Podcasts about James Baldwin

Season 10 opens with fire.

In this special episode of Unstoppable Mindset, I had the privilege of sitting down with the remarkable Ivan Cury—a man whose career has taken him from the golden days of radio to groundbreaking television and, ultimately, the classroom.   Ivan began acting at just four and a half years old, with a chance encounter at a movie theater igniting a lifelong passion for storytelling. By age eleven, he had already starred in a radio adaptation of Jack and the Beanstalk and went on to perform in classic programs like Let's Pretend and FBI in Peace and War. His talent for voices and dialects made him a favorite on the air.   Television brought new opportunities. Ivan started out as a makeup artist before climbing the ranks to director, working on culturally significant programs like Soul and Woman, and directing Men's Wearhouse commercials for nearly three decades. Ivan also made his mark in academia, teaching at Hunter College, Cal State LA, and UCLA. He's written textbooks and is now working on a book of short stories and reflections from his extraordinary life.   Our conversation touched on the importance of detail, adaptability, and collaboration—even with those we might not agree with. Ivan also shared his view that while hard work is crucial, luck plays a bigger role than most of us admit.   This episode is packed with insights, humor, and wisdom from a man who has lived a rich and varied life in media and education. Ivan's stories—whether about James Dean or old-time radio—are unforgettable.     About the Guest:   Ivan Cury began acting on Let's Pretend at the age of 11. Soon he was appearing on Cavalcade of America, Theatre Guild on the Air,  The Jack Benny Program, and many others.  Best known as Portia's son on Portia Faces Life and Bobby on Bobby Benson and The B-Bar-B Riders.    BFA: Carnegie Tech, MFA:Boston University.   Producer-director at NET & CBS.  Camera Three's 25th Anniversary of the Julliard String Quartet, The Harkness Ballet, Actor's Choice and Soul! as well as_, _The Doctors and The Young and the Restless. Numerous television commercials, notably for The Men's Wearhouse.   Taught at Hunter, Adelphi, and UCLA.  Tenured at Cal State University, Los Angeles.  Author of two books on Television Production, one of which is in its 5th edition.    Ways to connect with Ivan:       About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:16 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:20 Well, hi everyone, and welcome to another episode of unstoppable mindset where inclusion, diversity and the unexpected meet. And the fun thing is, most everything really deals with the unexpected. That is anything that doesn't have anything to do with diversity or inclusion. And our guest today, Ivan Cury, is certainly a person who's got lots of unexpected things, I am sure, and not a lot necessarily, dealing with the whole issue of disabilities, inclusion and diversity, necessarily, but we'll see. I want to tell you a little bit about Ivan, not a lot, because I want him to tell but as many of you know who listen to unstoppable mindset on a regular basis. I collect and have had as a hobby for many years old radio shows. And did a radio program for seven years, almost at UC Irvine when I was there on kuci, where every Sunday night we played old radio shows. And as it turns out, Ivan was in a number of those shows, such as, let's pretend, which is mostly a children's show. But I got to tell you, some of us adults listened and listened to it as well, as well as other programs. And we'll get into talking about some of those things. Ivan has a really great career. He's done a variety of different things, in acting. He's been in television commercials and and he is taught. He's done a lot of things that I think will be fun to talk about. So we'll get right to it. Ivan, I want to thank you for being here and welcome you to unstoppable mindset. Thanks. Thanks. Good to be here. Well, tell us a little bit about kind of the early Ivan growing up, if you will. Let's start with that. It's always good to start at the beginning, as it were,   Ivan Cury ** 03:04 well, it's sorry, it's a great, yes, it's a good place to start. About the time I was four and a half, that's a good time to start. I walked past the RKO 81st, street theater in New York, which is where we lived, and there was a princess in a in a castle kept in the front of this wonderful building that photographs all over the place. Later on, I was to realize that that Princess was really the cashier, but at the time, it was a princess in a small castle, and I loved the building and everything was in it. And thought at that time, that's what I'm going to do when I grow up. And the only thing that's kind of sad is it's Here I am, and I'm still liking that same thing all these years later, that's that's what I liked. And I do one thing or another, I wound up entertaining whenever there was a chance, which really meant just either singing a song or shaking myself around and pretending it was a dance or thinking it was a dance. And finally, wound up meeting someone who suggested I do a general audition at CBS long ago, when you could do those kinds of things I did and they I started reading when I was very young, because I really, because I want to read comics, you know, no big thing about that. And so when I could finally read comics, I wound up being able to read and doing it well. And did a general audition of CBS. They liked me. I had a different kind of voice from the other kids that were around at the time. And and so I began working and the most in my career, this was once, once you once they found a kid who had a different voice than the others, then you could always be the kid brother or the other brother. But it was clear that I wasn't a kid with a voice. I was the kid with the Butch boy. So who? Was who, and so I began to work. And I worked a lot in radio, and did lots and lots of shows, hundreds, 1000s,   Michael Hingson ** 05:07 you mentioned the comics. I remember when we moved to California, I was five, and I was tuning across the dial one Sunday morning and found KFI, which is, of course, a state a longtime station out here was a clear channel station. It was one of the few that was the only channel or only station on that frequency, and on Sunday morning, I was tuning across and I heard what sounded like somebody reading comics. But they weren't just reading the comics. They were dramatized. And it turns out it was a guy named David Starling who did other shows and when. So I got his name. But on that show, he was the funny paper man, and they read the LA Times comics, and every week they acted them out. So I was a devoted fan for many years, because I got to hear all of the comics from the times. And we actually subscribed to a different newspaper, so I got two sets of comics my brother or father read me the others. But it was fun reading and listening to the comics. And as I said, they dramatize them all, which was really cool.   Ivan Cury ** 06:14 Yeah, no doubt I was one day when I was in the studio, I was doing FBI and peace and war. I used to do that all the time, several it was a sponsored show. So it meant, I think you got $36 as opposed to $24 which was okay in those days. And my line was, gee, Dad, where's the lava soap. And I said that every week, gee, Dad, where's the lava soap. And I remember walking in the studio once and hearing the guy saying, Ah, this television ain't never gonna work. You can't use your imagination. And, yeah,   Michael Hingson ** 06:52 well, except you really don't use your imagination near especially now I find that everything is way too spelled out, so you don't get to use your imagination.   Ivan Cury ** 07:03 Radio required you to use your radio required you to use it. Yeah, and, and if you had a crayon book at the time, well, and you were 12 or No, no, much younger than that, then it was and that was what you did, and it was fun.   Michael Hingson ** 07:17 So what was the first radio program that you were   Ivan Cury ** 07:20 it was very peculiar, is it New Year's Eve, 19 four? No, I don't know. I'm not sure. Now, it was 47 or 48 I think it was 48 Yeah, I was 11, and it was New Year's Eve, and it was with Hank Severn, Ted Cott, and I did a Jack and the Beanstalk. It was recording for caravan records. It became the number one kids record. You know, I didn't, there was no he didn't get residuals or anything like that. And the next day I did, let's pretend. And then I didn't work for three months. And I think I cried myself to sleep every night after that, because I absolutely loved it. And, you know, there was nothing my parents could do about this, but I wanted, I wanted in. And about three months later, I finally got to do another show. Peculiarly. The next show I did was lead opposite Helen Hayes in a play called no room for Peter Pan. And I just looked it up. It was May. I looked it up and I lost it already. I think, I think I may know what it is. Stay tuned. No, now, nope, nope, nope, ah, so that's it was not. This was May 1949, wow. What was it? Well, yeah, and it was, it was a the director was a man named Lester O'Keefe, and I loved Barry Fitzgerald, and I find even at a very early age, I could do an Irish accent. And I've been in Ireland since then. I do did this, just sometimes with the people knowing that I was doing it and I was it was fine. Sometimes they didn't, and I could get it is, it is pretty Irish, I think, at any rate, he asked me father, who was born in Russia, if we spoke Gaelic at home, we didn't. And so I did the show, and it was fine. Then I did a lot of shows after that, because here was this 11 year old kid who could do all this kind of   Michael Hingson ** 09:24 stuff. So what was no room for Peter Pan about,   Ivan Cury ** 09:27 oh, it was about a midget, a midget who is a young man, a young boy who never grows up, and there's a mind. He becomes a circus performer, and he becomes a great star, and he comes back to his town, to his mother, and there's a mine disaster, and the only one who can save them is this little person, and the kid doesn't want to do it, and it's and there's a moment where Helen Hayes, who played the lead, explained about how important it is the to give up your image and be and be. Man, be a real man, and do the thing, right thing to do. And so that was the   Michael Hingson ** 10:04 story. What show was it on? What series?   Ivan Cury ** 10:07 Electric Theater, Electric Theater, Electric Theater with Ellen Hayes, okay,   Michael Hingson ** 10:10 I don't think I've heard that, but I'm going to find it.   Ivan Cury ** 10:14 Well, yes, there's that one. And almost very soon afterwards, I did another important part with Walter Hughes, Walter Hamden. And that was on cavalcade of America, Ah, okay. And that was called Footlights on the frontier. And it was about, Tom about Joseph Jefferson, and the theater of the time, where the young kid me meets Abraham Lincoln, Walter Houston, and he saves the company. Well, those are the first, first shows. Was downhill from there. Oh, I don't   Michael Hingson ** 10:50 know, but, but you you enjoyed it, and, of course, I loved it, yes, why?   Ivan Cury ** 11:00 I was very friendly with Richard lamparsky. I don't even remember him, but he wrote whatever became of series of books. Whatever became of him was did a lot, and we were chatting, and he said that one of the things he noticed is that people in theater, people in motion pictures, they all had a lot of nightmare stories to tell about people they'd work with. And radio actors did not have so much of that. And I believe that you came in, you got your script, you work with people you like, mostly, if you didn't, you'd see you'd lose, you know, you wouldn't see them again for another Yeah, you only had to deal with them for three or four hours, and that was in the studio. And after that, goodbye.   Michael Hingson ** 11:39 Yeah, what was your favorite show that you ever did?   Ivan Cury ** 11:42 And it seems to me, it's kind of almost impossible. Yeah, I don't know,   Michael Hingson ** 11:51 a lot of fun ones.   Ivan Cury ** 11:54 I'll tell you the thing about that that I found and I wrote about it, there are only five, four reasons really, for having a job. One of them is money, one of them is prestige. One of them is learning something, and the other is having fun. And if they don't have at least two, you ought to get out of it. And I just had a lot of fun. I really like doing it. I think that's one of the things that's that keeps you going now, so many of these old time radio conventions, which are part of my life now, at least Tom sometimes has to do with with working with some of the actors. It's like tennis. It's like a good tennis game. You you send out a line, and you don't know how it's going to come back and what they're going to do with it. And that's kind of fun.   Michael Hingson ** 12:43 Well, so while you were doing radio, and I understand you weren't necessarily doing it every day, but almost, well, almost. But you were also going to school. How did all that work out   Ivan Cury ** 12:53 there is, I went to Professional Children's School. I went to a lot of schools. I went to law schools only because mostly I would, I would fail geometry or algebra, and I'd have to take summer session, and I go to summer session and I'd get a film, and so I'd leave that that session of summer session and do the film and come back and then go to another one. So in all, I wound up to being in about seven or eight high schools. But the last two years was at Professional Children's School. Professional Children's School has been set up. It's one of a number of schools that are set up for professional children, particularly on the East Coast. Here, they usually bring somebody on the set. Their folks brought on set for it. Their professional school started really by Milton Berle, kids that go on the road, and they were doing terribly. Now in order to work as a child Lacher in New York and probably out here, you have to get permission from the mayor's office and permission from the American Society of Prevention of Cruelty to Children. And you needed permits to do it, and those both organizations required the schools to show to give good grades you were doing in school, so you had to keep up your grades, or they wouldn't give you a permit, and then you couldn't work. PCs did that by having correspondence. So if a kid was on the road doing a show out of town in Philadelphia or wherever, they were responsible for whatever that week's work was, and we were all we knew ahead of time what the work was going to be, what projects had to be sent into the school and they would be graded when I went, I went to Carnegie, and my first year of English, I went only, I think, three days a week, instead of five, because Tuesdays and Thursdays Were remedial. We wrote We were responsible for a term paper. Actually, every week, you we learned how to write. And it was, they were really very serious about it. They were good schools   Michael Hingson ** 14:52 well, and you, you clearly enjoyed it. And I know you also got very involved and interested in poetry as you went along. Too do. Yes, I did well, yeah, yeah. And who's your favorite poet?   Ivan Cury ** 15:07 Ah, my favorite poets. If that is hard to say, who my favorite is, but certainly they are more than one is Langston, Hughes, Mary, Oliver, wh Jordan, my favorite, one of my favorite poems is by Langston Hughes. I'll do it for you now. It's real easy. Burton is hard, and dying is mean. So get yourself some love, and in between, there you go. Yes, I love that. And Mary Oliver, Mary Oliver's memory, if I hope I do, I go down to the shore, and depending upon the hour, the waves are coming in and going out. And I said, Oh, I am so miserable. Watch. What should I do? And the sea, in its lovely voice, says, Excuse me, I have work to do.   Michael Hingson ** 15:56 Ooh. That puts it in perspective, doesn't   Ivan Cury ** 16:00 it? Yes, it certainly does.   Michael Hingson ** 16:03 So So you, you went to school and obviously had good enough grades that you were able to continue to to act and be in radio, yes, which was cool. And then television, because it was a television Lacher, yeah, yeah. It's beginning of television as well. So I know one of the shows that you were on was the Jack Benny show. What did you do for Jack? Oh, well,   Ivan Cury ** 16:28 I'm really stuffy. Singer is the guy who really did a lot of Jack Benny things. But what happened is that when Jack would come to New York, if there was a kid they needed, that was me, and so I did the Benny show, I don't know, two or three times when he was in New York. I, I did the Jack Benny show two or three times. But I was not so you were, you were nice, man. It came in. We did the show. I went   Michael Hingson ** 16:51 home. You were a part time Beaver, huh?   Ivan Cury ** 16:54 I don't know. I really don't know, but I was beaver or what? I don't remember anything other than I had been listening to the Jack Benny show as a kid. I knew he was a star and that he was a nice man, and when he came into the studio, he was just a nice man who who read Jack Benny's lines, and who was Jack Benny, and he said his lines, and I said my lines, and we had a nice time together. And there wasn't any, there wasn't any real interplay between us, other than what would be normal between any two human beings and and that was that. So I did the show, but I can't talk very much about Jack Benny.   Michael Hingson ** 17:32 Did you? Did you primarily read your scripts, or did you memorize them at all?   Ivan Cury ** 17:37 Oh, no, no, radio. That was the thing about radio. Radio that was sort of the joy you read. It was all about reading. It's all about reading, yeah. And one of the things about that, that that was just that I feel lucky about, is that I can pretty well look at a script and read it. Usually read it pretty well with before the first time I've ever seen it, and that's cold reading, and I was pretty good at that, and still am.   Michael Hingson ** 18:06 Did you find that as you were doing scripts and so on, though, and reading them, that that changed much when you went in into television and started doing television?   Ivan Cury ** 18:22 I don't know what you mean by change.   Michael Hingson ** 18:24 Did you you still read scripts and   Ivan Cury ** 18:26 yeah, no, no, the way. I mean the way intelligent show usually goes as an actor. Well, when I directed television, I used to direct a lot of soap operas, not a lot, but I directed soap operas, but there'd be a week's rehearsal for a show, danger, I'm syndicated, or anything, and so there'd be a week's rehearsal. The first thing you do is, we have a sit down read, so you don't read the script, and then you holding the script in your hand walk through the scenes. Sometimes the director would have, would have blocking that they knew you were going to they were going to do, and they say, here's what you do. You walk in the door, etc. Sometimes they say, Well, go ahead, just show me what you'd like, what you what it feels like. And from that blocking is derived. And then you go home and you try to memorize the lines, and you feel perfectly comfortable that as you go, when you leave and you come back the next day and discover you got the first line down. But from there on, it's dreadful. But after a while, you get into the thing and you know your lines. You do it. Soap opera. Do that.   Michael Hingson ** 19:38 The interesting thing about doing radio, was everything, pretty much, was live. Was that something that caused a lot of pressure for you?   Ivan Cury ** 19:51 In some ways, yes, and in some ways it's lovely. The pressure is, yes, you want to get it right, but if you got to get it but if you get it wrong, give it up, because it's all over. Uh, and that's something that's that isn't so if you've recorded it, then you start figuring, well, what can I do? How can I fix this? You know, live, you do it and it's done. That's, that's what it is, moving right along. And this, this comment, gets to be kind of comfortable, you know, that you're going to, there may be some mistakes. You do the best you can with it, and go on one of the things that's really the news that that happens, the news, you know, every night, and with all the other shows that are live every day,   Michael Hingson ** 20:26 one of the things that I've noticed in a number of radio shows, there are times that it's fairly obvious that somebody made a flub of some sort, but they integrated it in, and they were able to adapt and react, and it just became part of the show. And sometimes it became a funny thing, but a lot of times they just worked it in, because people knew how to do that. And I'm not sure that that is so much the case certainly today on television, because in reality, you get to do it over and over, and they'll edit films and all that. And so you don't have that, that same sort of thing, but some of those challenges and flubs that did occur on radio were really like in the Jack Benny shows and burns and Allen and Phil Harris and so on. They were, they just became integrated in and they they became classic events, even though they weren't necessarily originally part of the plan.   Ivan Cury ** 21:25 Absolutely, some of some of them, I suspect some of them, were planned and planned to sound as if they would just happen. But certainly mistakes. Gosh, good mistakes are wonderful. Yeah, in all kinds of I used to do a lot of live television, and even if we weren't live television, when we would just do something and we were going to tape it and do it later, I remember once the camera kind of going wrong, video going wrong. I went, Wait a minute. That's great. Let's keep it wrong like that, you know. And it was so is just lovely that that's part of the art of improvisation, with how   Michael Hingson ** 22:06 and and I think there was a lot more of that, certainly in radio, than there is on television today, because very few things are really live in the same   Ivan Cury ** 22:17 sense. No, there. There are some kinds of having written, there are some type formats that are live. The news is live, the news is live. There's no, you know, there are. There used to be, and there may still be some of the afternoon shows, the kind of morning and afternoon shows where Show and Tell Dr whatever his name is, Dr Phil, yeah, it may be live, or it's shot as live, and they don't, they don't really have a budget to edit, so it's got to be real bad before they edit. Yeah. So do a show like that called Woman of CBS. So there are shows that are live, like that, sport events are live. A lot of from Kennedy Center is live. There are, there are lots of programs that are live, concerts, that are that you are a lot of them. America's Got Talent might as well be live. So there's a lot of that. And certainly things go wrong in the ad lib, and that's the way, because, in fact, there's some lovely things that happen out of that, but mostly, you're absolutely right. Mostly you do show it's recorded. You intend to edit it, you plan it to be edited, and you do it. It's also different when you shoot multiple camera, as opposed to single camera, yeah, single camera being as you say, again and again and again, multiple camera, not so much, although I used to direct the young and the restless, and now there is a line cut which is almost never used. It's it's the intention, but every shot is isolated and then cleaned up so that it's whatever is, whatever is possibly wrong with it gets clean.   Michael Hingson ** 24:03 Yeah, it's, it's a sign of the changing times and how things, everything   Ivan Cury ** 24:09 is bad. It's just, it's different. In fact, that's a kind of question I'm really puzzled with right now for the fun of it. And that is about AI, is it good or bad?   Michael Hingson ** 24:20 Well, and it's like anything else, of course, it depends. One of the one of my, my favorite, one of my favorite things about AI is a few years, a couple of years ago, I was at a Christmas party when there was somebody there who was complaining about the fact that kids were writing their papers using AI,   Ivan Cury ** 24:43 and that's bad   Michael Hingson ** 24:44 and and although people have worked on trying to be able to detect AI, the reality is that this person was complaining that the kids were even doing it. And I didn't think about it until later, but I realized. Is one of the greatest blessings of AI is let the students create their papers using AI. What the teachers need to do is to get more creative. And by that I mean All right, so when children turn in and students turn in their papers, then take a day and let every student take about a minute and come up and defend the paper they wrote. You're going to find out really quickly who really knew the subject and who just let ai do it and didn't have any interaction with it. But what a great way to learn. You're going to find out very quickly. And kids are going to figure out very quickly that they need to really know the subject, because they're going to have to defend their   Ivan Cury ** 25:41 papers. Yeah, no, I think that's fine. I I don't like the amount of electricity that it requires and what it's doing to our to our needs for water, because it has to be cooled down. So there's some physical things that I don't like about AI, and I think it's like when you used to have to go into a test with a slide rule, and they you couldn't use your calculator. When I use a calculator, it's out of the bag. You can't put it back anymore. It's a part of our life, and how to use it is the question. And I think you're absolutely right. I don't even need to know whether. I'm not even sure you need to check the kids if they it. How will you use? How will we get to use? Ai, it is with us.   Michael Hingson ** 26:30 Well, but I think there's a the value of of checking and testing. Why I'm with you. I don't think it's wrong. I think, no, no, but I think the value is that it's going to make them really learn the subject. I've written articles, and I've used AI to write articles, and I will look at them. I'll actually have a create, like, eight or nine different versions, and I will decide what I like out of each of them, and then I will add my part to it, because I have to make it me, and I've always realized that. So I know anything that I write, I can absolutely defend, because I'm very integrally involved in what I do with it, although AI has come up with some very clever ideas. Yeah, I hadn't thought of but I still add value to it, and I think that's what's really important.   Ivan Cury ** 27:19 I did a I've been writing stuff for a while, and one of the things I did, I wrote this. I wrote a little piece. And I thought, well, what? What would ai do if they took the same piece? How would they do it? So I put it in and said, rewrite it. They did. It was kind of bland. They'd taken all the life out of it. It wasn't very Yeah. So then I said, Well, wait a minute, do the same thing, write it as if it were written by Damon Runyon. And so they took it and they did that, and it was way over the top and really ugly, but it I kind of had fun with what, what the potential was, and how you might want to use it. I mean, I think the way you using it is exactly right. Yeah, it's how you use it, when, when you when, I'm just as curious, when you do that, when you said, you write something, and you ask them to do it four or five times or many times. How do you how do you require them to do it differently.   Michael Hingson ** 28:23 Well, there are a couple different ways. One is, there are several different models that can use to generate the solution. But even leaving aside such as, Oh, let's see, one is, you go out and do more web research before you actually do the do the writing. And so that's one thing and another. I'm trying to remember there were, like, six models that I found on one thing that I did yesterday, and but, but the other part about it is that with AI, yeah, the other thing about AI is that you can just tell it you don't like the response that you   Ivan Cury ** 29:09 got. Aha, okay, all right, yep,   Michael Hingson ** 29:13 I got it. And when you do that, it will create a different response, which is one of the things that you want. So, so so that works out pretty well. And what I did on something, I wanted to write a letter yesterday, and I actually had it write it. I actually had it do it several times. And one time I told it to look at the web to help generate more information, which was pretty cool, but, but the reality is that, again, I also think that I need to be a part of the the solution. So I had to put my my comments into it as well, and, and that worked out pretty well. Okay, right? Yeah, so I mean, it's cool, and it worked. Right? And so the bottom line is we we got a solution, but I think that AI is a tool that we can use, and if we use it right, it will enhance us. And it's something that we all have to choose how we're going to do. There's no no come, yeah, no question about that. So tell me you were successful as a young actor. So what kind of what what advice or what kind of thoughts do you have about youth success, and what's your takeaway from that?   