Podcast appearances and mentions of harvey young

Recharge: Your Leaders. Your Teams. Your Culture. Your Results. - Season 7, Episode 6 | You started down the pathway of recharging your leaders, your teams, your culture, and your results. But once you get started, how do you keep it going? Harvey Young, a regional practice leader at FranklinCovey, joins Managing Director Jeffery Downs to discuss how accountability is key to getting the results you're working for. • The Agility Advantage: 4 Steps to Respond to Change and Achieve Consistent Business Results - https://pages.franklincovey.com/4-steps-to-respond-to-change-pod-babl.html

Most leaders have experienced this common barrier to execution: Everything coming at you is either urgent or high priority. If you're constantly overwhelmed by everything in the whirlwind, how can you step out of 'urgency culture' and give attention to what moves you toward your goals? Join FranklinCovey national practice leader Scott Thele as he talks with Australia national practice leader Anne-Louise McLean and US national practice leader Harvey Young about the urgency trap and how to create space for the things that really matter.

Abstract: In this episode, Karin and Elizabeth discuss the last essay in the Nakan Journal: The Cultural Inheritance of Michael Jackson: reading the Performance of High-Status Blackness in Video and on Stage by Elizabeth Amisu. REFERENCE AS: Merx, Karin, and Elizabeth Amisu. “Episode 58 –His Beauteous Race” Podcast, Michael Jackson's Dream Lives On: An Academic Conversation 9, no. 1 (2022). Published electronically 21/07/2022. https://michaeljacksonstudies.org/episode-58 The Journal of Michael Jackson Academic Studies asks that you acknowledge The Journal of Michael Jackson Academic Studies as the source of our Content; if you use material from The Journal of Michael Jackson Academic Studies online, we request that you link directly to the stable URL provided. If you use our content offline, we ask that you credit the source as follows: “Courtesy of The Journal of Michael Jackson Academic Studies.” Episode 58– His Beauteous Race, Discussing 'The Cultural Inheritance of Michael Jackson: reading the Performance of High-Status Blackness in Video and on Stage'By Karin Merx & Elizabeth Amisu Karin Merx BMus, MA, is editor of The Journal of Michael Jackson Academic Studies, and author of  ‘A festive parade of highlights. La Grande Parade as evaluation of the museum policy of Edy De Wilde at the Stedelijk Museum Amsterdam'. Find out more about Karin here. Elizabeth Amisu, PGCE, MA, is editor of The Journal of Michael Jackson Academic Studies and author of The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife. Find out more about Elizabeth here. References Elizabeth Amisu, The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife (Santa Barbara, California, Praeger, 2016). Amazon “BAD (1987)”, The Journal of Michael Jackson Academic Studies, issue 1, no 2, 2014, published online 22 July 2014, accessed 9 November 2021. URL: https://michaeljacksonstudies.org/bad-1987-2/. John Brannigan, New Historicism and Cultural Materialism, (Basingstoke, Hampshire, and London, Macmillan, 1998). Jim Blashfield, Leave Me Alone, 1989. Colin Chilvers, Smooth Criminal, 1988. Nicholas Cullinan, Margo Jefferson, & Zadie Smith, Exhibit Cat. Michael Jackson: On the Wall (National Portrait Gallery, 2018). Nicolas Kluger, “The Michael Jackson and Winnie Harlow Effect: Impact on Vitiligo Awareness on the Internet”, Journal of Clinical and Aesthetic Dermatology (2019). John Landis, Black or White, 1991. Harriet J. Manning, Michael Jackson and the Blackface Mask (Ashgate Popular and Folk Music Series, London, Taylor and Francis, 2016). Toni Morrison, Playing in the Dark: Whiteness and the Literary Imagination (Cambridge, MA, Harvard University Press, 1992). Elena Oliete, “Michael, Are You Ok? You've Been Hit by a Smooth Criminal: Racism, Controversy, and Parody in the Video Clips Smooth Criminal and You Rock My World”, Studies in Popular Culture, 29 (2006), p. 57-76. Joseph Vogel, “‘I Ain't Scared of No Sheets': Re-Screening Black Masculinity in Michael Jackson's Black or White”, Journal of Popular Music Studies, 27, 2015, p. 112. Harvey Young, Theatre and Race, Palgrave Macmillan, 2013. Sherrow O. Pinder, Michael Jackson and the Quandary of Black Identity, New York, SUNY Press, 2021.

