugoslavia: Key Issues and Controversies (2011). Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. 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

Dejan Djokić's book A Concise History of Serbia (Cambridge UP, 2023) covers the full span of Serbia's history – from the sixth-century Slav migrations through until the present day – in an effort to understand the country's position at the crossroads of east and west. The book traces key developments surrounding the medieval and modern polities associated with Serbs, offering fresh interpretations and revealing a fascinating history of entanglements and communication between southeastern and wider Europe, which often had global implications. In structuring his inquiry around several recurring themes including migration, shifting borders, and the fate of small nations, Djokic challenges some of the prevailing stereotypes about Serbia and reveals the vitality of Serbian identity through the centuries. Dejan Djokić is Professor of Modern and Contemporary History and Founding Director of the Centre for the Study of the Balkans at Goldsmiths College, University of London. In June 2023, he will join the National University of Ireland, Maynooth, as Professor of History. Djokic's research brings together three main strands of inquiry: the Yugoslav war; the global and cultural history of the Cold War; and the history of Southeastern Europe since the Middle Ages. His publications include Nikola Pašić and Ante Trumbić: The Kingdom of Serbs, Croats and Slovenes (2010) and Elusive Compromise: A History of Interwar Yugoslavia (2007), as well as contributions to numerous edited volumes, including New Perspectives on Yugoslavia: Key Issues and Controversies (2011). Iva Glisic is a historian and art historian specialising in modern Russia and the Balkans. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In this one, Cody talks to cartoonist Peter Dunlap‑Shohl. His career traces a remarkable arc, from daily newsroom deadlines to personal, long-form storytelling. For 27 years, he worked for the Anchorage Daily News, drawing editorial and political cartoons. He produced thousands of comics focused on, more often than not, the worst things he could find in Alaska politics and in the pages of the newspaper — the biggest screwup, the clearest malfeasance, the loudest troublemaker — and then he'd satirize it by cartooning it. This is how a newspaper cartoonist does their job. But he also worked on the comic strip Muskeg Heights. The strip was about a fictional Anchorage neighborhood, and it allowed him to step out of the editorial page — away from politics — to explore the emotional aspects of living in Alaska. He worked on that for about a decade, until Parkinson's made it too difficult to keep up with the weekly pace of the work.  In more recent years, he's authored two graphic memoirs: My Degeneration, about his Parkinson's diagnosis in 2002, and Nuking Alaska, about the nuclear dangers Alaska faced during the Cold War. Both books were something Peter never thought he'd be capable of creating after being diagnosed. But he says that with the help of medication and brain surgery, he's been able to curb the effects of the disease and accomplish some of the most rewarding and successful work of his life. But he's careful not to frame the disease as a gift because it's not. In My Degeneration, he writes that "it'll take everything from you, everything it has taken you a lifetime to acquire and learn." What is a gift, though, is his reaction to it — the power of medicine, human ingenuity, and perseverance are incredible things. Overall, it's taught him that he's not in control, and that on his best days he's sharing the wheel with Parkinson's.

Yes we're still off on our Christmas/New Year holidays but never fear! We have ANOTHER bonus subscriber episode for you to enjoy.BUT CRUCIALLY, DON'T FORGET! The comedy history podcast that has spent as much time talking about the invention of custard as it has the industrial revolution is here with its first ever live show! Thursday 15th January at the Underbelly Boulevard in London's Soho.

THE COLD WAR TRAP AND GORBACHEV'S MISCALCULATION Colleague Professor Sean McMeekin. The timeline shifts to the Cold War rivalry, arguing that Soviet aggression was driven by a genuine belief—shared by the CIA—that their economic system would eventually outproduce the West. The invasion of Afghanistan in 1979 became a trap, as the US applied "hard power" and economic pressure that eventually bankrupted the Soviet state. The segment characterizes Mikhail Gorbachev not as a democrat, but as the "last true believer" in communism who attempted to "fix" the system through better planning. Gorbachev failed to understand that corruption and coercion were the only things holding the Soviet economy and empire together; by trying to remove them to reinvigorate the system, he inadvertently dismantled the regime. NUMBER 7

This week Justin talks with Mike Yeagley. Mike is a graduate of St. Lawrence University and is currently the Chief Strategy Officer for cohort.ID. For the past decade, Mike has been working in a variety of positions to understand and reveal how advertising and marketing data can be both an asset and a detriment in intelligence and targeting operations. He's here today to discuss his work regarding the many ways that data can be bought, sold, and used worldwide, and how anyone can effectively understand change and reduce their own data profiles. Connect with Mike and cohort.ID: LinkedIn: cohort.ID Connect with Spycraft 101: Get Justin's latest book, Murder, Intrigue, and Conspiracy: Stories from the Cold War and Beyond, here. spycraft101.com IG: @spycraft101 Shop: shop.spycraft101.com Patreon: Spycraft 101 Find Justin's first book, Spyshots: Volume One, here. Check out Justin's second book, Covert Arms, here. Download the free eBook, The Clandestine Operative's Sidearm of Choice, here. Kruschiki The best surplus military goods delivered right to your door. Use code SPYCRAFT101 for 10% off! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode of Future Tech, filmmaker Jason Sherman speaks with Al Holland, NASA's longtime senior operational psychologist, about the human systems behind spaceflight. Holland helped shape how astronauts are selected, trained, and supported for long-duration missions, including the International Space Station and future missions to Mars. Drawing from decades of experience at NASA, Holland discusses how astronauts were selected and trained for long-duration missions, why teamwork and self-regulation matter as much as technical skill, and how isolation, sleep disruption, and separation from family quietly shape performance in space. He also reflects on early astronaut training at places like the Johnsville Centrifuge and how lessons from Cold War research continue to influence modern missions to the International Space Station and future journeys to Mars. This conversation is part of the ongoing research and storytelling behind the documentary “Before the Moon”, which explores the hidden places, people, and systems that made human spaceflight possible.

 COLD WAR RISE AND POLITICAL FALL Colleague James M. Scott. After the war, LeMay rose to lead the Strategic Air Command (SAC) and became Air Force Chief of Staff. However, his blunt, non-political nature caused friction with figures like Robert McNamara and JFK during the Cold War. He infamously suggested bombing Vietnam"back to the stone age," echoing his approach to Japan. In his 1965 autobiography, he expressed no regret for the firebombing, viewing it as necessary to end the war. His reputation suffered permanently after he ran as vice president on George Wallace's segregationist ticket in 1968. NUMBER 8 1945 OKINAWA 

POTSDAM, STALIN, AND THE COLD WAR Colleague Evan Thomas. At the Potsdam Conference, President Truman initially excluded Henry Stimson from meetings, favoring Jimmy Byrnes, who wanted to use the bomb to intimidate the Soviet Union. Truman wrote in his diary that the bomb would hit a purely military target, a claim Thomassuggests was a form of denial regarding the inevitable civilian deaths. Stimson urged Truman to trust the Soviets and share the weapon to prevent an arms race, but the administration ultimately chose to use the bomb as diplomatic leverage, foreshadowing the onset of the Cold War. NUMBER 5 1945 OKINAWA