Ivan Cury ** 30:36 The Good, yeah, I There are a lot of things being wanting to do it, and I really love doing it, I certainly didn't want to. I wanted to do it as the best way I could Well, I didn't want to lose it up, is what it really comes down to. And that meant figuring out what it is that required. And one of the things that required was a sense of responsibility. You had to be there on time, you had to be on stage, and you may want to fidget, but that takes to distract from what's going on, so sit still. So there's a kind of kind of responsibility that that you learn, that I learned, I think early on, that was, that's very useful. Yeah, that's, that's really, I think that's, I wrote some things that I had, I figured, some of these questions that might be around. So there, there's some I took notes about it. Well, oh, attention to details. Yeah, to be care to be watch out for details. And a lot of the things can be carried on into later life, things about detailed, things about date. Put a date on, on papers. When, when did, when was this? No, when was this note? What? When did this happen? Just keeping track of things. I still am sort of astonished at how, how little things add up, how we just just noted every day. And at the end of a year, you've made 365 notes,   Michael Hingson ** 32:14 yeah, well, and then when you go back and read them, which is also part of the issue, is that you got to go back and look at them to to see what   Ivan Cury ** 32:23 right or to just know that they're there so that you can refer to them. When did that happen?   Michael Hingson ** 32:28 Oh, right. And what did you say? You know, that's the point. Is that when I started writing thunder dog, my first book was suggested that I should start it, and I started writing it, what I started doing was creating notes. I actually had something like 1.2 megabytes of notes by the time we actually got around to doing the book. And it was actually eight years after I started doing some, well, seven years after I started doing writing on it. But the point is that I had the information, and I constantly referred back to it, and I even today, when I deliver a speech, I like to if there's a possibility of having it recorded, I like to go back and listen, because I want to make sure that I'm not changing things I shouldn't change and or I want to make sure that I'm really communicating with the audience, because I believe that my job is to talk with an audience, not to an audience.   Ivan Cury ** 33:24 Yeah, yeah. I we say that I'm reading. There are three books I'm reading right now, one of them, one of them, the two of them are very well, it doesn't matter. One is called who ate the oyster? Who ate the first oyster? And it's a it's really about paleon. Paleological. I'm saying the word wrong, and I'm paleontological. Paleontological, yeah, study of a lot of firsts, and it's a lovely but the other one is called shady characters by Keith Houston, and it's a secret life of punctuation symbols and other typographical marks, and I am astonished at the number of of notes that go along with it. Probably 100 100 pages of footnotes to all of the things that that are a part of how these words came to be. And they're all, I'm not looking at the footnotes, because there's just too many, but it's kind of terrific to check out. To be that clear about where did this idea come from, where did this statement come from? I'm pleased about that. I asked my wife recently if you could be anything you want other than what you are. What would you want to be? What other what other job or would you want to have? The first one that came to mind for me, which I was surprised that was a librarian. I just like the detail. I think that's   Michael Hingson ** 34:56 doesn't go anywhere. There you go. Well, but there's so. There's a lot of detail, and you get to be involved with so many different kinds of subjects, and you never know what people are going to ask you on any given day. So there's a lot of challenge and fun to that.   Ivan Cury ** 35:11 Well, to me also just putting things in order, I was so surprised to discover that in the Dewey Decimal System, the theater is 812 and right next to it, the thing that's right next to it is poetry. I was surprised. It's interesting, yeah, the library and play that out.   Michael Hingson ** 35:29 Well, you were talking about punctuation. Immediately I thought of EE Cummings. I'll bet he didn't pay much attention to punctuation at all. I love him. He's great, yeah, isn't he? Yeah, it's a lot of fun. An interesting character by any standard. So, so you, you progressed into television, if, I guess it's progressing well, like, if we answer to Fred Allen, it's not, but that's okay.   Ivan Cury ** 35:54 Well, what happens? You know, after, after, I became 18, and is an interesting moment in my life, where they were going to do film with Jimmy Dean, James Dean, James Dean. And it came down and he was going to have a sidekick, a kid sidekick. And it came down to me and Sal Mineo. And Sal got it, by the way. Case you didn't know, but one of the things was I was asked I remember at Columbia what I wanted to do, and I said I wanted to go to college, and my there was a kind of like, oh, yeah, right. Well, then you're not going to go to this thing, because we don't. We want you to be in Hollywood doing the things. And yes, and I did go to college, which is kind of great. So what happened was, after, when I became 18, I went to Carnegie tech and studied theater arts. Then I after that, I studied at Boston University and got a master's there, so that I had an academic, an academic part of my life as well, right? Which ran out well, because in my later years, I became a professor and wrote some   Michael Hingson ** 36:56 books, and that was your USC, right? No, Cal State, Lacher State, LA and UCLA. And UCLA, not USC. Oh, shame on me. But that's my wife. Was a USC graduate, so I've always had loyalty. There you go. But I went to UC Irvine, so you know, okay, both systems, whatever.   Ivan Cury ** 37:16 Well, you know, they're both UC system, and that's different, yeah, the research institutes, as opposed to the Cal State, which   Michael Hingson ** 37:23 are more teaching oriented, yeah,   Ivan Cury ** 37:26 wow, yeah, that's, that's what it says there in the paper.   Michael Hingson ** 37:30 Yes, that's what it says. But you know, so you went into television. So what did you mainly do in the in the TV world?   Ivan Cury ** 37:44 Well, when I got out of when I got through school, I got through the army, I came back to New York, and I, oh, I got a job versus the Girl Scouts, doing public relations. I I taught at Hunter College for a year. Taught speech. One of the required courses at Carnegie is voice and diction, and it's a really good course. So I taught speech at Hunter College, and a friend of mine was the second alternate maker man at Channel 13 in New York. He had opera tickets, so he said, Look standard for me, it's easy, men seven and women five, and telling women to put on their own lipstick. So I did. I did that, and I became then he couldn't do it anymore, so I became the second alternate make a man. Then it didn't matter. Within within six months, I was in charge of makeup for any t which I could do, and I was able to kind of get away with it. And I did some pretty good stuff, some prosthetic pieces, and it was okay, but I really didn't want to do that. I wanted to direct, if I could. And so then I they, they knew that, and I they knew that I was going to leave if, if, because I wasn't going to be a makeup I didn't. So I became a stage manager, and then an associate director, and then a director at Channel 13 in New York. And I directed a lot of actors, choice the biggest show I did there, or the one that Well, I did a lot of I also worked with a great guy named Kirk Browning, who did the a lot of the NBC operas, and who did all of the opera stuff in for any t and then I wound up doing a show called Soul, which was a black variety show. But when I say black variety show, it was with James Baldwin and but by the OJS and the unifics and the delphonics and Maya Angelou and, you know, so it was a black culture show, and I was the only white guy except the camera crew there. But had a really terrific time. Left there and went and directed for CBS. I did camera three. So I did things like the 25th anniversary of the Juilliard stringer check. Quartet. But I was also directing a show called woman, which was one of the earliest feminist programs, where I was the only male and an all female show. And actually I left and became the only gringo on an all Latino show called aqui I ahora. So I had a strange career in television as a director, and then did a lot of commercials for about 27 years, I directed or worked on the Men's Warehouse commercials. Those are the facts. I guarantee it.   Michael Hingson ** 40:31 Did you get to meet George Zimmer? Oh, very, very, very often, 27 years worth, I would figure, yeah.   Ivan Cury ** 40:39 I mean, what? I'm enemies. When I met him, he's a boy, a mere boy.   Michael Hingson ** 40:45 Did you act during any of this time? Or were you no no behind the camera once?   Ivan Cury ** 40:50 Well, the only, the only acting I did was occasionally. I would go now in a store near you, got it, and I had this voice that they decided, Ivan, we don't want you to do it anymore. It just sounds too much like we want, let George do this, please.   Michael Hingson ** 41:04 So, so you didn't get to do much, saying of things like, But wait, there's more, right?   Ivan Cury ** 41:10 No, not at all. Okay, okay. Oh, but you do that very well. Let's try.   Michael Hingson ** 41:13 Wait, there's more, okay. Well, that's cool. Well, that was,   Ivan Cury ** 41:18 it was kind of fun, and it was kind of fun, but they had to, it was kind of fun to figure out things. I remember we did. We had a thing where some of those commercial we did some commercials, and this is the thing, I sort of figured out customers would call in. So we recorded their, their call ins, and I they, we said, with calls being recorded. We took the call ins and I had them sent to it a typist who typed up what they wrote that was sent to New York to an advertising agency would extract, would extract questions or remarks that people had made about the stuff, the remarks, the tapes would be then sent to who did that? I think we edited the tapes to make it into a commercial, but the tags needed to be done by an announcer who said, in a store near you were opening sooner, right? Wyoming, and so those the announcer for the Men's Warehouse was a guy in in Houston. So we'd send, we'd send that thing to him, and he'd send us back a digital package with the with the tags. And the fun of it was that was, it was from, the calls are from all over the world. The the edits on paper were done in New York, the physical work was done in San Francisco. The announcer was in Houston. And, you know? And it's just kind of fun to be able to do that, that to see, particularly having come from, having come from 1949 Yeah, where that would have been unheard of to kind of have that access to all that was just fun, kind   Michael Hingson ** 42:56 of fun. But think about it now, of course, where we have so much with the internet and so on, it'd be so much easier, in a lot of ways, to just have everyone meet on the same network and   Ivan Cury ** 43:09 do now it's now, it's nothing. I mean, now it's just, that's the way it is. Come on.   Michael Hingson ** 43:13 Yeah, exactly. So. So you know, one of the things that I've been thinking about is that, yes, we've gone from radio to television and a whole new media and so on. But at the same time, I'm seeing a fairly decent resurgence of people becoming fascinated with radio and old radio and listening to the old programs. Do you see that?   Ivan Cury ** 43:41 Well, I, I wish I did. I don't my, my take on it. It comes strictly from that such, so anecdotal. It's like, in my grandkids, I have these shows that I've done, and it's, you know, it's grandpa, and here it is, and there it's the bobby Benson show, or it's calculator America, whatever, 30 seconds. That's what they give me. Yeah, then it's like, Thanks, grandpa. Whoopie. I don't know. I think maybe there may there may be something, but I would, I'd want some statistical evidence about well, but   Michael Hingson ** 44:19 one of the things I'm thinking of when I talk about the resurgence, is that we're now starting to see places like radio enthusiasts to Puget Sound reps doing recreations of, oh yes, Carl Omari has done the Twilight Zone radio shows. You know, there are some things that are happening, but reps among others, and spurred back to some degree, yeah, spurred back is, is the Society for the Prevention, oh, gosh,   Ivan Cury ** 44:46 not cruelty children, although enrichment   Michael Hingson ** 44:49 of radio   Ivan Cury ** 44:50 drama and comedy, right? Society, right? Yeah, and reps is regional enthusiasts of Puget Sound, Puget   Michael Hingson ** 44:58 Sound and. Reps does several recreations a year. In fact, there's one coming up in September. Are you going to   Ivan Cury ** 45:04 that? Yes, I am. I'm supposed to be. Yes, I think I Yes. I am.   Michael Hingson ** 45:08 Who you're going to play? I have no idea. Oh, you don't know yet.   Ivan Cury ** 45:12 Oh, no, no, that's fun. You get there, I think they're going to have me do a Sam Spade. There is another organization up there called the American radio theater, right? And I like something. I love those people. And so they did a lot of Sam Spade. And so I expect I'm going to be doing a Sam Spade, which I look forward to.   Michael Hingson ** 45:32 I was originally going to it to a reps event. I'm not going to be able to this time because somebody has hired me to come and speak and what I was going to do, and we've postponed it until I can, can be the one to do it is Richard diamond private detective, which is about my most favorite radio show. So I'm actually going to play, able to play Richard diamond. Oh, how great. Oh, that'll be a lot of fun. Yeah. So it'll probably be next year at this point now, but it but it will happen.   Ivan Cury ** 45:59 I think this may, yeah, go ahead. This may be my last, my last show I'm getting it's getting tough to travel.   Michael Hingson ** 46:07 Yeah, yeah, I don't know. Let's see. Let's see what happens. But, but it is fun, and I've met several people through their Carolyn Grimes, of course, who played Zuzu on It's A Wonderful Life. And in fact, we're going to have her on unstoppable mindset in the not too distant future, which is great, but I've met her and and other people, which I   Ivan Cury ** 46:34 think that's part of the for me. That really is part of the fun. Yeah, you become for me now it has become almost a sec, a family, in the same way that when you do show, if you do a show regularly, it is, it really becomes a family. And when the show is over, it's that was, I mean, one of the first things as a kid that was, that was really kind of tough for every day, or every other day I would meet the folks of Bobby Benson and the B Barbie writers. And then I stopped doing the show, and I didn't see them and didn't see them again. You know, I Don Knotts took me to I had the first shrimp of my life. Don Knotts took me to take tough and Eddie's in New York. Then I did another show called paciolini, which was a kind of Italian version of The Goldbergs. And that was, I was part of that family, and then that kind of went away. I was Porsche son on Porsche faces life, and then that way, so the you have these families and they and then you lose them, but, but by going to these old events, there is that sense of family, and there are also, what is just astonishing to me is all those people who know who knows stuff. One day I mentioned Frank Milano. Now, nobody who knows Frank Milano. These guys knew them. Oh, Frank, yeah, he did. Frank Milano was a sound. Was did animal sounds. There were two guys who did animal sounds particularly well. One was Donald Baines, who I worked with on the first day I ever did anything. He played the cow on Jack and the Beanstalk and and Frank, Don had, Don had a wonderful bar room bet, and that was that he could do the sound effects of a fish. Wow. And what is the sound effect of a fish? So now you gotta be required. Here's the sound effect of a fish. This was what he went $5 bets with you. Ready? Here we go.   Michael Hingson ** 48:41 Good job. Yeah, good job. Yeah. It's like, what was it on? Was it Jack Benny? They had a kangaroo, and I think it was Mel Blanc was asked to do the kangaroo, which is, of course, another one where they're not really a sound, but you have to come up with a sound to do it on radio, right?   Ivan Cury ** 49:06 Yes. Oh my god, there were people who want I could do dialects, I could do lots of German film, and I could do the harness. Was very easy for me to do, yeah, so I did love and I got to lots of jobs because I was a kid and I could do all these accents. There was a woman named Brianna Rayburn. And I used to do a lot of shows in National Association of churches of Christ in the United States. And the guy who was the director, John Gunn, we got to know each other. He was talking about, we talked with dialects. He said Briana Rayburn had come in. She was to play a Chinese woman. And she really asked him, seriously, what part of China Do you want her to come from? Oh, wow. I thought that was just super. And she was serious. She difference, which is studied, studied dialects in in. In college not long after, I could do them, and discovered that there were many, many English accents. I knew two or three cockney I could do, but there were lots of them that could be done. And we had the most fun. We had a German scholar from Germany, from Germany, and we asked him if he was doing speaking German, but doing playing the part of an American what would it sound like speaking German with an American accent? You know, it was really weird.   Michael Hingson ** 50:31 I had a history teacher, yes, who was from the Bronx, who spoke German, yeah, and he fought in World War Two. And in fact, he was on guard duty one night, and somebody took a shot at him, and so he yelled back at them in German. The accent was, you know, I took German, so I don't understand it all that well, but, but listening to him with with a New York accent, speaking German was really quite a treat. The accent spilled through, but, but they didn't shoot at him anymore. So I think he said something, what are you shooting at me for? Knock it off. But it was so funny, yeah, but they didn't shoot at him anymore because he spoke, yeah, yeah. It was kind of cool. Well, so with all that you've learned, what kind of career events have have sort of filtered over into what you do today?   Ivan Cury ** 51:28 Oh, I don't know. We, you know. But one of the things I wanted to say, it was one of the things that I learned along the way, which is not really answering your question until I get back to it, was, I think one of those best things I learned was that, however important it is that that you like someone, or you're with somebody and everything is really terrific. One of the significant things that I wish I'd learned earlier, and I think is really important, is how do you get along when you don't agree? And I think that's really very important.   Michael Hingson ** 52:01 Oh, it's so important. And we, in today's society, it's especially important because no one can tolerate anyone anymore if they disagree with them, they're you're wrong, and that's all there is to it. And that just is so unfortunate. There's no There's no really looking at alternatives, and that is so scary   Ivan Cury ** 52:20 that may not be an alternative. It may not be,   Michael Hingson ** 52:23 but if somebody thinks there is, you should at least respect the opinion,   Ivan Cury ** 52:28 whatever it is, how do you get along with the people you don't   Michael Hingson ** 52:32 agree with? Right?   Ivan Cury ** 52:35 And you should one that you love that you don't agree with, right? This may sound strange, but my wife and I do not agree about everything all the time, right?   Michael Hingson ** 52:43 What a concept. My wife and I didn't agree about everything all the time. Really, that's amazing, and it's okay, you know? And in fact, we both one of the the neat things, I would say, is we both learned so much from each other when we disagreed, but would talk about it, and we did a lot of talking and communicating, which I always felt was one of the most important things about our marriage. So we did, we learned a lot, and we knew how to get along, and we knew that if we disagreed, it was okay, because even if we didn't change each other's opinion, we didn't need to try to change each other's opinion, but if we work together and learn to respect the other opinion, that's what really mattered, and you learn more about the individual that way,   Ivan Cury ** 53:30 yeah, and also you have you learn about giving up. Okay, I think you're wrong, but if that's really what you want exactly, I'll do it. We'll do it your way?   Michael Hingson ** 53:42 Yeah, well, exactly. And I think it's so important that we really put some of that into perspective, and it's so crucial to do that, but there's so much disagreement today, and nobody wants to talk to anybody. You're wrong. I'm right. That's all there is to it. Forget it, and that's just not the way the world should be.   Ivan Cury ** 53:59 No, no. I wanted to go on to something that you had asked about, what I think you asked about, what's now I have been writing. I have been writing to a friend who I've been writing a lot of very short pieces, to a friend who had a stroke and who doesn't we can't meet as much as we use. We can't meet at all right now. And but I wanted to just go on, I'm and I said that I've done something really every week, and I'd like to put some of these things together into a book. And what I've been doing, looking for really is someone to work with. And so I keep writing the things, the thing that I wrote just today, this recent one, had to do with I was thinking about this podcast. Is what made me think of it. I thought about the stars that I had worked with, you know, me and the stars, because I had lots. Stories with with people who are considered stars, Charles Lawton, Don Knotts, Gene crane, Maya, Angelou, Robert Kennedy, the one I wrote about today. I wrote about two people. I thought it'd be fun to put them together, James Dean and Jimmy Dean. James Dean, just going to tell you the stories about them, because it's the kind of thing I'm writing about now. James Dean, we worked together on a show called Crime syndicated. He had just become really hot in New York, and we did this show where there were a bunch of probably every teenage actor in New York was doing this show. We were playing two gangs, and Jimmy had an extraordinary amount of lines. And we said, What the hell are you going to do, Jim? If you, you know, if you lose lines, he's, this is live. And he said, No problem. And then what he said is, all I do is I start talking, and then I just move my mouth like I'm walking talking, and everybody will think the audio went out. Oh, and that's, that's what he was planning on doing. I don't know if he really is going to do it. He was perfect. You know, he's just wonderful. He did his show. The show was great. We were all astonished to be working with some not astonished, but really glad to just watch him work, because he was just so very good. And we had a job. And then stories with Jimmy Dean. There were a couple of stories with Jimmy Dean, the singer and the guy of sausage, right? The last one to make it as fast, the last one was, we were in Nashville, at the Grand Ole Opry Opperman hotel. I was doing a show with him, and I was sitting in the bar, the producer and someone other people, and there was a regular Graceland has a regular kind of bar. It's a small bar of chatter, cash register, husband, wife, team on the stage singing. And suddenly, as we were talking, it started to get very quiet. And what had happened is Jimmy Dean had come into the room. He had got taken the guitar, and he started to sing, and suddenly it just got quiet, very quiet in the room. The Register didn't ring. He sang one song and he sang another song. His applause. He said, Thank you. Gave the guitar back to the couple. Walked off the stage. It was quiet while a couple started to sing again. They were good. He started to sing. People began to chatter again. The cash register rang, and I, I certainly have no idea how he managed to command that room to have everybody shut up while he sang and listened to him. He didn't do anything. There was nothing, you know, no announcement. It wasn't like, oh, look, there's Jimmy. It was just his, his performance. It was great, and I was really glad to be working with him the next day well.   Michael Hingson ** 57:56 And I think that having that kind of command and also being unassuming about it is pretty important if you've got an ego and you think you're the greatest thing, and that's all there is to it. That shows too, yeah?   Ivan Cury ** 58:08 Well, some people live on it, on that ego, yeah, and I'm successful on it, I don't think that was what. It certainly   Michael Hingson ** 58:17 wasn't, no, no, no, and I'm not saying that. I'm sure it wasn't that's my point. Yeah, no, because I think that the ultimate best people are the ones who don't do it with ego or or really project that ego. I think that's so important, as I said earlier, for me, when I go to speak, my belief is I'm going to to do what I can to help whatever event I'm at, it isn't about me at all. It's more about the audience. It's more about what can I inspire this audience with? What can I tell the audience and talk with the audience about, and how can I relate to them so that I'm saying something that they want to hear, and that's what I have to do. So if you had the opportunity to go back and talk to a younger Ivan, what would you tell him?   Ivan Cury ** 59:08 Cut velvet? No, there you go. No, what? I don't. I really don't. I don't know.   Michael Hingson ** 59:18 Talk Like a fish. More often   Ivan Cury ** 59:20 talk like a fish. More on there. Maybe. No, I really don't know. I don't know. I think about that sometimes, what it always seems to be a question, what? Really it's a question, What mistakes did you make in life that you wish you hadn't done? What door you wish Yeah, you would open that you didn't? Yeah, and I really don't, I don't know. I can't think of anything that I would do differently and maybe and that I think there's a weakness, because surely there must be things like that. I think a lot of things that happen to one in life anyway have to do with luck. That's not, sort of not original. But I was surprised to hear one day there was a. It. Obama was being interviewed by who was by one of the guys, I've forgotten his name that. And he was talking about his career, and he said he felt that part of his success had been a question of luck. And I very surprised to hear him say that. But even with, within with my career, I think a lot of it had to do with luck I happen to meet somebody that right time. I didn't meet somebody at the right time. I think, I think if I were to do so, if you would, you did ask the question, and I'd be out more, I would be pitching more. I think I've been lazy in that sense, if I wanted to do more that. And I've come to the West Coast quicker, but I was doing a lot of was in New York and having a good time   Michael Hingson ** 1:00:50 Well, and that's important too, yeah. So I don't know that I changed, I Yeah, and I don't know that I would find anything major to change. I think if somebody asked me that question, I'd say, tell my younger self that life is an adventure, enjoy it to the fullest and have fun.   Ivan Cury ** 1:01:12 Oh, well, that's yes. That was the I always believe that, yeah, yeah. It's not a question for me, and in fact, it's one of the things I told my kids that you Abraham Lincoln, you know, said that really in it, in a way a long time ago. He said that you choose you a lot of what you way you see your life has to do with the way the choices you make about how to see it, right? Yeah, which is so cool, right? And one of the ways you might see it says, have fun,   Michael Hingson ** 1:01:39 absolutely well, Ivan, this has been absolutely fun. We've been doing it for an hour, believe it or not, and I want to thank you for being here. And I also want to thank everyone who is listening for being with us today. I hope you've enjoyed this conversation, and I'd love to hear what your thoughts are. Please feel free to email me. I'd love to hear your thoughts about this. Email me at Michael h i at accessibe, A, C, C, E, S, S, i, b, e.com, so Ivan, if people want to reach out to you, how do they do that?   Ivan Cury ** 1:02:10 Oh, dear. Oh, wait a minute, here we go. Gotta stop this. I curyo@gmail.com I C, u, r, y, o@gmail.com There you go. Cury 1r and an O at the end of it, not a zero. I curyo@gmail.com Yeah.   Michael Hingson ** 1:02:30 Well, great. Well, thank you again, and all of you wherever you're listening, I hope that you'll give us a great review wherever you're listening. Please give us a five star review. We appreciate it, and Ivan, for you and for everyone else listening. If you know anyone else who ought to be a guest on our podcast, love to hear from you. Love an introduction to whoever you might have as a person who ought to come on the podcast, because I think everyone has stories to tell, and I want to give people the opportunity to do it. So once again, I want to thank you, Ivan, for being here. We really appreciate it. Thanks for coming on and being with us today. Thank you.   1:03:10 You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com . AccessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for Listening. Please come back and visit us again next week.