Abstract: In this episode, Karin and Elizabeth discuss the last essay in the Nakan Journal: The Cultural Inheritance of Michael Jackson: reading the Performance of High-Status Blackness in Video and on Stage by Elizabeth Amisu. REFERENCE AS: Merx, Karin, and Elizabeth Amisu. “Episode 58 –His Beauteous Race” Podcast, Michael Jackson's Dream Lives On: An Academic Conversation 9, no. 1 (2022). Published electronically 21/07/2022. https://sya.rqu.mybluehost.me/website_94cbf058/episode-58 The Journal of Michael Jackson Academic Studies asks that you acknowledge The Journal of Michael Jackson Academic Studies as the source of our Content; if you use material from The Journal of Michael Jackson Academic Studies online, we request that you link directly to the stable URL provided. If you use our content offline, we ask that you credit the source as follows: “Courtesy of The Journal of Michael Jackson Academic Studies.” Episode 58– His Beauteous Race, Discussing 'The Cultural Inheritance of Michael Jackson: reading the Performance of High-Status Blackness in Video and on Stage'By Karin Merx & Elizabeth Amisu Karin Merx BMus, MA, is editor of The Journal of Michael Jackson Academic Studies, and author of  ‘A festive parade of highlights. La Grande Parade as evaluation of the museum policy of Edy De Wilde at the Stedelijk Museum Amsterdam'. Find out more about Karin here. Elizabeth Amisu, PGCE, MA, is editor of The Journal of Michael Jackson Academic Studies and author of The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife. Find out more about Elizabeth here. References Elizabeth Amisu, The Dangerous Philosophies of Michael Jackson: His Music, His Persona, and His Artistic Afterlife (Santa Barbara, California, Praeger, 2016). Amazon “BAD (1987)”, The Journal of Michael Jackson Academic Studies, issue 1, no 2, 2014, published online 22 July 2014, accessed 9 November 2021. URL: https://sya.rqu.mybluehost.me/website_94cbf058/bad-1987-2/. John Brannigan, New Historicism and Cultural Materialism, (Basingstoke, Hampshire, and London, Macmillan, 1998). Jim Blashfield, Leave Me Alone, 1989. Colin Chilvers, Smooth Criminal, 1988. Nicholas Cullinan, Margo Jefferson, & Zadie Smith, Exhibit Cat. Michael Jackson: On the Wall (National Portrait Gallery, 2018). Nicolas Kluger, “The Michael Jackson and Winnie Harlow Effect: Impact on Vitiligo Awareness on the Internet”, Journal of Clinical and Aesthetic Dermatology (2019). John Landis, Black or White, 1991. Harriet J. Manning, Michael Jackson and the Blackface Mask (Ashgate Popular and Folk Music Series, London, Taylor and Francis, 2016). Toni Morrison, Playing in the Dark: Whiteness and the Literary Imagination (Cambridge, MA, Harvard University Press, 1992). Elena Oliete, “Michael, Are You Ok? You've Been Hit by a Smooth Criminal: Racism, Controversy, and Parody in the Video Clips Smooth Criminal and You Rock My World”, Studies in Popular Culture, 29 (2006), p. 57-76. Joseph Vogel, “‘I Ain't Scared of No Sheets': Re-Screening Black Masculinity in Michael Jackson's Black or White”, Journal of Popular Music Studies, 27, 2015, p. 112. Harvey Young, Theatre and Race, Palgrave Macmillan, 2013. Sherrow O. Pinder, Michael Jackson and the Quandary of Black Identity, New York, SUNY Press, 2021.

Hiya! For the entire month of August, we’ll be highlighting experiences of diversity in the world of educational theatre- because after all, that first day of fall classes(virtual, hybrid, or otherwise) is right around the corner. To kick us off, we sit down with George Brown and Harvey Young, who are both deans of the fine and performing arts colleges at their respective universities. Listen as we discuss the realities of running a theatre program, including the deans' responsibilities to cultivate a safe place to learn and grow, faculty accountability, student empowerment, and more on this incredible(yeah, it's pretty damn tasty) episode of Fourth Wall: the podcast. Do you have an experience to share about diversity in higher education or any other topics we’ve discussed on 4W? We wanna read that shit! Send it to us so we can get your perspective and possibly share it on the show! → hello@fourthwallpod.com. FIND FOURTH WALL AND YOUR HOSTS ONLINE: Fourth Wall on Instagram: @thisisfourthwall 4W Community Inbox: hello@fourthwallpod.com Abigail Brazier: @thenameisabstract Alaina Newell: @alainanewell ~~~ Fourth Wall: the podcast is created with TLC by hosts Alaina Newell (@alainanewell) and Abigail Brazier (@thenameisabstract) Produced with grace and elegance by Tyler McKenzie Creative Studio (@tylrmckenzie, tmcreativestudio.com) With original music by Ben Bailey (@bendabrit) And assistance from Production Consultants Nick Buchholz (@nicholas_buchholz) and Sara Flatow (saraflatow.com). --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/fourthwall/support

Ricky Koons and Harvey Young — better known musically as Ricky and Harv — perform approximately 200 shows a year in the Valley in various venues, including nursing homes. The musicians share how they got into music, how they met and how their music provides therapy that has helped them endure personal loss, a Parkinson’s diagnosis and other life trials.  