We all know James Baldwin the high priest of Civil Rights, but what about Jimmy B, the extremely horny homosexual? JB was a chain-smoking, vodka-swilling romantic who fell hard and often—usually for straight men he could never have.This week, Bash and his bestie guestie, Clark Moore, crack open Baldwin's chaos: from his Harlem childhood all the way to his retirement villa in the South of France.Along the way we meet the English teachers who found him a pleasure to have in class, revisit the first gay nights in Greenwich Village, and soak in the winter sun at his Swiss twink's chalet.This is a tour of Baldwin's life through his greatest loves.Get ready to talk about:Love with a capital L, and how it was the key to Baldwin's ideas on race, sex, and revolutionThe contradictions of Baldwin's genius—he was a brilliant debater who lived on a bottle a day and a prophet of love, who struggled to love himselfGiovanni's Room, the gay novel he swore wasn't about being gayAnd why his words still influence us today, from antiracists "doing the work" to an almost annual New Yorker article summing up his life, work, or legacy

Shannon, Bryan and Ogun survive the rapture to discuss their own end-times experiences, reactions to the Charlie Kirk Memorial, James Baldwin on disagreement, and staying calm. Tune in! It's not Shannon's first rodeo, ahem, rapture.

Nick Bromell is the author of By the Sweat of the Brow: Labor and Literature in Antebellum American Culture and Tomorrow Never Knows: Rock and Psychedelics in the Sixties, both published by the University of Chicago Press. His articles and essays on African American literature and political thought have appeared in American Literature, American Literary History, Political Theory, Raritan, and The Sewanee Review. He teaches at the University of Massachusetts, Amherst, and he blogs at thetimeisalwaysnow.org. Nick Bromell's book is a work of intellectual history and political theory that places Black thinkers—writers, activists, and artists—at the center of American democratic thought. He argues that African American intellectual traditions have continually reshaped the meaning of democracy in the U.S., offering critiques and visions that go beyond the frameworks typically emphasized in mainstream political philosophy. The title, taken from James Baldwin's writings, reflectsthe idea that democracy is never finished—it is always urgent and ongoing.The Time is Always Now: Black Political Thought and the Transformation of U.S. Democracy (Oxford UP, 2013) posits that Black thought epitomizes the crucible of American Democratic theory Bromell contends that African American thinkers are not simply responding to oppression but actively producing political theory—ideasabout freedom, justice, equality, and collective life. Their insights emerge from lived experiences of slavery, segregation,and racial inequality, which provide a unique vantage point for critiquing American democracy.Secondly, Democracy is an ongoing and incomplete project of reconstruction, renewal, and revival. Building on Baldwin's phrase “the time is always now,” Bromell argues that democracy must be constantly reimagined and fought for. Black intellectual traditions highlight democracy's fragility and incompleteness, challenging myths of American exceptionalism.Third, American Democracy exists beyond what are known to be traditional American institutions. While mainstream American political theory often places focus on constitutions, governments, or laws, Black thinkers and citizens emphasize affective, relational, and cultural dimensions of democracy—dimensions that exhibit and feature American virtues and values of community, solidarity, and recognition.Fourth, Professor Bromell calls for a vibrant relational empathy and mutual recognition. In this sense, Bromell highlights Black thought's insistence on recognition of shared humanity and mutual vulnerability as the foundation for democraticpractice. Thinkers as varied as James Baldwin, Frederick Douglass, Martin Luther King Jr, Toni Morrison, and Ralph Ellison stress the necessity of empathy as a civic virtue. Bromell reframes African American intellectual history as politicaltheory, not just cultural or social commentary. He challenges readers to recognize that the deepest resources fordemocratic renewal in America come from traditions forged under conditions of racial oppression.  Ultimately The Time is Always Now insists that democracy is less about stable American institutions and more about the practice of bettering and refining incipient features of American institutions-facing each other honestly, acknowledging and shouldering of collective pain, and being committed to a shared mutual recognition of the totality of our collective experience. 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

Nick Bromell is the author of By the Sweat of the Brow: Labor and Literature in Antebellum American Culture and Tomorrow Never Knows: Rock and Psychedelics in the Sixties, both published by the University of Chicago Press. His articles and essays on African American literature and political thought have appeared in American Literature, American Literary History, Political Theory, Raritan, and The Sewanee Review. He teaches at the University of Massachusetts, Amherst, and he blogs at thetimeisalwaysnow.org. Nick Bromell's book is a work of intellectual history and political theory that places Black thinkers—writers, activists, and artists—at the center of American democratic thought. He argues that African American intellectual traditions have continually reshaped the meaning of democracy in the U.S., offering critiques and visions that go beyond the frameworks typically emphasized in mainstream political philosophy. The title, taken from James Baldwin's writings, reflectsthe idea that democracy is never finished—it is always urgent and ongoing.The Time is Always Now: Black Political Thought and the Transformation of U.S. Democracy (Oxford UP, 2013) posits that Black thought epitomizes the crucible of American Democratic theory Bromell contends that African American thinkers are not simply responding to oppression but actively producing political theory—ideasabout freedom, justice, equality, and collective life. Their insights emerge from lived experiences of slavery, segregation,and racial inequality, which provide a unique vantage point for critiquing American democracy.Secondly, Democracy is an ongoing and incomplete project of reconstruction, renewal, and revival. Building on Baldwin's phrase “the time is always now,” Bromell argues that democracy must be constantly reimagined and fought for. Black intellectual traditions highlight democracy's fragility and incompleteness, challenging myths of American exceptionalism.Third, American Democracy exists beyond what are known to be traditional American institutions. While mainstream American political theory often places focus on constitutions, governments, or laws, Black thinkers and citizens emphasize affective, relational, and cultural dimensions of democracy—dimensions that exhibit and feature American virtues and values of community, solidarity, and recognition.Fourth, Professor Bromell calls for a vibrant relational empathy and mutual recognition. In this sense, Bromell highlights Black thought's insistence on recognition of shared humanity and mutual vulnerability as the foundation for democraticpractice. Thinkers as varied as James Baldwin, Frederick Douglass, Martin Luther King Jr, Toni Morrison, and Ralph Ellison stress the necessity of empathy as a civic virtue. Bromell reframes African American intellectual history as politicaltheory, not just cultural or social commentary. He challenges readers to recognize that the deepest resources fordemocratic renewal in America come from traditions forged under conditions of racial oppression.  Ultimately The Time is Always Now insists that democracy is less about stable American institutions and more about the practice of bettering and refining incipient features of American institutions-facing each other honestly, acknowledging and shouldering of collective pain, and being committed to a shared mutual recognition of the totality of our collective experience. 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

Nick Bromell is the author of By the Sweat of the Brow: Labor and Literature in Antebellum American Culture and Tomorrow Never Knows: Rock and Psychedelics in the Sixties, both published by the University of Chicago Press. His articles and essays on African American literature and political thought have appeared in American Literature, American Literary History, Political Theory, Raritan, and The Sewanee Review. He teaches at the University of Massachusetts, Amherst, and he blogs at thetimeisalwaysnow.org. Nick Bromell's book is a work of intellectual history and political theory that places Black thinkers—writers, activists, and artists—at the center of American democratic thought. He argues that African American intellectual traditions have continually reshaped the meaning of democracy in the U.S., offering critiques and visions that go beyond the frameworks typically emphasized in mainstream political philosophy. The title, taken from James Baldwin's writings, reflectsthe idea that democracy is never finished—it is always urgent and ongoing.The Time is Always Now: Black Political Thought and the Transformation of U.S. Democracy (Oxford UP, 2013) posits that Black thought epitomizes the crucible of American Democratic theory Bromell contends that African American thinkers are not simply responding to oppression but actively producing political theory—ideasabout freedom, justice, equality, and collective life. Their insights emerge from lived experiences of slavery, segregation,and racial inequality, which provide a unique vantage point for critiquing American democracy.Secondly, Democracy is an ongoing and incomplete project of reconstruction, renewal, and revival. Building on Baldwin's phrase “the time is always now,” Bromell argues that democracy must be constantly reimagined and fought for. Black intellectual traditions highlight democracy's fragility and incompleteness, challenging myths of American exceptionalism.Third, American Democracy exists beyond what are known to be traditional American institutions. While mainstream American political theory often places focus on constitutions, governments, or laws, Black thinkers and citizens emphasize affective, relational, and cultural dimensions of democracy—dimensions that exhibit and feature American virtues and values of community, solidarity, and recognition.Fourth, Professor Bromell calls for a vibrant relational empathy and mutual recognition. In this sense, Bromell highlights Black thought's insistence on recognition of shared humanity and mutual vulnerability as the foundation for democraticpractice. Thinkers as varied as James Baldwin, Frederick Douglass, Martin Luther King Jr, Toni Morrison, and Ralph Ellison stress the necessity of empathy as a civic virtue. Bromell reframes African American intellectual history as politicaltheory, not just cultural or social commentary. He challenges readers to recognize that the deepest resources fordemocratic renewal in America come from traditions forged under conditions of racial oppression.  Ultimately The Time is Always Now insists that democracy is less about stable American institutions and more about the practice of bettering and refining incipient features of American institutions-facing each other honestly, acknowledging and shouldering of collective pain, and being committed to a shared mutual recognition of the totality of our collective experience. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

Nick Bromell is the author of By the Sweat of the Brow: Labor and Literature in Antebellum American Culture and Tomorrow Never Knows: Rock and Psychedelics in the Sixties, both published by the University of Chicago Press. His articles and essays on African American literature and political thought have appeared in American Literature, American Literary History, Political Theory, Raritan, and The Sewanee Review. He teaches at the University of Massachusetts, Amherst, and he blogs at thetimeisalwaysnow.org. Nick Bromell's book is a work of intellectual history and political theory that places Black thinkers—writers, activists, and artists—at the center of American democratic thought. He argues that African American intellectual traditions have continually reshaped the meaning of democracy in the U.S., offering critiques and visions that go beyond the frameworks typically emphasized in mainstream political philosophy. The title, taken from James Baldwin's writings, reflectsthe idea that democracy is never finished—it is always urgent and ongoing.The Time is Always Now: Black Political Thought and the Transformation of U.S. Democracy (Oxford UP, 2013) posits that Black thought epitomizes the crucible of American Democratic theory Bromell contends that African American thinkers are not simply responding to oppression but actively producing political theory—ideasabout freedom, justice, equality, and collective life. Their insights emerge from lived experiences of slavery, segregation,and racial inequality, which provide a unique vantage point for critiquing American democracy.Secondly, Democracy is an ongoing and incomplete project of reconstruction, renewal, and revival. Building on Baldwin's phrase “the time is always now,” Bromell argues that democracy must be constantly reimagined and fought for. Black intellectual traditions highlight democracy's fragility and incompleteness, challenging myths of American exceptionalism.Third, American Democracy exists beyond what are known to be traditional American institutions. While mainstream American political theory often places focus on constitutions, governments, or laws, Black thinkers and citizens emphasize affective, relational, and cultural dimensions of democracy—dimensions that exhibit and feature American virtues and values of community, solidarity, and recognition.Fourth, Professor Bromell calls for a vibrant relational empathy and mutual recognition. In this sense, Bromell highlights Black thought's insistence on recognition of shared humanity and mutual vulnerability as the foundation for democraticpractice. Thinkers as varied as James Baldwin, Frederick Douglass, Martin Luther King Jr, Toni Morrison, and Ralph Ellison stress the necessity of empathy as a civic virtue. Bromell reframes African American intellectual history as politicaltheory, not just cultural or social commentary. He challenges readers to recognize that the deepest resources fordemocratic renewal in America come from traditions forged under conditions of racial oppression.  Ultimately The Time is Always Now insists that democracy is less about stable American institutions and more about the practice of bettering and refining incipient features of American institutions-facing each other honestly, acknowledging and shouldering of collective pain, and being committed to a shared mutual recognition of the totality of our collective experience. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Nick Bromell is the author of By the Sweat of the Brow: Labor and Literature in Antebellum American Culture and Tomorrow Never Knows: Rock and Psychedelics in the Sixties, both published by the University of Chicago Press. His articles and essays on African American literature and political thought have appeared in American Literature, American Literary History, Political Theory, Raritan, and The Sewanee Review. He teaches at the University of Massachusetts, Amherst, and he blogs at thetimeisalwaysnow.org. Nick Bromell's book is a work of intellectual history and political theory that places Black thinkers—writers, activists, and artists—at the center of American democratic thought. He argues that African American intellectual traditions have continually reshaped the meaning of democracy in the U.S., offering critiques and visions that go beyond the frameworks typically emphasized in mainstream political philosophy. The title, taken from James Baldwin's writings, reflectsthe idea that democracy is never finished—it is always urgent and ongoing.The Time is Always Now: Black Political Thought and the Transformation of U.S. Democracy (Oxford UP, 2013) posits that Black thought epitomizes the crucible of American Democratic theory Bromell contends that African American thinkers are not simply responding to oppression but actively producing political theory—ideasabout freedom, justice, equality, and collective life. Their insights emerge from lived experiences of slavery, segregation,and racial inequality, which provide a unique vantage point for critiquing American democracy.Secondly, Democracy is an ongoing and incomplete project of reconstruction, renewal, and revival. Building on Baldwin's phrase “the time is always now,” Bromell argues that democracy must be constantly reimagined and fought for. Black intellectual traditions highlight democracy's fragility and incompleteness, challenging myths of American exceptionalism.Third, American Democracy exists beyond what are known to be traditional American institutions. While mainstream American political theory often places focus on constitutions, governments, or laws, Black thinkers and citizens emphasize affective, relational, and cultural dimensions of democracy—dimensions that exhibit and feature American virtues and values of community, solidarity, and recognition.Fourth, Professor Bromell calls for a vibrant relational empathy and mutual recognition. In this sense, Bromell highlights Black thought's insistence on recognition of shared humanity and mutual vulnerability as the foundation for democraticpractice. Thinkers as varied as James Baldwin, Frederick Douglass, Martin Luther King Jr, Toni Morrison, and Ralph Ellison stress the necessity of empathy as a civic virtue. Bromell reframes African American intellectual history as politicaltheory, not just cultural or social commentary. He challenges readers to recognize that the deepest resources fordemocratic renewal in America come from traditions forged under conditions of racial oppression.  Ultimately The Time is Always Now insists that democracy is less about stable American institutions and more about the practice of bettering and refining incipient features of American institutions-facing each other honestly, acknowledging and shouldering of collective pain, and being committed to a shared mutual recognition of the totality of our collective experience. Learn more about your ad choices. Visit megaphone.fm/adchoices

Les références : Rencontre April samedi 4 octobre 2025 dans les locaux de l'April (Paris 14e) Atelier Wikiquote Autrices Chron'Autrices, le samedi 20 septembre 2025 de 14h00 à 17h00, Médiathèque James Baldwin, 10 bis rue Henri Ribière, Paris, Île-de-France, France PyData Paris 2025, du mardi 30 septembre 2025 à 08h00 au mercredi 1 octobre 2025 à 19h00, Cité des Sciences et de l'Industrie, 30 avenue Corentin Cariou, Paris Parution d'un livre blanc : « Migrez votre SIG vers l'OpenSource ! » PyConFR 2025, du 30 octobre au 2 novembre 2025 à LyonVous pouvez mettre un commentaire pour l'épisode. Et même mettre une note sur 5 étoiles si vous le souhaitez. Et même mettre une note sur 5 étoiles si vous le souhaitez. Il est important pour nous d'avoir vos retours car, contrairement par exemple à une conférence, nous n'avons pas un public en face de nous qui peut réagir. Pour mettre un commentaire ou une note, rendez-vous sur la page dédiée à l'épisode.Aidez-nous à mieux vous connaître et améliorer l'émission en répondant à notre questionnaire (en cinq minutes). Vos réponses à ce questionnaire sont très précieuses pour nous. De votre côté, ce questionnaire est une occasion de nous faire des retours. Pour connaître les nouvelles concernant l'émission (annonce des podcasts, des émissions à venir, ainsi que des bonus et des annonces en avant-première) inscrivez-vous à la lettre d'actus.

Nick Bromell is the author of By the Sweat of the Brow: Labor and Literature in Antebellum American Culture and Tomorrow Never Knows: Rock and Psychedelics in the Sixties, both published by the University of Chicago Press. His articles and essays on African American literature and political thought have appeared in American Literature, American Literary History, Political Theory, Raritan, and The Sewanee Review. He teaches at the University of Massachusetts, Amherst, and he blogs at thetimeisalwaysnow.org. Nick Bromell's book is a work of intellectual history and political theory that places Black thinkers—writers, activists, and artists—at the center of American democratic thought. He argues that African American intellectual traditions have continually reshaped the meaning of democracy in the U.S., offering critiques and visions that go beyond the frameworks typically emphasized in mainstream political philosophy. The title, taken from James Baldwin's writings, reflectsthe idea that democracy is never finished—it is always urgent and ongoing.The Time is Always Now: Black Political Thought and the Transformation of U.S. Democracy (Oxford UP, 2013) posits that Black thought epitomizes the crucible of American Democratic theory Bromell contends that African American thinkers are not simply responding to oppression but actively producing political theory—ideasabout freedom, justice, equality, and collective life. Their insights emerge from lived experiences of slavery, segregation,and racial inequality, which provide a unique vantage point for critiquing American democracy.Secondly, Democracy is an ongoing and incomplete project of reconstruction, renewal, and revival. Building on Baldwin's phrase “the time is always now,” Bromell argues that democracy must be constantly reimagined and fought for. Black intellectual traditions highlight democracy's fragility and incompleteness, challenging myths of American exceptionalism.Third, American Democracy exists beyond what are known to be traditional American institutions. While mainstream American political theory often places focus on constitutions, governments, or laws, Black thinkers and citizens emphasize affective, relational, and cultural dimensions of democracy—dimensions that exhibit and feature American virtues and values of community, solidarity, and recognition.Fourth, Professor Bromell calls for a vibrant relational empathy and mutual recognition. In this sense, Bromell highlights Black thought's insistence on recognition of shared humanity and mutual vulnerability as the foundation for democraticpractice. Thinkers as varied as James Baldwin, Frederick Douglass, Martin Luther King Jr, Toni Morrison, and Ralph Ellison stress the necessity of empathy as a civic virtue. Bromell reframes African American intellectual history as politicaltheory, not just cultural or social commentary. He challenges readers to recognize that the deepest resources fordemocratic renewal in America come from traditions forged under conditions of racial oppression.  Ultimately The Time is Always Now insists that democracy is less about stable American institutions and more about the practice of bettering and refining incipient features of American institutions-facing each other honestly, acknowledging and shouldering of collective pain, and being committed to a shared mutual recognition of the totality of our collective experience.

Our latest installment of Full Bio focuses on the life of writer James Baldwin, a literary master and essential figure of the Civil Rights movement. Nicholas Boggs discusses his new biography, Baldwin: A Love Story. Nicholas Boggs discusses his new biography, Baldwin: A Love Story. [00:00] Baldwin's early life and work[26:26] Baldwin's career and life in Paris[51:46] Baldwin's later life and civil rights work

Today on AirTalk, Jimmy Kimmel's show gets cut off by ABC indefinitely. How do First Amendment rights play into this?; checking in on CA's bill propositions; a book on the life of James Baldwin; how the pet wellness industry is pushing supplements and TV Talk. Today on AirTalk: Jimmy Kimmel's show gets suspended. How does free speech play in? (0:15) CA legislative round-up (19:22) A book on the life of James Baldwin (32:20) Pet supplements (51:15) TV Talk (1:20:09) Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency!

In this episode, Trevor and Paul turn their attention to Nobel Prize–winner Kazuo Ishiguro, whose eight novels over the past forty years have earned both admiration and debate. Together, we trace Ishiguro's remarkable range: the restrained heartbreak of Remains of the Day, the dream-logic labyrinth of The Unconsoled, the quiet devastation of Never Let Me Go, the ambitious allegory of The Buried Giant, and the AI exploration of Klara and the Sun. Along the way, we weigh Ishiguro's signature themes of memory, regret, art, and the stories we tell ourselves—and ask what makes him one of the most distinctive voices in contemporary literature, even when his experiments don't always succeed.Whether you're a longtime devotee or just curious where to begin, we hope you'll join us for a conversation about masterpieces and misfires.We've got some fantastic author-focused episodes lined up for the foreseeable future, and we want to give you plenty of time to dive in if you'd like to read along with us. These episodes come around every ten episodes, and with our bi-weekly release schedule, you'll have a few months to get ready for each. Here's what we have in store:* Episode 125: Flannery O'Connor* Episode 135: William Faulkner* Episode 145: Elizabeth Taylor* Episode 155: Naguib MahfouzThere's no rush—take your time, and grab a book (or two, or three) so you're prepared for these as they come!Join the Mookse and the Gripes on DiscordWant to share your thoughts on these upcoming authors or anything else we're discussing? Join us over on Discord! It's the perfect place to dive deeper into the conversation—whether you're reading along with our author-focused episodes or just want to chat about the books that are on your mind.We're also just now in our second novella book club, where we're reading Giovanni's Room by James Baldwin. It's a fantastic book, and we'd love to have you join the discussion. It's a great space to engage with fellow listeners, share your insights, and discover new perspectives on the books you're reading.ShownotesWhat are we reading?* Paul: A Fine Balance, by Rohinton Mistry* Trevor: The Ice Palace, by Tarjei Vesaas, translated by Elizabeth RokkanBooks by Kazuo Ishiguro* A Pale View of Hills* An Artist of the Floating World* The Remains of the Day* The Unconsoled* When We Were Orphans* Never Let Me Go* The Buried Giant* Klara and the SunThe Mookse and the Gripes Podcast is a bookish conversation hosted by Paul and Trevor. Every other week, we explore a bookish topic and celebrate our love of reading. We're glad you're here, and we hope you'll continue to join us on this literary journey!A huge thank you to those who help make this podcast possible! If you'd like to support us, you can do so via Substack or Patreon. Subscribers receive access to periodic bonus episodes and early access to all new episodes. Plus, each supporter gets their own dedicated feed, allowing them to download episodes a few days before they're released to the public. We'd love for you to check it out! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mookse.substack.com/subscribe

Our latest installment of Full Bio focuses on the life of writer James Baldwin, a literary master and essential figure of the Civil Rights movement. Nicholas Boggs discusses his new biography, Baldwin: A Love Story. On today's installment, we learn about his literary legacy, his activism, and his final years.

In this episode, we dive into the core theme of our season: moving beyond the buzzwords of equity and into tangible action. We explore the powerful idea that what we do, not just what we say, defines who we are. Our discussion is rooted in the words of James Baldwin, Gholdy Muhammad, and the timeless message of Martin Niemöller's poem.Key TakeawaysIntegrity in Action: True integrity is what we do when no one is watching. We discussed how this applies to educators and leaders who are committed to advocating for their students behind closed doors.A "Hum" of Commitment: We introduced the concept of the "quiet, persistent hum" of living out your values, even when it's difficult or goes against the grain.The Power of Joy: Drawing from Dr. Gholdy Muhammad's framework, we explored joy as a critical act of resistance in equity work. We discussed how defining and pursuing joy is essential for both students and educators.The Importance of Authenticity: You heard a personal story about how to create a brave and belonging space for multilingual learners by valuing their heart language and being vulnerable as an educator.From Theory to Practice: We shared how these principles translate to the work of instructional coaches and school leaders who must build trust and a culture of psychological safety.Quotes from the Episode“We are not what we say we believe; we are what we do.” — James Baldwin“First they came for the socialists, and I did not speak out—because I was not a socialist. Then they came for the trade unionists, and I did not speak out—because I was not a trade unionist. Then they came for the Jews, and I did not speak out—because I was not a Jew. Then they came for me—and there was no one left to speak for me.” — Martin Niemöller"Equity is teaching and learning that is centered on justice, liberation, truth, and freedom, and is free of bias and favoritism.” — Gholdy MuhammadReflection Questions:For Teachers: What is one small way you can put your values into practice in the classroom? What is one way you can be brave and vulnerable for the students in your care?For Instructional Coaches and School Leaders: What is one small thing you can do to create a space for teachers where they feel safe and where their voices are valued? What is one story you can share with your team to show them that you're in the work with them, not just asking them to do it?Cultivating Genius: An Equity Framework for Culturally and Historically Responsive Literacy by Dr. Gholdy MuhammadUnearthing Joy: A Guide to Culturally and Historically Responsive Teaching and Learning by Dr. Gholdy MuhammadChoosing to See: A Framework for Math Equity in the Classroom by Dr. Pamela Seda and Kyndal BrownIf you're looking for support to continue this work in your own school or classroom, I invite you to explore my Equity Audit Tools, Student Data Dive Tool, and Coaching services. You can find all of these resources at https://customteachingsolutions.com/equitytools

Here's a question that'll keep you up at night: What do you do when you believe in "buy or die" but you're terrified of ruining future opportunities with annoying prospecting sequences? That's exactly what Angie Anderson asked during a recent Ask Jeb session, and it's a problem that's plaguing salespeople everywhere. Angie subscribes to the buy or die mentality but doesn't want to destroy her odds of winning in the future by becoming the prospect's worst nightmare. If you're nodding your head right now, you're not alone. The tension between persistent prospecting and respectful relationship building is one of the biggest challenges facing modern sales professionals, and getting it wrong costs you deals—both now and in the future. The Buy or Die Misconception That's Killing Your Pipeline Here's the brutal truth: Most salespeople completely misunderstand what "buy or die" actually means. They think it's about hammering prospects until they crack, but that's not persistence—that's harassment. Real buy or die mentality recognizes that the prospect is never not a prospect, but sometimes now is not the right time. The key is knowing when to push and when to pull back. Your sequence length and touch frequency should be driven by one critical factor: deal complexity and account size. Short Cycle Sales Need Short, Aggressive Sequences Run 10-14 touch sequences over 10-30 days with touchpoints every 2-3 days. These prospects have buying windows that are typically always open, and the stakes are relatively low. Complex Accounts Require Long-Term Relationship Building For massive, high-value accounts, you could run sequences that extend up to two years. Touch them monthly or quarterly to stay top of mind, waiting for the right opportunity window to open. The magic happens when you track meaningful engagement. In any properly executed sequence, 30-50% of prospects will give you some form of signal—yes, no, or even "go away." All of these responses give you something to work with. But here's the critical part: When you get complete radio silence from the other 50%, you stop. Pull them out of your sequence, slot in fresh prospects, and circle back in 90 days or six months. You have infinite time to go after them—use it strategically. Why Generic Messages Get You Blocked Every Time This brings us to the second major challenge facing modern salespeople: crafting relevant messages that actually resonate with busy prospects. James Baldwin perfectly captured this struggle when he asked about leveraging tools like ZoomInfo to create relevant messaging. He sees tons of information but doesn't know what to use or how to use it effectively. This is where most reps completely miss the mark, and it's costing them relationships. The Research Failure That Destroys Credibility Want to know the fastest way to get permanently blocked? Send a message that screams "I know nothing about you or your business." This happened to me recently with a rep from a major software company. They did everything technically right—multi-channel approach, proper timing, professional voicemails—but they failed at the most critical element: relevance. They prospected Sales Gravy without doing even basic research. My LinkedIn profile was right there. My content was everywhere. I've literally said thousands of times that if you mention my books when prospecting me, I'll almost always respond. But they were too lazy to look. That's not persistence—that's sales malpractice. How to Turn Data Overload Into Relevant Conversations The problem isn't lack of information—it's information overwhelm. Modern tools give you access to massive amounts of data, but most reps freeze up trying to figure out what matters. The solution is asking better questions of your data. Instead of just building lists, use AI-powered tools to ask specific questions: "What are three conversation starters that would make this CEO interested in talking with us?