Abstract: This thirteenth episode is a celebration of Michael Jackson's 58th birthday. Karin and Elizabeth's conversation explores Michael Jackson and Afrocentricity, the predominantly American study of the history of black Africa. They discuss the many ways in which Michael Jackson was aware of, knowledgeable about, and proud of his African-American heritage, and how throughout his career, he gave a strong message in his work about black history in a variety of ways. They also discuss the following eight songs: Bad, Liberian Girl, Remember the Time, Jam, Black or White, Keep the Faith, They Don't Care About Us, History. REFERENCE AS: Merx, Karin, and Elizabeth Amisu. "Episode 13 – MJAS Exclusive: Michael Jackson 58th Birthday: MJ & Afrocentricity." Podcast, Michael Jackson's Dream Lives On: An Academic Conversation 3, no. 1 (2016). Published electronically 29/08/16. http://sya.rqu.mybluehost.me/website_94cbf058/episode-13/. The Journal of Michael Jackson Academic Studies asks that you acknowledge The Journal of Michael Jackson Academic Studies as the source of our Content; if you use material from The Journal of Michael Jackson Academic Studies online, we request that you link directly to the stable URL provided. If you use our content offline, we ask that you credit the source as follows: “Courtesy of The Journal of Michael Jackson Academic Studies.” Episode 13 – MJAS Exclusive: Michael Jackson 58th Birthday: MJ & Afrocentricity By Karin Merx & Elizabeth Amisu Michael is descended from the people of the Ivory Coast. He is King Sanwi. - Elizabeth Amisu All Our References and Where to Easily Find Them 1) Leonard Bernstein, West Side Story 2) Elizabeth Amisu, "‘Bad (1987)'."The Journal of Michael Jackson Academic Studies 1, no. 2 (2014). Published electronically 22/7/14. http://sya.rqu.mybluehost.me/website_94cbf058/bad-1987-2/. 3) Martin Scorsese, film director. 4) Elizabeth Amisu, "‘Crack Music': Michael Jackson's ‘Invincible'." The Journal of Michael Jackson Academic Studies 1, no. 2 (2015). http://sya.rqu.mybluehost.me/website_94cbf058/elizabeth-amisu-crack-music-michael-jacksons-invincible/. 5) Toni Morrison, Playing in the Dark: Whiteness and the Literary Imagination (Harvard University Press 1992). 6) Harriet Manning, Michael Jackson and the Blackface Mask (Ashgate, 1st edition 2016). 7) Margo Jefferson, On Michael Jackson (Vintage Books 2007). 8) Michael Jackson's Dream Lives On: An Academic Conversation, Episode 4 (1/3/16): Michael Jackson and Monochromatic Cinematography 9) Michael Jackson's Dream Lives On: An Academic Conversation, Episode 10 (25/6/16): MJAS Exclusive: 7 Albums, 7 Songs, 7 Years (With Dr. Joe Vogel). 10) Spike Lee, Bad 25 Documentary (2012). 11) Harvey Young, Theatre and Race (Palgrave Macmillan, 2013). 12) Esias van Hulzen 'Ballet Tanz der Nationen' 13) BBC World Service, Michael Jackson - The Thrill Of Thriller (2012). 14) Susan Fast, Dangerous (Bloomsbury 2014). 15) Elizabeth Amisu, Certified Dangerous Online Video Course (2016). 16) Michael Jackson's Dream Lives On: An Academic Conversation, Episode 1 (29/6/15): Was Michael Jackson an Artist?. 17) Hazel Bryan and Elizabeth Eckford, Little Rock, Arkansas, September 1957.© Photograph by Will Counts/Indiana University Archives. 18) Information about the Black Panther Party. 19) Elizabeth Amisu, Certified Beyoncé in Culture Online Video Course (2016). 20) Armond White, 'How Deep is Your Afrocentricity? Ask Michael and Iman', Keep Moving: The Michael Jackson Chronicles, (Resistance Works, 2009), chapter 5, p.34. 21) Ibid. 22) Information about Ben Jonson. 23) Armond White, Keep Moving: The Michael Jackson Chronicles, p.36. 24) Information about Song of the Goat Theatre & Songs of Lear. 25) Smooth Criminal played by 2Cellos. 26) Prison version of Michael Jackson's  They Don't Care About Us. 27) Mass Incarceration, Visualized, Video by  The Atlantic, Sep 11, 2015.

Sarah Bay-Cheng, Pannill Camp, and Harvey Young discuss the future of On TAP, Beyoncé's visual album, Lemonade, and the Comedie-Francaise Registers Project in light of criticism of Digital Humanities initiatives.