Our latest installment of Full Bio focuses on the life of writer James Baldwin, a literary master and essential figure of the Civil Rights movement. Nicholas Boggs discusses his new biography, Baldwin: A Love Story. On today's installment, we learn about Baldwin's time in Paris and his relationship with Lucien Happersberger.Fact Check for the tribute to the late Robert Redford: "Barefoot In The Park" was actually released in 1967. 

Reality and Faith Prompts1. What are the formations or structures for how you know you are in reality in regards to your faith? Do you have indicators? Internal senses? External resources? 2. Who are you in active dialogue with in regards to your faith? Who that is living and who that is passed on? 3. When you encounter dissonance with your reality of faith, how do you stay grounded in your experience?TranscriptsDanielle (00:00):To my computer. So thank you Starlet. Thank you Tamis for being with me. I've given already full introductions. I've recorded those separately. So the theme of the conversation and kind of what we're getting into on this podcast this season is I had this vision for talking about the themes have been race, faith, culture, church in the past on my podcast. But what I really think the question is, where is our reality and where are our touchpoints in those different realms? And so today there's going to be more info on this in the future, but where do we find reality and how do we form our reality when we integrate faith? So one of the questions I was asking Tamis and Starlet was what are the formations or structures for how you know are in reality in regards to your faith? Do you have indicators? Do you have internal senses? Do you have external resources? And so that's where I want to jump off from and it's free flow. I don't do a whole lot of editing, but yeah, just curious where your mind goes when you hear that, what comes to mind and we'll jump from there.Starlette (01:12):I immediately thought of baptism, baptismal waters. My baptismal identity forms and shapes me. It keeps me in touch with my body. It keeps me from being disembodied. Also, it keeps me from being swindled out of authority over my body due to the dangerous irrationalism of white body supremacy. So that's one thing. Protest also keeps me grounded. I have found that acts of defiance, minor personal rebellions, they do well for me. They keep me spiritually that I feel like it keeps me in step with Jesus. And I always feel like I'm catching up that I'm almost stepping on his feet. So for me, baptismal identity and protesting, those are the two things come to me immediately.Tamice (02:04):Whoa, that's so deep. Wow, I never thought about that. But I never thought about protests being a thing that groundsBecause I mean I've just been, for me I would say I've been working on the right so, and y'all know me, so I got acronyms for days. But I mean I think that the radical ethical spirituality that's tethered to my tradition, that's a rule of life, but it's also a litmus test. So for me, if you can't tell the truth, we don't have conversations about non-violence and loving enemies. I don't get to ethical spirituality unless you come through the front door of truth telling and truth telling in that sense of the r. And the rest arrest mix tape is radical. Angela Davis says radical and that's grasping stuff at the root. So before we have conversations about forgiveness for instance, or Jesus or scripture or what is right and what is moral, it's very important that we first tell the truth about the foundations of those realities and what we even mean by those terms and whose those terms serve and where they come from. I talk about it asking to see the manager. We need see the manager(03:24):Me that grounds me is now if something comes in and it calls me to move in a different way or corrects me or checks me in a certain way, I say yes to it if it comes through the door of truth telling because it means I also got to be true and tell the truth to myself. So that keeps me grounded. That kind of acronym is kind of how I move, but it's also how I keep toxic ways of doing religion out. And I also have come back into relationship with trees and grass and the waters and that's been really powerful for moving down into different types of intelligence. For me, the earth has been pulling me into a different way of knowing and being in that part brings me to ancestors. Just like you starlet my ancestors, I keep finding them in the trees and in the water and in the wind. So it's like, well I need them real bad right now. So that's where I'm kind of grounding myself these days.But to your point about grounding and protest, I feel most compelled to show up in spaces where the ground is crying out screaming. I feel like it beckons me there. And we talked about the most recent news of Trey being found and you talked about truth telling and what resonated immediately. And it didn't sit right with me that African-American people, people of African descent know not to take their lives in that way because of the traumatic history that when you say things like you don't suspect any foul play, it sounds like what has historically been named as at the hands of persons unknown where that no one is held responsible for the death of African-American people. That's what ties it in for me. And I feel like it's an ancestral pool that they didn't leave this way, they didn't leave in the way that they were supposed to, that something stinks and that they're crying out to say, can you hear me? Come over here Terry a while here. Don't leave him here. Don't let up on it because we didn't call him here somebody. So I love that you said that you are, feel yourself being grounded in and call back to the earth because I do feel like it speaks to us,But there are telltale signs in it and that the trees will tell us too. And so I didn't have a hand in this. It was forced on me and I saw it all come and talk to me. Put your hand here, put your head here and you can hear me scream and then you can hear me scream, you can hear him scream. He was calling out the whole time. That's what I believe in. That's how I test reality. I tested against what the earth is saying like you said, but I think we have to walk the ground a bit. We have to pace the ground a bit. We can't just go off of what people are saying. Back to your point about truth telling, don't trust nobody I don't trust. I don't trust anybody that's going to stop because you can't fix a lie. So if you're going to come in with deception, there's not much else I can do with you. There's not much I can say to you. And I find that white body supremacy is a supreme deception. So if we can't start there in a conversation, there's nothing that I can say to youTamice (06:46):That's facts. It's interesting that you talked about baptism, you talked about grounding and I had this story pop up and while you were talking again it popped up again. So I'm going to tell it. So we are not going to talk about who and all the things that happened recently, but I had made some comments online around that and around just the choice to be blind. So I've been talking a lot about John nine and this passage where it is very clear to everyone else what's happening, but the people who refuse to see, refuse to see.So in that, I was kind of pulled into that. I was in Mississippi, I was doing some stuff for the book and this lady, a chaplain, her name is Sally Bevin, actually Sally Bevel, she walked up to me, she kept calling me, she was like, Tam me, she want to come. I have my whole family there. We were at the Mississippi Book Fair and she kept saying, Tam me, she want to come join, dah, dah, dah. Then my family walked off and they started to peruse and then she asked me again and I was like, no, I'm good. And I was screaming. I mean I'm looking in the screen and the third time she did it, it pulled me out and I was like, this woman is trying to pull me into being present. And she said to me, this is funny, starlet. I said, I feel like I need to be washed and I need a baptism because this phone feels like so on right now and the wickedness is pulling me. So she poured, she got some ice, cold water, it was 95 degrees, poured cold water on my hands, had me wash my hands and she took the cold water. She put a cross on my forehead. And you know what she said to me? She said, remember your baptism?She said, remember your baptism? And when I was baptized, even though it was by a man who will not also be named, when I was baptized the wind, there was a whirlwind at my baptism. It was in 2004, that same wind hit in Mississippi and then I felt like I was supposed to take my shoes off. So I walked around the Mississippi Festival with no shoes on, not knowing that the earth was about to receive two people who did not deserve to be hung from trees. And there's something very, I feel real talk, I feel afraid for white supremacy right now in the name of my ancestors and I feel like I'm calling on everything right now. And that's also grounding me.Starlette (09:36):I was with Mother Moses last week. I went to Dorchester County just to be with her because the people were here. Take me. I said, I'll leave them all here. I know you said there are a few here, but give me the names, give me the last names of the people because I don't have time for this. I see why she left people. I see why she was packing. So to your point, I think it's important that we talk to the ancestors faithfully, religiously. We sit down at their feet and listen for a bit about how they got over and how they got through it and let them bear witness to us. And she does it for me every time, every single time she grounds, she grounds meDanielle (10:23):Listening to you all. I was like, oh wait. It is like Luke 19 where Jesus is coming in on the show and he didn't ride in on the fanciest plane on a donkey. And if you're familiar with that culture that is not the most elevated animal, not the elevated animal to ride, it's not the elevated animal. You don't eat it. Not saying that it isn't eaten at times, but it's not right. So he rides in on that and then people are saying glory to God in the highest and they're praising him and the Pharisees are like, don't do that because it's shameful and I don't remember the exact words, but he's basically be quiet. The rocks are going to tell the story of what happened here. He's walking his way. It kind of reminds me to me. So what you're saying, he's walking away, he's going to walk and he's going to walk that way and he's going to walk to his death. He's walking it in two scenarios that Jesus goes in to talk about. Your eyes are going to be blind to peace, to the real way to peace. It's going to be a wall put around you and you're going to miss out. People are going to destroy you because you missed your chance.Starlette (11:50):Point again creation. And if you're going to be a rock headed people, then I'll recruit this rock choir. They get ready to rock out on you. If there's nothing you're going to say. So even then he says that creation will bear witness against you. You ain't got to do it. You ain't got to do it. I can call these rock. You can be rock headed if you want to. You can be stony hearted if you want to. I can recruit choir members from the ground,Tamice (12:16):But not even that because y'all know I'm into the quantum and metaphysics. Not even that they actually do speak of course, like words are frequencies. So when you hold a certain type of element in your hand, that thing has a frequency to it. That's alright that they said whatever, I don't need it from you. Everything else is tapped into this.Starlette (12:39):Right. In fact, it's the rocks are tapped into a reality. The same reality that me and this donkey and these people throwing stuff at my feet are tapped into.You are not tapped into reality. And so that's why he makes the left and not the right because typically when a person is coming to Saka city, they head towards the temple. He went the other direction because he is like it was a big fuck. I don't use power like this. And actually what I'm about to do is raise you on power. This is a whole different type of power. And that's what I feel like our ancestors, the realities that the alternative intelligence in the world you're talking about ai, the alternative intelligence in the world is what gives me every bit of confidence to look this beast in the face and call it what it is. This isTamice (13:52):And not going to bow to it. And I will go down proclaiming it what it is. I will not call wickedness good.And Jesus said, Jesus was so when he talks about the kingdom of heaven suffering violence and the violence taken it by force, it's that it's like there's something so much more violent about being right and righteous. Y'all have to use violence because you can't tell the truth.Danielle (14:29):Do you see the split two? There's two entirely different realities happening. Two different kingdoms, two entirely different ways of living in this era and they're using quote J, but it's not the same person. It can't be, you cannot mix white Jesus and brown Jesus. They don't go together. TheyStarlette (15:00):Don't, what is it? Michael O. Emerson and Glenn e Bracy. The second they have this new book called The Religion of Whiteness, and they talk about the fact that European Americans who are racialized as white Tahi says those who believe they are white. He says that there's a group of people, the European Americans who are racialized as white, who turn to scripture to enforce their supremacy. And then there's another group of people who turn to scripture to support and affirm our sibling.It is two different kingdoms. It's funny, it came to me the other day because we talk about, I've talked about how for whiteness, the perception of goodness is more important than the possession of it.You know what I mean? So mostly what they do is seek to be absolved. Right? So it's just, and usually with the being absolved means I'm less bad than that, so make that thing more bad than me and it's a really terrible way to live a life, but it is how whiteness functions, and I'm thinking about this in the context of all that is happening in the world because it's like you cannot be good and racist period. And that's as clear as you cannot love God and mammon you will end up hating one and loving the other. You cannot love God. You cannotStarlette (16:29):Love God and hate your next of kin your sibling. Dr. Angela Parker says something really important During the Wild Goose Festival, she asked the participants there predominantly European American people, those racialized as white. She said, do you all Terry, do you Terry, do you wait for the Holy Spirit? Do you sit with yourself and wait for God to move? And it talked, it spoke to me about power dynamic. Do you feel like God is doing the moving and you wait for the spirit to anoint you, to fill you, to inspire you, to baptize you with fire? You Terry, do you wait a while or do you just the other end of that that she doesn't say, do you just get up? I gave my life to Jesus and it's done right handed fellowship, give me my certificate and walk out the door. You have to sit with yourself and I don't know what your tradition is.I was raised Pentecostal holiness and I had to tear all night long. I was on my knees calling on the name of Jesus and I swear that Baba couldn't hear me. Which octave do you want me to go in? I lost my voice. You know them people, them mothers circled me with a sheet and told me I didn't get it that night that I had to come back the next day after I sweat out my down, I sweat out my press. Okay. I pressed my way trying to get to that man and they told me he didn't hear me. He not coming to get you today. I don't hear a change. They were looking for an evidence of tongues. They didn't hear an evidence, a change speech. You still sound the way that you did when you came in here. And I think that white body supremacy, that's where the problem lies with me. There's no difference. I don't hear a change in speech. You're still talking to people as if you can look down your nose with them. You have not been submerged in the water. You did not go down in the water. White supremacy, white body supremacy has not been drowned out.Terry, you need to Terry A. Little while longer. I'll let you know when you've gotten free. When you've been lifted, there's a cloud of witnesses. Those mothers rubbing your back, snapping your back and saying, call on him. Call him like you want him. Call him like you need him and they'll tell you when they see evidence, they'll let you, you know when you've been tied up, tangled up. That's what we would say. Wrapped up in Jesus and I had to come back a second night and call on the Lord and then they waited a while. They looked, they said, don't touch her, leave her alone. He got her now, leave her alone. But there was an affirmation, there was a process. You couldn't just get up there and confess these ABCs and salvation, nah, nah, nah, nah, nah, nah. Why do you think they'll let you know when you got it?Danielle (18:56):Why do you think that happened? Why? I have a question for You'all. Why do you think that became the reality of the prayer in that moment? And we're talking about Africans that have been brought here and enslaved. Why do you think that happened on our soil that way? Why question?Tamice (19:12):I mean I'm wondering about it because when stylists talk and I keep thinking the Terry in and of itself is a refusal. It says what I see is not real. What's in front of me is not right. I'm going to wait for something else.I'm saying, the slave Bible, them taking stuff out of the Bible and it's like, but I feel like the ground, there was something about the ground that indigenous people, that indigenous people were able to help them tap into over here. It was waiting on that.Starlette (19:49):We didn't have punishment. We had a percussion session. So they ring shouted me. I didn't know what it was at the time. We didn't have all the fancy stuff. Everybody had put me in key. We didn't have, we had this and feet them people circled around me. We don't do that no more.Danielle (20:06):We don't do that no more. But don't you think if you're a person that is, and I believe Africans came here with faith already. Oh yes, there's evidence of that. So put that aside, but don't you think then even if you have that faith and it's not so different than our time and you're confronted with slave owners and plantation owners also preaching quote the same faith that you're going to have to test it out on your neighbor when they're getting saved. You're going to have to make sure they didn't catch that bug.Don't you think there's something in there? Block it. Don't you think if you know faith internally already like we do and run into someone that's white that's preaching the same thing, we have to wait it out with them. Don't you think our ancestors knew that when they were here they were waiting it out. I just noticed my spirit match that spirit. We have to wait it out. Yes, because and let's say they didn't know Jesus. Some people didn't know Jesus and they met Jesus here for whatever reason, and your example is still the white man. You have to wait it out to make sure you're not reflecting that evilness. I mean that's what I'm thinking. That's it's the absolutelyStarlette (21:20):Truth. There's a book titled Slave Testimony, and I know this because I just read about it. There's a testimony of an enslaved African-American, he's unnamed. It was written on June 26th, 1821. He's talking to Master John. He said, I want permission to speak to you if you please. He talked about, he said, where is it? Where is it? A few words. I hope that you will not think Me too bull. Sir, I make my wants known to you because you are, I believe the oldest and most experienced that I know of. He says in the first place, I want you to tell me the reason why you always preach to the white folks and keep your back to us is because they sit up on the hill. We have no chance among them there. We must be forgotten because we are near enough. We are not near enough without getting in the edge of the swamp behind you. He was calling him to account. He said, when you sell me, do you make sure that I'm sold to a Christian or heathen?He said, we are charged with inattention because of where their position. He said it's impossible for us to pay good attention with this chance. In fact, some of us scarce think that we are preached to it all. He says, money appears to be the object. We are carried to market and sold to the highest bidder. Never once inquired whether you sold to a heathen or a Christian. If the question was put, did you sell to a Christian, what would the answer be? I can tell you, I can tell what he was, gave me my price. That's all I was interested in. So I don't want people to believe that Africans who were enslaved did not talk back, did not speak back. They took him to task. He said, everybody's not literate. There's about one in 50 people who are, and I'm one of them and I may not be able to speak very well, but this is what I want to tell you. I can tell the difference. I know that you're not preaching to me the same. I know that when you talk about salvation, you're not extending it to me.Yikes. You need to know that our people, these ancestors, not only were they having come to Jesus meetings, but they were having come to your senses, meeting with their oppressor and they wrote it down. They wrote it down. I get sick of the narratives that we are not our answer. Yes we are. Yes I am. I'm here because of them. I think they called me. I think they call me here. I think the fussing that I make, the anger that I possess this need to resist every damn thing. I think they make me do thatTamice (23:35):Indeed, I think. But I didn't get my voice until they took the MLE off, had an honor with my ancestors and they came and they told me it's time. Take that mle off, MLE off. Shoot. Why Jesus ain't tell me to take no muzzle off. I'm going to tell you that now.Danielle (23:52):That's why I mean many indigenous people said, Jesus didn't come back for me because if that guy's bringing me Jesus, then now Jesus didn't come back for me.Starlette (24:07):Come on.Make it plain. Danielle, go ahead. Go ahead. Walk heavy today. Yeah, I meanDanielle (24:17):I like this conversation. Why Jesus, why Jesus didn't come back for us, the three of us. He didn't come back for us. It didn't come back from kids. He didn't come back for my husband. Nope. And so then therefore that we're not going to find a freedom through that. No, that's no desire to be in that.Tamice (24:33):None. And that's what I mean and making it very, very plain to people like, listen, I actually don't want to be in heaven with your Jesus heaven. With your Jesus would be hell. I actually have one,Starlette (24:47):The one that they had for us, they had an N word heaven for us where they would continue to be served and they wrote it down. It's bad for people who are blio foes who like to read those testimonies. It is bad for people who like to read white body supremacy For Phil. Yeah, they had one for us. They had separate creation narratives known as polygenetic, but they also had separate alon whereby they thought that there was a white heaven and an inward heaven.I didn't even know that. Starla, I didn't even know that because they said they want to make sure their favorite slave was there to serve them. Oh yes, the delusion. People tell me that they're white. I really do push back for a reason. What do you mean by that? I disagree with all of it. What part of it do you find agreeable? The relationship of ruling that you maintain over me? The privilege. White power. Which part of it? Which part of it is good for you and for me? How does it help us maintain relationship as Christians?Danielle (25:47):I think that's the reality and the dissonance we live in. Right?Starlette (25:51):That's it. But I think there needs to be a separation.Are you a white supremacist or not?Tamice (26:03):That's what I'm saying. That's why I keep saying, listen, at this point, you can't be good and racist. Let me just say that. Oh no, you got to pickStarlette (26:12):And I need to hear itTamice (26:13):Both. Yeah. I need you to public confession of it.Starlette (26:19):Someone sent me a dm. I just want to thank you for your work and I completely agree. I quickly turned back around. I said, say it publicly. Get out of my dms. Say it publicly. Put it on your page. Don't congratulate me. Within two minutes or so. I'm so sorry. I didn't mean to disturb you. You are right. Okay. Okay. Okay. Did he post anything? No. Say it publicly. Denounce them. Come out from among them.Very, very plain. As a white supremacist or na, as a kid, as children. HowDanielle (26:56):Hard is it? I think that's what made this moment so real and it's a kind of a reality. Fresher actually for everybody to be honest, because it's a reality. All certain things have been said. All manner of things have been said by people. This is just one example of many people that have said these things. Not the only person that's lived and died and said these things. And then when you say, Hey, this was said, someone's like, they didn't say that. You're like, no, some people put all their content on the internet receipts. They did it themselves. That's not true. And I went to a prayer vigil. I didn't go. I sat outside a prayer vigil this weekend and I listened in and they were praying for the resurrection like Jesus of certain people that have passed on. I kid you, I sat there in the car with a friend of mine and then my youngest daughter had come with me just to hang out. She's like, what are they praying for? I was like, they're like, they were praying for a certain person to be resurrected from the dead just like Jesus. And I was so confused. I'm so confused how we got that far, honestly. But I told my kid, I said, this is a moment of reality for you. This is a moment to know. People think like this.Starlette (28:13):Also, white bodyDanielle (28:14):Supremacy is heresy. Yes. It's not even related to the Bible. Not at all.Why I steal away. This is why even the mistranslated Bible, even the Bible that you could take,Starlette (28:33):ThisThe version Danielle started. If you wouldn't have said that, I wouldn't have said that. This is exactly why I steal away. This is exactly why I leave. Because you can't argue with people like that. Now we're resurrected. IAll I need, it's like away. This is exactly why, because I can't hear what Howard Thurman calls the sound of the genuine in that. It's just not going to happen.Danielle (29:01):Can you imagine what would've happened if we would've prayed for George Floyd to be resurrected? Listen, what would've happenedStarlette (29:08):That he called the scumbag.Danielle (29:10):Yeah, but what would've happened if we would've played for their resurrection? Adam, Adam Polito. ThatStarlette (29:19):Was foundTamice (29:19):Psychosis.Starlette (29:21):Yeah. What would've happened? See, don't push me now. I feel like I need to pack. As soon as I said fill away, it's like people keep saying, what are you going to do if gets worse? I'm going to leave my, I'll sell all this crapAbout this stuff. This booby trap of capitalism. I'll it all don't about none of it. What matters most to me is my sense of ness. And when you get to talking, I almost said talking out the side of your neck. Jesus God, today, lemme God Jesus of your neck. You just need to know that's a cultural thing. That's going to have to be reevaluated. God. It just came right on out. Oh Lord. When you start saying things that go against my sense of ness that you think that I have to defend my personhood, that you want to tell me that I don't exist as a person. I don't exist as a human. Back to your reality testament. It's time for me to leave. I'm not staying here and fighting a race war or a civil war. You mamas are just violent. It's what you've always been.Tamice (30:28):Why would I stand in the middle? Why would I stand in the middle of what I know is a confrontation with yourself?Starlette (30:36):Oh, okay. Alright. I'm going to justTamice (30:38):You all. What happened last week is it, it is a confrontation with a really disturbed self and they're trying to flip it. Oh yes. They're trying to make it. Yes. But this is like, I'm trying to tell people out here, this is beyond you, Jack, that was a prophetic witness against you because now you see that what you're fighting is the mirror. Keep me out of it. I won't fight your wars. Keep me out of it. Look, James Baldwin said, y'all have to decide and figure out why you needed a nigger in the first place.I'm not a nigger. I'm a man. But you, the white people need to figure out why you created the nigger in the first place. Fuck, this is not my problem. This is a y'all and I don't have anything invested in this. All I'm trying to do is raise my kids, man. Come on. Get out of here with that. I'm sorry.Danielle (31:48):No, you keep going and then go back to starlet. Why do you think then they made her Terry? They had to make sure she doesn't buy into that. That's my opinion.Tamice (32:00):It's funny too because I see, I mean, I wasn't Pentecostal. I feel like who's coming to mind as soon as you said that de y'all know I'm hip hop. Right? So KRS one.Starlette (32:12):Yes. Consciousness.Tamice (32:14):The mind. Oh yes, the mind, the imagination. He was, I mean from day one, trying to embed that in the youth. Like, Hey, the battlefield is the mind. Are you going to internalize this bullshit?Are you going to let them name you?Starlette (32:34):This is the word.Tamice (32:34):Are you going to let them tell you what is real for the people of God? That's That's what I'm saying, man. Hip hop, hip hop's, refusal has been refusal from day one. That's why I trust it.Because in seen it, it came from the bottom of this place. It's from the bottom of your shoe. It tells the truth about all of this. So when I listen to hip hop, I know I'm getting the truth.Starlette (32:57):Yeah. EnemyObjection. What did public enemy say? Can't trust it. Can't trust it. No, no, no, no. You got to play it back. We got to run all that back.Danielle (33:11):I just think how it's so weaponized, the dirt, the bottom of the shoe, all of that stuff. But that's where we actually, that's what got it. Our bodies hitting the road, hitting the pavement, hitting the grass, hitting the dirt. That's how we know we're in reality because we've been forced to in many ways and have a mindset that we are familiar with despite socioeconomic changes. We're familiar with that bottom place.Tamice (33:38):Yeah. I mean, bottom place is where God is at. That's what y'all don't understand. God comes from black, dark dirt, like God is coming from darkness and hiddenness and mystery. You don't love darkness. You don't love GodStarlette (33:56):Talk. Now this bottom place is not to be confused with the sunken place that some of y'all are in. I just want to be clear. I just want to be clear and I'm not coming to get you. Fall was the wrong day. TodayI think it's good though because there's so much intimidation in other communities at times. I'm not saying there's not through the lynchings, ongoing lynchings and violence too and the threats against colleges. But it's good for us to be reminded of our different cultural perspectives and hear people talk with power. Why do you think Martin Luther King and Cesar Chavez wrote letters to each other? They knew something about that and knew something about it. They knew something about it. They knew something about why it's important to maintain the bonds. Why we're different, why we're similar. They knew something about it. So I see it as a benefit and a growth in our reality. That is actually what threatens that, that relationship, that bond, that connection, that speaking life into one another. That's what threatens that kingdom that you're talking about. Yeah.You just can't fake an encounter either.When I was tear, no matter what I've decolonized and divested from and decentered, I cannot deny that experience. I know that God was present. I know that God touched me. So when mother even made sister, even made, my grandmother would call me when I was in college, first person to go to college. In our family, she would say before she asked about classes or anything else, and she really didn't know what to ask. She only had a sixth grade education. But her first question was always you yet holding on?Right. She holding on. And I said, yes ma'am. Yes ma'am. Then she would, because it didn't matter if you couldn't keep the faith. There really wasn't nothing else for her to talk to you about. She was going to get ready to evangelize and get you back because you backslid. But that was her first thing. But what I've learned since then is that I can let go.The amazing thing is that the spirit is guiding me. I didn't let go all together. You got it. You got it. If it's real, if you're real, prove it. Demonstrate it. I'm getting chills now talk to me without me saying anything, touch me. I shouldn't have to do anything. Eugene Peterson says that prayer is answering speech. In fact, the only reason why I'm praying is because you said something to me first. It's not really on me to do anything. Even with the tear. I was already touched. I was already called. The reason why I was on my knees and pleading is because I'd already been compelled. Something had had already touched me. FirstThey called Holy Spirit. The hound of heaven. Damn right was already on my heels. I was already filled before I could even refuse. I was like, I don't want this. I'm going to always be star Jonah, get your people. I prefer fish guts. Throw me overboard. I don't like these people. Certified prophet because I don't want to do it. I never want to do it. I'm not interested at all. I have no too much history. I've had to deal with too much white body supremacy and prejudice and racism to want anything to do with the church. I see it for what? It's I'll never join one. By the way, are we recording? Is it on? I'm never joining a church ever. Until you all desegregate.You desegregate. Then we can talk about your ministry of reconciliation. Until then, you don't have one. Don't talk to me about a community day or a pulpit swap. I don't want to hear it. All Your praise. What did he say? A clinging, stumble, put away from me. Your conferences, all your multiracial. I don't want to hear none of it. Desegregate that part desegregate you, hypocrites, woe unto all of you white supremacists. If nobody ever told you that's not God. It's not of God. So I don't, for me, my reality is so above me, I know that Paul, because when I don't want to say anything, somebody is in my ear. Somebody was talking to me this morning. Somebody was writing a note in my ear. I had to get up. I said, please. I'm like, now I'm not even awake all the way. Stop talking to me. You can't fake that as much as I push against the Holy Spirit. You can't fake that. I don't want to do it. I don't want to say it. I'm of saying it. And yet I get up in the morning and it's like, say this, that post that. Write that. Somebody else is doing that. That's not me.As the mothers say, my flesh is weak. My flesh is not willing at all. I want to, all of y'all can go on. I'll pack this up and move somewhere else. Let them fight it to the death. I'm not going to, this is just my flesh speaking. Forgive me. Okay. This Raceless gospel is a calling friends. It's a calling. It's a calling, which means you coming into it. I'm an itinerant prophet. I'm heavy into the Hebrew scriptures. I come up with every excuse. My throat hurts. I got a speech impediment. The people don't like me. I'm not educated. It don't work. You need to know when people come to you and say, y'all need to get together, God speaking to you, the Pendo is coming. That's not like an invitation. That's kind of like a threat whether you want it or not. You're getting together.Everybody up. There's a meal ready, there's a banquet that is set and the food is getting cold and you are the reason why the drinks are watered down. That's go. You don't hear me calling you. ComeWhat I keep hearing. You have to know that God is speaking to people and saying that there's an invitation coming and you better get right. You better get washed up. Tam me said, you better let somebody pour that water over your hands. You better get washed up and get ready for dinner. I'm calling you. Come on in this house. Come on in this house. And this house is for everybody. Martin Luther King called it the world house. Everybody's coming in and you ain't got to like it doesn't matter. Get somewhere and sit down. That's that old church mother coming out of me and lemme just confess. I didn't even want to be on here this morning. I told God I didn't feel like talking. I told the Lord and you see what happened.Promise you. I'm a child. I'm full of disobedience.I was not in the mood. I said, I don't want to talk to nobody. I'm an introvert. I don't want to deal with none of this. Get somebody else to do it and look at it.Tamice (40:39):Yeah. It's funny because I woke up this morning, I was like, I'm not, I forgot. And then after all of the news today, I was like, I just don't have it in you, but this is, wait a minute. And it was three minutes past the time. Come on. And I was like, oh, well shoot. The house is empty. Nobody's here right now. I was like, well, lemme just log on. So this is definitely, it feels like definitely our calling do feel. I feel that way. I don't have time to bullshitSo I can't get out of it. I can't go to bed. I might as well say something. It won't let me go. I cannot do deceit. I can't do it. I can't sit idly by while people lie on God. I can't do that. I can't do it. It won't let up. And I'm trying to get in my body, get in this grass and get a little space. But I'm telling you, it won't let me go. And I feel it's important, Dee, you can't stop doing what you're doing. That's right. I mean is this thing of it is beyond me. It is living out of me. It's coming through me. And there has to be a reason for this. There's got to be a reason for this. And I don't know what it is because I know my eschatology is different, but I feel like, buddy, we got to manifest this kingdom. We have to manifest it until it pushes all that shit back. Come on. I'm telling you. Till it scurries it away or renders it and null and void, I'm talking. I mean, I want the type of light and glory on my being. That wicked logic disintegrate, wicked people drop dead. I mean that just in the Bible. In the Bible where Hert falls, headlong and worms eat em. Y'all celebrate that. Why can't I think about that? It's in your scriptures or daykin and the thing breaks and the legs of this false God break. I want that. I'm here for that. I'm going after that.Danielle (43:14):You think that this is what the definition of Terry is? That we're all Terry serious. I'm rocking the whole time. I'm serious. Right. That's what I told my kids. I said, in one sense, this is a one person of many that thinks this way. So we can't devote all our conversation in our house to this man. And I said in the other sense, because Starlet was asking me before he got here, how you doing? I said, we got up and I took calls from this person and that person and I told my kids, we're still advocating and doing what we can for the neighbors that need papers. And so we're going to continue doing that. That is the right thing to do. No matter what anybody else is doing in the world, we can do this.Tamice (43:56):Yeah, that's a good call. I mean, I'm headed to, I ain't going to say where I'm going no more, but I'm headed somewhere and going to be with people who are doing some innovation, right. Thinking how do we build a different world? How do our skillsets and passions coalesce and become something other than this? So I'm excited about that. And it's like that fire, it doesn't just drive me to want to rebuke. It does drive me to want to rebuild and rethink how we do everything. And I'm willing, I mean, I know that I don't know about y'all, but I feel like this, I'm getting out of dodge, but also I'm seeking the piece of the city. I feel both. I feel like I'm not holding hands with ridiculousness and I'm not moving in foolishness. But also I'm finna seek the piece of the city. My G I'm not running from delusion. Why would I? I'm in the truth. So I don't know how that maps onto a practical life, but we're finna figure it out. Out in it. I mean, the response of leadership to what has happened is a very clear sign where we are in terms of fascism. That's a very clear sign.What else y'all are looking for To tell you what it is.Danielle (45:36):But also we're the leaders. We are, we're the leaders. They're a leader of something, but they're not the leader of us. We're the leaders. We're the leaders. So no matter what they say, no matter what hate they spew, I really love Cesar Chavez. He's like, I still go out and feed the farm worker and I don't make them get on the boycott line because if they're pushed under the dirt, then they can't see hope. So people that have more economic power, a little more privilege than the other guy, we're the leaders. We're the ones that keep showing up in love. And love is a dangerous thing for these folks. They can't understand it. They can't grasp it. It is violent for them to feel love. Bodies actually reject it. And the more we show up, you're innovating. You're speaking Starla, you're preaching. We're the leaders. They're leaders of something. They're not leaders of us. We're leaders of freedom.Tamice (46:31):Come on now. D, we're leaders of give us thisStarlette (46:34):Bomb. We're leaders of compassion. You coming in here with the Holy Ghosts, acting like one of them church mothers. We were in the room together. She put our hand on us. YouDanielle (46:43):We're the ones that can remember Trey. We're the ones that can call for justice. We don't need them to do it. They've never done it. Right. Anyway. They have never showed up for a Mexican kid. They've never showed up for a black kid. They've never done it. Right. Anyway, we're the ones that can do it now. We have access to technology. We have access to our neighbors. We can bring a meal to a friend. We can give dollars to someone that needs gas. We're the the one doing it. We're the one that doing itTamice (47:11):Fill usDanielle (47:12):Up. They cannot take away our love.Starlette (47:15):Receive the benediction.Danielle: Yeah. They can't take it away. I'm telling you, if I saw someone shooting someone I hate, I would try to save that person. I don't own guns. I don't believe in guns, period. My family, that's my personal family's belief.And I would do that. I've thought about it many times. I thought would I do it? And I think I would because I actually believe that. I believe that people should not be shot dead. I believe that for the white kid. I believe that for the Mexican kid. I believe that for the black kid, we're the people that can show up. They're not going to come out here. They're inviting us to different kind of war. We're not in that war. That's right. We have love on our side and you cannot defeat love, kill love. You can'tTamice (48:04):Kill love and you can't kill life. That's the only reason somebody would ask you to be nonviolent. That's the only way somebody would've the audacity to ask that of you. Especially if you're oppressed. If the true is truth is that you can't kill love or life, damn man. It's hard out here for a pimp.Starlette (48:38):Really. Really? Yeah. Because what I really want to say isTamice (49:27):I can't. Your testimony a lie. No. Your testimony. That would be a lie. And like I said, truth telling is important. But there are days where I could be that I could go there, but I witnessed what happened that day. I watched the video. It's just not normal to watch that happen to anybody. And I don't care who you are. And the fact that we're there is just objectively just wow. And the fact that all of the spin and do y'all not realize what just happened? Just as a actual event. Right. What? You know, I'm saying how has this turned into diatribes? Right? We need reform. I, whichDanielle (50:29):Which, okay, so I have to cut us off. I have a client coming, but I want to hear from you, given all the nuance and complexity, how are you going to take care of your body this week or even just today? It doesn't have to be genius. Just one or two things you're going to do. Oh, I'm going toTamice (50:51):Take a nap. Yeah, you taking a nap? Y'all be so proud of me. I literally just said no to five things. I was like, I'm not coming to this. I'm not doing that. I won't be at this. I'm grieving. I'm go sit in the grass. Yeah, that's what I'm doing today. And I have stuff coming up. I'm like, Nope, I'm not available.Starlette (51:14):What about you Danielle? What are you going to do?Danielle (51:16):I'm going to eat scrambled eggs with no salt. I love that. I've grown my liver back so I have to have no salt. But I do love scrambled eggs. Scrambled eggs. That's the truth. Four. Four scrambled eggs.Starlette (51:31):And we thank you for your truth. BIO:The Reverend Dr. Starlette Thomas is a poet, practical theologian, and itinerant prophet for a coming undivided “kin-dom.” She is the director of The Raceless Gospel Initiative, named for her work and witness and an associate editor at Good Faith Media. Starlette regularly writes on the sociopolitical construct of race and its longstanding membership in the North American church. Her writings have been featured in Sojourners, Red Letter Christians, Free Black Thought, Word & Way, Plough, Baptist News Global and Nurturing Faith Journal among others. She is a frequent guest on podcasts and has her own. The Raceless Gospel podcast takes her listeners to a virtual church service where she and her guests tackle that taboo trinity— race, religion, and politics. Starlette is also an activist who bears witness against police brutality and most recently the cultural erasure of the Black Lives Matter Plaza in Washington, D.C. It was erected in memory of the 2020 protests that brought the world together through this shared declaration of somebodiness after the gruesome murder of George Perry Floyd, Jr. Her act of resistance caught the attention of the Associated Press. An image of her reclaiming the rubble went viral and in May, she was featured in a CNN article.Starlette has spoken before the World Council of Churches North America and the United Methodist Church's Council of Bishops on the color- coded caste system of race and its abolition. She has also authored and presented papers to the members of the Baptist World Alliance in Zurich, Switzerland and Nassau, Bahamas to this end. She has cast a vision for the future of religion at the National Museum of African American History and Culture's “Forward Conference: Religions Envisioning Change.” Her paper was titled “Press Forward: A Raceless Gospel for Ex- Colored People Who Have Lost Faith in White Supremacy.” She has lectured at The Queen's Foundation in Birmingham, U.K. on a baptismal pedagogy for antiracist theological education, leadership and ministries. Starlette's research interests have been supported by the Louisville Institute and the Lilly Foundation. Examining the work of the Reverend Dr. Clarence Jordan, whose farm turned “demonstration plot” in Americus, Georgia refused to agree to the social arrangements of segregation because of his Christian convictions, Starlette now takes this dirt to the church. Her thesis is titled, “Afraid of Koinonia: How life on this farm reveals the fear of Christian community.” A full circle moment, she was recently invited to write the introduction to Jordan's newest collection of writings, The Inconvenient Gospel: A Southern Prophet Tackles War, Wealth, Race and Religion.Starlette is a member of the Christian Community Development Association, the Peace & Justice Studies Association, and the Koinonia Advisory Council. A womanist in ministry, she has served as a pastor as well as a denominational leader. An unrepentant academician and bibliophile, Starlette holds degrees from Buffalo State College, Colgate Rochester Crozer Divinity School and Wesley Theological Seminary. Last year, she was awarded an honorary doctorate in Sacred Theology for her work and witness as a public theologian from Wayland Baptist Theological Seminary. She is the author of "Take Me to the Water": The Raceless Gospel as Baptismal Pedagogy for a Desegregated Church and a contributing author of the book Faith Forward: A Dialogue on Children, Youth & a New Kind of Christianity. Dr. Tamice Spencer - HelmsGod is not a weapon.  Authenticity is not a phase.Meet  Tamice Spencer-Helms (they/she). Tamice is a nonprofit leader, scholar-practitioner, pastor, and theoactivist based in Richmond, Virginia. For decades, Tamice has been guided by a singular purpose: to confront and heal what they call “diseased imagination”—the spiritual and social dis-ease that stifles agency, creativity, and collective flourishing. As a pastor for spiritual fugitives,  Tamice grounds their work at the intersection of social transformation, soulful leadership, womanist and queer liberation theologies, and cultural critique.A recognized voice in theoactivism, Tamice's work bridges the intellectual and the embodied, infusing rigorous scholarship with lived experience and spiritual practice. They hold two master's degrees (theology and leadership) and a doctorate in Social Transformation. Their frameworks, such as R.E.S.T. Mixtape and Soulful Leadership, which are research and evidence-based interventions that invite others into courageous truth-telling, radical belonging, and the kind of liberating leadership our times demand.​Whether facilitating retreats, speaking from the stage, consulting for organizations, or curating digital sanctuaries, Tamice's presence is both refuge and revolution. Their commitment is to help individuals and communities heal, reimagine, and build spaces where every person is seen, known, and liberated—where diseased imagination gives way to new possibilities. Kitsap County & Washington State Crisis and Mental Health ResourcesIf you or someone else is in immediate danger, please call 911.This resource list provides crisis and mental health contacts for Kitsap County and across Washington State.Kitsap County / Local ResourcesResourceContact InfoWhat They OfferSalish Regional Crisis Line / Kitsap Mental Health 24/7 Crisis Call LinePhone: 1‑888‑910‑0416Website: https://www.kitsapmentalhealth.org/crisis-24-7-services/24/7 emotional support for suicide or mental health crises; mobile crisis outreach; connection to services.KMHS Youth Mobile Crisis Outreach TeamEmergencies via Salish Crisis Line: 1‑888‑910‑0416Website: https://sync.salishbehavioralhealth.org/youth-mobile-crisis-outreach-team/Crisis outreach for minors and youth experiencing behavioral health emergencies.Kitsap Mental Health Services (KMHS)Main: 360‑373‑5031; Toll‑free: 888‑816‑0488; TDD: 360‑478‑2715Website: https://www.kitsapmentalhealth.org/crisis-24-7-services/Outpatient, inpatient, crisis triage, substance use treatment, stabilization, behavioral health services.Kitsap County Suicide Prevention / “Need Help Now”Call the Salish Regional Crisis Line at 1‑888‑910‑0416Website: https://www.kitsap.gov/hs/Pages/Suicide-Prevention-Website.aspx24/7/365 emotional support; connects people to resources; suicide prevention assistance.Crisis Clinic of the PeninsulasPhone: 360‑479‑3033 or 1‑800‑843‑4793Website: https://www.bainbridgewa.gov/607/Mental-Health-ResourcesLocal crisis intervention services, referrals, and emotional support.NAMI Kitsap CountyWebsite: https://namikitsap.org/Peer support groups, education, and resources for individuals and families affected by mental illness.Statewide & National Crisis ResourcesResourceContact InfoWhat They Offer988 Suicide & Crisis Lifeline (WA‑988)Call or text 988; Website: https://wa988.org/Free, 24/7 support for suicidal thoughts, emotional distress, relationship problems, and substance concerns.Washington Recovery Help Line1‑866‑789‑1511Website: https://doh.wa.gov/you-and-your-family/injury-and-violence-prevention/suicide-prevention/hotline-text-and-chat-resourcesHelp for mental health, substance use, and problem gambling; 24/7 statewide support.WA Warm Line877‑500‑9276Website: https://www.crisisconnections.org/wa-warm-line/Peer-support line for emotional or mental health distress; support outside of crisis moments.Native & Strong Crisis LifelineDial 988 then press 4Website: https://doh.wa.gov/you-and-your-family/injury-and-violence-prevention/suicide-prevention/hotline-text-and-chat-resourcesCulturally relevant crisis counseling by Indigenous counselors.Additional Helpful Tools & Tips• Behavioral Health Services Access: Request assessments and access to outpatient, residential, or inpatient care through the Salish Behavioral Health Organization. Website: https://www.kitsap.gov/hs/Pages/SBHO-Get-Behaviroal-Health-Services.aspx• Deaf / Hard of Hearing: Use your preferred relay service (for example dial 711 then the appropriate number) to access crisis services.• Warning Signs & Risk Factors: If someone is talking about harming themselves, giving away possessions, expressing hopelessness, or showing extreme behavior changes, contact crisis resources immediately. Well, first I guess I would have to believe that there was or is an actual political dialogue taking place that I could potentially be a part of. And honestly, I'm not sure that I believe that.