In this edition, Sarah Bay-Cheng, Harvey Young, and Pannill Camp discuss the new podcast, the twentieth anniversary of Joseph Roach's Cities of the Dead, and the 2016 job market.

With the election of Barack Obama, the first U.S. president of African descent, many people believed that America had ushered in an era of post-racial harmony. Harvey Young is not one of them. When it comes to the racial experience of black people, particularly, though not exclusively, of black men, Young takes James Baldwin’s sage advice: “Take no one’s word for anything, including mine–but trust your experience.” I interviewed Young about his new book Embodying Black Experience: Stillness, Critical Memory, and the Black Body (University of Michigan Press, 2010). In it, Harvey examines five “spectacular events,” including an opening autobiographical one, that persuasively reveal his argument “that embodied experiences develop, in part, from racial (mis)recognition and spotlight how an idea of the black body materially affects actual bodies” (11). In other words, Young points out how despite the multifarious identities that constitute what we know as the “African American” identity (i.e., it ain’t monolithic), all black bodies in America are subject to “compulsory visibility” (12). This hyper and unavoidable visibility didn’t begin yesterday. It is historical and is recorded in what Harvey calls the “repository of experience” (23), as revealed in a range of artifacts that he examines. These include such things as daguerreotypes of black captives to theatrical productions such as Susan Lori Parks play “Venus” (based on the “Hottentot Venus”). What I learned from Harvey’s book is that being recognized as black is certainly not always negative. But when it is, and it is often enough, it’s very painful. And I would say, as I said to Harvey, that he has written one of the best books on contemporary identity politics in this still “retrograde racial” America. His book seeks to diminish the causes of that pain. Listen in. Read the book. And let me know your opinion. Learn more about your ad choices. Visit megaphone.fm/adchoices

With the election of Barack Obama, the first U.S. president of African descent, many people believed that America had ushered in an era of post-racial harmony. Harvey Young is not one of them. When it comes to the racial experience of black people, particularly, though not exclusively, of black men, Young takes James Baldwin’s sage advice: “Take no one’s word for anything, including mine–but trust your experience.” I interviewed Young about his new book Embodying Black Experience: Stillness, Critical Memory, and the Black Body (University of Michigan Press, 2010). In it, Harvey examines five “spectacular events,” including an opening autobiographical one, that persuasively reveal his argument “that embodied experiences develop, in part, from racial (mis)recognition and spotlight how an idea of the black body materially affects actual bodies” (11). In other words, Young points out how despite the multifarious identities that constitute what we know as the “African American” identity (i.e., it ain’t monolithic), all black bodies in America are subject to “compulsory visibility” (12). This hyper and unavoidable visibility didn’t begin yesterday. It is historical and is recorded in what Harvey calls the “repository of experience” (23), as revealed in a range of artifacts that he examines. These include such things as daguerreotypes of black captives to theatrical productions such as Susan Lori Parks play “Venus” (based on the “Hottentot Venus”). What I learned from Harvey’s book is that being recognized as black is certainly not always negative. But when it is, and it is often enough, it’s very painful. And I would say, as I said to Harvey, that he has written one of the best books on contemporary identity politics in this still “retrograde racial” America. His book seeks to diminish the causes of that pain. Listen in. Read the book. And let me know your opinion. Learn more about your ad choices. Visit megaphone.fm/adchoices

With the election of Barack Obama, the first U.S. president of African descent, many people believed that America had ushered in an era of post-racial harmony. Harvey Young is not one of them. When it comes to the racial experience of black people, particularly, though not exclusively, of black men, Young takes James Baldwin's sage advice: “Take no one's word for anything, including mine–but trust your experience.” I interviewed Young about his new book Embodying Black Experience: Stillness, Critical Memory, and the Black Body (University of Michigan Press, 2010). In it, Harvey examines five “spectacular events,” including an opening autobiographical one, that persuasively reveal his argument “that embodied experiences develop, in part, from racial (mis)recognition and spotlight how an idea of the black body materially affects actual bodies” (11). In other words, Young points out how despite the multifarious identities that constitute what we know as the “African American” identity (i.e., it ain't monolithic), all black bodies in America are subject to “compulsory visibility” (12). This hyper and unavoidable visibility didn't begin yesterday. It is historical and is recorded in what Harvey calls the “repository of experience” (23), as revealed in a range of artifacts that he examines. These include such things as daguerreotypes of black captives to theatrical productions such as Susan Lori Parks play “Venus” (based on the “Hottentot Venus”). What I learned from Harvey's book is that being recognized as black is certainly not always negative. But when it is, and it is often enough, it's very painful. And I would say, as I said to Harvey, that he has written one of the best books on contemporary identity politics in this still “retrograde racial” America. His book seeks to diminish the causes of that pain. Listen in. Read the book. And let me know your opinion. 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