Our latest installment of Full Bio focuses on the life of writer James Baldwin, a literary master and essential figure of the Civil Rights movement. Nicholas Boggs discusses his new biography, Baldwin: A Love Story. In today's installment, we learn about Baldwin's early life and relationship with his family.

Baldwin: A Love Story, published by Farrar, Straus and Giroux in August 2025, is author Boggs's examination of writer James Baldwin — the first major biography of this influential, controversial, and compelling […]

"Love has never been a popular movement." - Stine deelt een levenswijsheid van schrijver James Baldwin.

Brad and Lesley recap her conversation with franchise expert Jon Ostenson, unpacking how non-food franchising helps risk-averse entrepreneurs own a business without reinventing the wheel. They highlight funding paths, corporate support, and why following the playbook matters. You will hear practical ways to start while keeping your day job and how Jon's services are paid by franchisors, not you.If you have any questions about this episode or want to get some of the resources we mentioned, head over to LesleyLogan.co/podcast https://lesleylogan.co/podcast/. If you have any comments or questions about the Be It pod shoot us a message at beit@lesleylogan.co mailto:beit@lesleylogan.co. And as always, if you're enjoying the show please share it with someone who you think would enjoy it as well. It is your continued support that will help us continue to help others. Thank you so much! Never miss another show by subscribing at LesleyLogan.co/subscribe https://lesleylogan.co/podcast/#follow-subscribe-free.In this episode you will learn about:When to treat Reformer footwork differently from leg press.How franchise ownership works even if you keep your day job.Why matching your strengths to the right franchise matters.Why matching your strengths to the right franchise matters.Common mistakes franchisees make when they don't follow the playbook.The mindset shifts around seeing $50K as possible, not impossible.Episode References/Links:Indivisible Movement - https://indivisible.orgBook: She Caused A Riot by Hannah Jewell - https://a.co/d/cGhs5UYP.O.T. Chicago 2025 - https://pilates.com/pilates-on-tour-chicagolandCambodia October 2025 Waitlist - https://crowsnestretreats.comWinter Tour Waitlist - https://opc.me/eventsSubmit your wins or questions - https://beitpod.com/questionsEp. 544 Matthew Lesko - https://beitpod.com/matthewleskoBook: Non-Food Franchising by Jon Ostenson - https://a.co/d/29XayrQ If you enjoyed this episode, make sure and give us a five star rating and leave us a review on iTunes, Podcast Addict, Podchaser or Castbox. https://lovethepodcast.com/BITYSIDEALS! DEALS! DEALS! 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How are they free, you ask, because he sees what you're trying to do. Then he goes to the franchise, the parent company, and he says, pay me, and I'll help these guys succeed doing your franchise. Pretty brilliant. I was like, wow, that's amazing.Lesley Logan 0:20  Welcome to the Be It Till You See It podcast where we talk about taking messy action, knowing that perfect is boring. I'm Lesley Logan, Pilates instructor and fitness business coach. I've trained thousands of people around the world and the number one thing I see stopping people from achieving anything is self-doubt. My friends, action brings clarity and it's the antidote to fear. Each week, my guest will bring bold, executable, intrinsic and targeted steps that you can use to put yourself first and Be It Till You See It. It's a practice, not a perfect. Let's get started.Lesley Logan 0:59  Welcome back to the Be It Till You See It interview recap where my co-host in life, Brad, and I are going to dig into the supporting convo I had with Jon Ostenson in our last episode. If you haven't yet listened to that interview, feel free to pause this now, go back and listen to that one, and then come back and join us, or listen to this one, and then you can decide if you want to listen that one. I think it's great. Jon has a book. It's really wonderful. It's a very niche topic. It's a nerdy topic. It's one I wanted to have because I don't think entrepreneurs, I'm like, making your own idea is for everybody, but I do think everybody deserves to have the wealth and agency that they want to have in this world and make what they want to make. So I'm excited about it. Brad Crowell 1:30  Well, I thought I really liked, I really liked the conversation. I was very I mean, especially for me, because I am very entrepreneurial, but I appreciated the back and forth. So, yeah, I, I think that it was very revealing. Lesley Logan 1:51  Are you saying it was a great interview? Did I do a good job? Brad Crowell 1:51  I'm saying it was a great interview. Not only that, but I think the information that he's sharing is shocking. He's super smart dude, and I thought, I thought it was very revealing for someone who might be hoping, wishing they could own a business. This was very empowering, because it, it created hope I think. So, yeah, great. Lesley Logan 2:17  I well, you'll, you guys, stay tuned. You'll hear what we're talking about in a second. Today is September 11th, 2025 and it's Patriot Day, which gives us all time to reflect on the devastating terror attacks that took 3000 lives. We commemorate those who we lost, and give thanks to the brave responders who put their lives on the line. Take a moment today to consider what we stand for as a nation, how we can work together to make the world a better place for all. It's a hard day. Brad Crowell 2:39  Yeah, I mean.Lesley Logan 2:40  Especially with 20, with 25 years to reflect on what fucking lies we're told afterwards, and then how we treat the first responders and how fucking hard it was to get their medical bills paid because they're dying from cancer right now. Like.Brad Crowell 2:56  Yeah, it's like, it's like a story that keeps repeating itself where something devastating happens that is wrong and tragic. People die and then motherfuckers in office take advantage of the public's emotional state, and they use it to go do some wrong shit. Lesley Logan 3:18  Go, so seriously, go watch the movie Vice. I happen to be really lucky to be teaching Christian Bale's wife at the time that he was filming that. And so it was a really interesting time, because, like, he was becoming Dick Cheney, which, like, it is a, I mean, of course, he won an, I think he won a bunch of awards for that. And he literally thanked Satan for the inspiration. Brad Crowell 3:41  Yes, he did. Lesley Logan 3:37  And I remember, I remember my client. I remember my client was, my client was just like, I fucking told him not to do that, or something like that. And so anyways, but go watch it, because it, while it's not historical, it is pretty fucking accurate about like, how rich Cheney and these bitches got after doing what they did and using, using the heartbreak, and what people fought with patriotism to go make these fucking wars, and then we did a bunch of bullshit, and then we ruined places. And it just pisses me off, because. Brad Crowell 4:04  Over, over, lies. Lesley Logan 4:09  Lies and so. And also, if you don't believe in September 11th being what it was like, I don't know why you're here, but like, I, I just really.Brad Crowell 4:18  Well, it was, I mean, it was a terrorist attack, no question. But what we did after it, how the public was manipulated, to then go to war for 20 years after, based on literal lies, you know.Lesley Logan 4:30  Yeah, it's, I it's hard because, like, okay, reflecting on what we consider as a nation today, I think, as an I think the people running our nation today reflect something I would never want to be a patriot of.Brad Crowell 4:42  Yeah, and that that's, that's the thing that really frustrates me as a person who, when you read the definition of patriot, I want to be that. That is absolutely, I mean, I consider myself a patriot. But also there's this, there's this frustrating association with angry white men, usually, who don't give a shit about people. And there's so much fear of others associated with it. And there's this ego that's associated with it that.Lesley Logan 5:17  It's, it's so it's so fragile. What they're like, they're thinking is so they are. They're such fragile people. Because they're just like, they're the way that they think, that they're showing strength. And we're like, protesting, they're like, like, making sure that we see the middle finger, and like, just like, and it's like, I have never driven in my entire life, of driving past something, we're talking about this with the protest where I disagree. Brad Crowell 5:39  We used to live by protests all the time, where we lived in L.A., we're literally next to the federal building, so it was like, every weekend, forever.Lesley Logan 5:45  Every weekend, it was like, who's protesting today? And like, there were times I was like, oh, I wonder why. It made me get curious as to, like, what is going on here. It was very fascinating. And it was like, what the fuck like, but I never was like, here's my middle finger to you. It's like, just, you know, move along. Move right along. The fact that you have to make sure I see your face in your lifted stupid truck while you flip me off, it makes you and that makes you feel good. You're like, yeah, I did it to them. I did it like, we were in Idaho, and there was a big ass sign in this guy's house. I was walking by the lake, and it was like, make liberals cry again, and it's like, oh, you think I'm crying. I'm pissed off. Like the tears of the tears are of what we are losing, of course, but like, no, I'm pissed off. James Baldwin, I want to, I want to make sure everyone hears this quote, because I think it's really beautiful, and I think it's this is what being a patriot is. I love America more than any other country in the world, and exactly for this reason, I insist on the right to criticize her perpetually. And I think that, like, this country has so many shortcomings, and no country is perfect. Like, I was listening to Sophia Bush on a podcast recently, and she's like, like, I'm not gonna move because, like, I love this place. I'm gonna fight for her. And so, like, if you moved and whatever, like, I have no judgments for that, but if you're here, like, you have to fight, because we're losing rights. We're losing rights. And it really pisses me off, because in the time of my mother being an adult and married woman, she could not get a credit card until, like, the 80s, right? Like, like, I if you're listening to this and you're just like, la, la, la, I just want to hear about how to be till I see it. Ladies, you are going to lose your ability to have your own bank account. You're gonna lose your ability to have your own vote. And if you think it's not going to happen because, oh, it's not going to happen. It's they want it to happen. And the right people are in power. And I'm tired of being told that Project 2025 is bullshit. It is happening right now. Lesley Logan 5:46  They're more than 50% of the way through completing Project 2025.Lesley Logan 5:48  In the time we're recording this, seven months. Brad Crowell 7:40  Yeah, seven months. And, I mean, you know, if you go through and you actually read the things that are in that platform, they they do want to make single family voting, which is literally taking away the white the rights of women, because they would consider the man the head of the household. Lesley Logan 8:02  And if you think, oh, I'm not married yeah your brother get to vote for you. I don't have a brother, your uncle get to vote for you. Like they will find a man if and when this type of life existed, they would find someone in the government to become your vote. You don't get there's no getting out of this. You don't get one.Brad Crowell 8:17  Yeah, and, and, and the people in power are Tweeting about that stuff, literally right now, right like they're they're putting it out there. They're trying to normalize the idea so that when they go and try to do it, it doesn't seem like it's as big of a deal as it actually fucking is. Lesley Logan 8:32  So you know what I think patriotism is right now, babe, it is, find a protest. I know you're busy. I know you have fucked tons, going on. We are, too. Find one. Go for an hour. Go yell. Go meet friends. Go meet people who are different than you. It's, these protests people, some people are fighting for their their gay marriages to still exist. Some people are fighting further to not be war. Some people are fighting for God. Some people are fighting to like for the Epstein list. I don't care what gets you out there, but like you think that this, that what they're gonna do is not gonna affect your life, it is. It is. Brad Crowell 8:55  Yeah, go, go check out individual, indivisible.org, for a local, you know, event, or how you can get involved near you. So, you know, we're gonna move on, and we're gonna actually. Lesley Logan 9:11  Well, people like this, Brad, we've been told, hi, Vicky.Brad Crowell 9:14  I think it's so important y'all and and it's like this, I know that we this isn't a podcast about politics, but it is. Lesley Logan 9:22  But also, but also. Brad Crowell 9:23  Being it until you see it is a pod, it is about like politics, and it is a part of every single element of our life, even if you have the perfect life, quote, unquote, it's because of politics that you are able to live the way that you live. And what's happening right now is such fast, dramatic change in our countries. Like, historically, there's so much change happening so quickly there, that when we wake up, you know, in even six months from now, it's going to be like, there we are at the brink of things. Lesley Logan 9:53  I don't even know how we're going to make it to the midterms. That's my fear. That's my fear, and I put it out right now, but I will just say, even if you're like, less. I just want a homestead. I want to be like tradwife. The fact that you get to choose that is because of politics. So that is fine if that's what you want to choose to do. But do not think that everybody wants to do that and that that should be the choice for everybody. So I think that like that is why we have to get involved. And if you are a woman, you are political. Your existence in any room is political has been and if you really want to get fired up, go read the book, She Caused A Riot. Go look at history. Like fucking Socrates, his teacher was a woman. Did you know that? The reason you don't know that is because politics, they didn't want you to know that there was leaders in this world.Brad Crowell 10:39  Politics and religion. Lesley Logan 10:39  Fuck that. Anyways. Brad Crowell 10:39  Frustrating. Lesley Logan 10:39  I'm pissed off, but we're currently in the U.K. We're in the U.K. and then when we get home, well, we're home for a couple of weeks, and we gotta see my best friends and come visit, and then we're gonna go to Chicagoland for Pilates On Tour with Balanced Body. I'm doing the Joe's Gyms there. That's in Burr Ridge. If there's any spots left, you should snag one, because it's super, super fun, and we have a huge party coming with all of our agency eLevate OPC members, then we're gonna be in Cambodia. That's also in October. You can still join like you can join last minute. Guess what? Flight planes will sell a seat as long as there is one. So you can get the fuck out of town and retreat a little bit and be in a different world and get some empathy for what it's like to live in different places.Brad Crowell 11:21  Yeah, and experience a different culture and see that not everybody.Lesley Logan 11:24  If you are worried. Sorry, I cut you off. If you're worried about being an American in a different country, let me tell you, they see what's happening right now, and they are, in Cambodia, they are sad for us. They are scared for us. They know that they know where we're headed, and they're sad for us.Brad Crowell 11:25  Yeah, I was just gonna say with our experience recently about trying to cross borders and getting stuck and turned around and not being able to, it wasn't the it wasn't the attendees of the events that we were not able to attend who were angry with us. It was the border guard who was, you know, unfortunately, misinformed and, you know, and angry. And he's angry because the border guards of our country were turning away people for no reason. So he could just, that's the only power he had, was to turn away, you know, Americans for no reason. And we just kind of got caught up in that. So there's a lot of, there is a lot of frustration, but it's not from the people, right, in this country, it's like, you know? So, so I would say, you know, yeah, it did feel a little bit stressful to you know, as we were approaching, once we got there and started talking to them, it became clear that that there was just silly reasons being turned away but, but even in that, like the you know, the guy wasn't like, he wasn't an asshole about it. So, but I it was really frustrating. If you're worried about something like that, when you come to a place like Cambodia, you apply for your visa ahead of time. You will know before you arrive if they're going to turn you around, because you'll have the right paperwork.Lesley Logan 13:06  And also you're we're all going as tourists. The Canadian thing, we were going into work. Brad Crowell 13:11  That's true. Lesley Logan 13:11  And that was it, we'll have to do a whole episode on it, because it's a longer, longer conversation. That being said, you go to. Brad Crowell 13:18  But as a tourist, they want a tourist. They want that because. Lesley Logan 13:21  That's how they're that's literally how their country survives. Brad Crowell 13:24  Yep, it's how well, it's how the city that we're going to, that's how the economy there survives, from tourism. So, you know, and they are very aware of that, so. Lesley Logan 13:32  Yes, they want us there. They're so welcoming, they're so kind, and you can see what it's like to be living in a different part of this world. I think that's so important. I think one of the biggest reasons why people in this, in the U.S., are so fucking scared of people of a different color is because they've never, they've never gone and seen how they live. Yeah, you know, go get worldly. You will have more empathy, crowsnestretreats.com. After we leave Cambodia, we're going to be in Singapore. We're going to teach at a beautiful studio there, and then we're gonna see the Botanical Gardens. And then we're home. We're home for the whole month of November. Oh my God, no, Brad, I'm not going camping anywhere. We're home for the whole month of November. Brad Crowell 14:10  But my parents are coming. We're gonna go camp. Lesley Logan 14:12  No, we're, that is not why they're coming to visit us. Help make an, help you with the roof or something. And then October, we're gonna be on our winter tour. And if you want to make sure you hear about that first, go to opc.me/events, opc.me/events, because our people on our waitlist will get the access to the tickets first. And the winter tour does have cities that sell out in 24 hours. Okay, we have to get to our interview, but we do have an audience question. So Brad, go for it.Brad Crowell 14:37  Yes. Okay. DMK asks on Instagram, hey Lesley, my footwork question is this, what cue or cues do you like to use during footwork? I'm sorry, if footwork students, very confused. They made a mistake on the word here.Lesley Logan 14:42  What cues do you like to use, if during footwork, students are using it like a leg press? Brad Crowell 14:56  Oh, sorry. Okay. Lesley Logan 14:57  Yeah, thank you. Brad Crowell 14:59  Well, I just read that wrong. That's all.Lesley Logan 15:00  It's okay, it's all good. So.Brad Crowell 15:04  First off, we're clearly talking about. Lesley Logan 15:06  Footwork on the Reformer. Yeah. DMK, this, I hate cues.Brad Crowell 15:13  Well, hold on, let's explain what the problem is. What is the problem that she's experiencing with her class? Lesley Logan 15:17  The problem that she's probably seen is they're, they're, they're pushing out and in, like, it's a leg press machine, like, it's like a leg machine, and they're making it only a leg exercise versus a full body exercise, right? And then the other thing is that they're not using all the muscles of their legs, because they're just, like, shoving their knees straight. And they're probably pausing at the top, which is what you do on a leg press machine. And then kind of, hopefully, on a leg press machine, you're resisting. But a lot of people just kind of, like, close the the weights, or just like, kind of float in or ride the springs in. So here's the deal, DMK, my teacher, Jay Grimes, and the teachers I studied with him, talked a lot about how Joe didn't really correct during footwork. You use footwork to tell you what's kind of going on in the person's body. So I also happen to like three or four springs on for footwork. So some people think that, like heavy springs means they're gonna use it like a leg press machine, but ideally you want those heavy springs to warm the body up. Two lightest springs can actually affect someone's lower back, if they have a tight lower back, or they're not getting the connection, and the warm up for what's to come. So I do like three to four springs. That being said, what you can do for those people who want to make it a leg press machine, take all the springs off, go down to one light spring and see what happens. They're going to fly off. And you're like, yeah, you actually have to push into the foot bar the whole time, even as you come in. So I love a one spring, because it kind of helps teach the actual movement, and then load the springs up. If you take my fast workshop, I think you can get it on our OPC website. You'll see how I explain how to use especially with arches and heels to do that. The other thing I would say is ask them, if they are opening the front of the hips or opening the back of the knees. What is their intention? Meaning, the, when you focus on opening the knee joint, you're a leg press machine. When you focus on opening the front of the hips, you're making this move from your center. I am looking, I actually don't care people's knees go straight. I'm looking at, can they move their thigh away from their center and open the front of their hips and then pull that back in. So I'm kind of looking at that, but if they don't do those things, the footwork is just really telling me how they're actually moving. And I have to pick other exercises to assist. So other ways to help them understand that's not like press machine would be doing leg springs. Single leg springs, both leg springs, footwork on the Tower is gonna be really helpful, because that's a whole different plane. And so like, find different exercises that get your point across. Ask them what they're feeling and then take them back to the Reformer and say, find that feeling here.Lesley Logan 17:39  Great. Love it. That's the best cue you could do. Lesley Logan 17:50  There you go. Brad Crowell 17:50  I love it. Great question, DMK. Lesley Logan 17:52  Thanks, DMK. Brad Crowell 17:52  If you have a question, just text us. 310-905-5534, 310-905-5534 or you can actually send your question in through, beitpod.com/questions, beitpod.com/questions.Lesley Logan 18:07  That's where you can also send your wins in, too. I want your wins, people. Brad Crowell 18:14  We want your wins. Let's do it. All right. Stick around. We'll be right back. We're actually going to talk about Jon Ostenson next. Lesley Logan 18:20  Finally. Brad Crowell 18:22  All right, let's talk about Jon Ostenson. An expert in franchising and based out of Atlanta, Georgia, Jon Ostenson left his W2 job eight years ago, after years in the corporate world, to become president of Shelf Genie, a large franchise system where he says he fell in love with the franchise model, which he explained amazingly and in detail during the interview. So if you didn't get a chance to listen to that, I would, I would very much encourage you to go listen to it. It was super informative. He is, Jon, is now the founder of FranBridge Consulting and author of the bestselling book, Non-Food Franchising, which, Lesley, I know you read, I've seen it on our table out there. Jon helps clients find suitable franchise opportunities from over 600 different brands outside of the fast food industry. His mission is to guide individuals who want to own a business but may feel risk-averse or lack a, quote unquote, genius idea connecting with them with proven scalable franchise model, and here's the, models, and here's the crazy thing, this is where I was like, oh my God, this guy's brilliant, his services to you are free. How are they free, you ask, because he sees what you're trying to do then he goes to the franchise, the parent company, and he says, pay me, and I'll help these guys succeed doing your franchise. Yeah, pretty brilliant. I was like, wow, that's amazing. So.Lesley Logan 19:44  I love it. I love it so much because it's, like, it's completely risk-averse for you, like, and the reason I thought this, I really wanted to dig in with this guy, because I don't even understand how you get into a franchise, and. Brad Crowell 19:58  Well, it makes me want to get into franchises. Lesley Logan 20:00  I know. And we just met someone who's like, all he does is all these different franchises and and so I just like it because, like, first of all, we talked a lot about how you could, like, work and have a franchise. Like, it's like, there's like, there's all these different ways you can do it. So, anyways.Brad Crowell 20:16  Yeah, he said a lot of franchisors, the people on the franchise, still might have a day job, because. Lesley Logan 20:21  Yeah. Aren't they a franchisee? Brad Crowell 20:24  Oh, sorry, franchisee. You're, you're right. The franchisor is the parent company. The franchisee is the person who's, who's like, purchase one of the locations or whatever. So the franchisee as if you could still be working your normal life and have a franchise, obviously, then it's about the team that you put in place to make sure that they can run it without you having to be there. But, but this guy was talking about having franchises all over the country, so he's clearly not in them operating them. Lesley Logan 20:51  Yeah. But also. No. And so you can be an owner-operator. He has, he, like, his book has got a lot of this stuff in it, if you want to, like, dig in even more and then chat with him, but like, here's what I. Brad Crowell 20:51  And by the way, we're not just talking about Pilates franchises. Lesley Logan 21:02  No, he is, like, there's so many, there's some out there. And also, like, I personally, I personally don't want to grab someone else's Pilates franchises, because, the way I like to teach, I probably would want to make my own, but maybe I want to get one that's in the like, maybe that's like a red light sauna space or something that goes along with what I do, that's like in the thing that I am interested in, in life, like I'm already. Brad Crowell 21:23  Or salt path, float, float, yeah, floating, yeah.Lesley Logan 21:27  By the way, there is a float place that I'm sure, is a franchise in Nashville that I'm like, how the fuck do we get it out here in our neighborhood? Because I'm tired of driving 30 minutes to go fucking float, I'm pissed off by the time I get back. Anyways, we just need, I don't know, a few thousands of dollars, and then we can do it, babe. I think, here's where our next adventure is. Brad Crowell 21:45  (inaudible) crazy is you said that, like, a lot of people, will start a franchise with maybe, you know, $50,000 to $100,000 down, and the rest of it is actually from a an SBA loan, because the SBA and the banks believe in the franchise model so much that they are willing to effectively front the rest of the startup capital. And I was like, wow, I never thought about that. That's amazing. Because, and like, you know, $50,000 is still a shitload of money. I understand that. But it also isn't a million dollars, right? Lesley Logan 22:18  And also, like, anyone who wants to start to make legitimate money, you have to stop thinking that $50,000 is a lot of money, start thinking it's possible, that you can get it, that there's a way, because I remember thinking that, oh, my God, it's so much money. And let me tell you the long as you think 50,000 is so much money you're gonna have, it's gonna feel so far away when you start to think like, of course I still have to find $50,000 you, go listen to that podcast we have with the guy with the question marks, I forget his name, anyways, go and find it, but let's just talk about things I loved that he said. Okay, let me get into my notes. He said, you're in business for yourself, but not by yourself. And I love this, because so many of the people I meet, they're like, so lucky that you and Brad, like, are married and like, you work together. And our biggest response is, like, not everyone should do what we do. So if you want to be in business for yourself, but not by yourself, instead of working with your partner, why don't you get a partner? And it can be a franchise like, I think that's really cool.Brad Crowell 23:09  And different franchisors offer different support, and that's one of the conversations that that you could have with a person like Jon, where you might be like, hey, I am innately a marketer, but I'm terrible at operations, right? Then he, he might say, okay, well, this franchise, you know, whatever, they can help. Or, or conversely, I hate marketing. I'm really, that's not my jam. I need a franchise that will create the content for me that I can just use to put out there. So they're different, like, corporate offices will do different things for the business to support the franchisee and but, but, but as a as a layman, how am I supposed to know? But Jon gets to see hundreds of franchises. Lesley Logan 23:53  I think that's what's so cool. Is like, if you know your strengths, then you can talk to Jon and figure out, like, what are the different franchises that I'm interested in that are, like, in an area I want to be in, and then, okay, of those, which one matches my strengths and my weaknesses? Because you don't want to have something that's like, great at marketing and you're great at marketing, but like, has the systems are not there for the operations, like things like that, but also the franchiser does a lot for you. And remember, it's a proven business model, so like, it's already figured like, it's already thrown ideas at the wall, figured out what works, and then you just get to rinse and repeat that. And I really, I really like that for people who want to create their own schedule, create their own impact, be part of the community, but are risk-averse, you know? And by the way, I get it, we just.Lesley Logan 24:39  I'm risk-averse, too. Lesley Logan 24:39  Oh my god, you really are. Brad Crowell 24:41  But in a measurable way. But it's like, I wouldn't want to go, just go throw money away and hope, hope that something works. Imagine being able to follow a systematic approach where they figured out all the kinks in the business. Like, like the business that Lesley and I run that we've created, it has taken us a lot longer to get to where we are today. It's literally 10 years now, 10 years of running this business, yeah, 10 years of trying to figure things out, making mistakes, doing all this stuff, when with a franchise model, there are so many less mistakes to make, because hypothetically, they've already made the mistakes for you and figured it out and put together the playbook that you can simply follow the plan, the process, right? I really loved when he talked about business ownership is really hard. It takes a lot of work. And, yeah, that's that's very true, too. And he said, if it was easy, everyone would be a business owner, and what he what so, so, of all the pros that we've been talking about with a franchise model, it still does take a lot of work, and it's it takes focus and and the biggest thing he mentioned was the people who fail don't follow the plan, right? And Jon goes, calls up the franchise corporate office and goes, yo, what happened here? What's going on? And the franchisor said, you know, would say to Jon, well, look, we did everything we could to support this person, but they didn't listen. They just didn't fucking listen, you know. And that doesn't mean that, like, there won't still be challenges, because every single location is different, every market is different, every opportunity. And what I mean that, I mean different franchise model is different, you know. So it still will take work, but you don't have to do it alone, you know. And that that's amazing, you know. So, so anyway, he doesn't sugarcoat franchises but he said it's a lot easier and a lot more predictable. Lesley Logan 26:40  His book, actually, like, talks about, like, like, kind of like, if it's for you, you know, and this is where like, it, for us to follow the rules, right, with you, you have to know, okay, we're gonna do this thing with this company. We're gonna follow their rules, which means I'm gonna hire someone to go follow their rules, because I am unemployable, so I will probably fuck him up, but you have to know that about yourself, you know. Such a cool dude. He also was like, because I told him I have an idea, I still have an idea that I might want to, like happen and make, and franchise and he's like, just give me a call. Run it by me. And I'm like, amazing. I just love how generous people can be. Brad Crowell 27:18  Yeah, yeah. Well, stick around, we're going to talk about how generous Jon is with his Be It Action Items, in just a minute. Brad Crowell 27:25  All right, so finally, let's talk about those Be It Action Items. What bold, executable, intrinsic or targeted action items can we take away from your convo with Jon Ostenson? He said he really encourages people who are interested in franchising or the concept of franchising, to just simply explore, that there's no downside, there's no cost to learn about how it works, what it is, is it even plausible for me? Is this something that I could do while still doing my life? He said it's super free to work with them, which we already talked about at the very beginning of this convo here. FranBridge consulting, his company helps clients navigate and find top available opportunities among over 600 different non-food franchise brands and. Lesley Logan 28:08  We love that. I do not want to deal with food. Brad Crowell 28:10  Well, he's he's not, he's not opposed to food, but it also, apparently, just adds a whole lot more variables in there. Lesley Logan 28:16  I used to work at a coffee shop, and it was small business-owned, and I'm going to tell you right now, it is,.Brad Crowell 28:21  Well, that's different than a franchise, because a franchise is a system, so small business-owned might make things just complicated because they're making shit up.Lesley Logan 28:28  Food, food, there's, like, the things you have to do to prevent rats.Brad Crowell 28:32  Right, there's just a lot more variables when it comes to food. There's also a lot of more licensing and a lot more, like red tape with like, local state government stuff, you know. So anyway, he explained that what I already mentioned is that, how does he get paid? He gets paid by the franchise business, the corporate, right? He, you're not necessarily paying him directly. So, I mean, it seems like an absolute win-win.Lesley Logan 28:57  Just worth having the conversation like there's no, there's no harm in it, you know. Brad Crowell 29:00  Yeah. What about you? Lesley Logan 29:01  So I love that he said, activity breeds activity. Yes. It's like a body in motion, stays in motion. Yesterday, we just got into town, you know, at midnight on Friday night. I guess it's Saturday morning. Anyways, our friend, my she saw me at the gym, and she's like, you're like, the most consistent creature. And I'm like, I don't if I was to not be consistent, like, like, if I used travel as an excuse, I would never be consistent. So activity breeds activity. A body motion stays in motion. Explain, it's the idea he saw play out in his career and life, that whenever he gets off the sidelines he starts moving to Option A or B. That's that, then that's when option C comes out of left field. He says, good things happen when you're in motion. And it's so true. Like, it's so true. You know, even we got sidelined with the fucking Canada thing, we pivoted and kept going. And, like, because we did that, other things happened, that the dominoes kept going. And like, these other opportunities came around. And I think, like. Brad Crowell 29:53  Yeah, we met a whole studio we never would have met. Lesley Logan 29:55  We totally did. Could be a pop-up someday. But at any rate, like, you know, you, you'd be surprised what happens. Too often, we get we get sidelined, and we're like, I'm gonna sit over here. Keep going, take another step. And if you hear, as you hear in the podcast, it says action is the antidote to fear. So anyways, I'm Lesley Logan. Brad Crowell 30:16  And I'm Brad Crowell. Lesley Logan 30:17  Thank you so much for listening to our podcast. We love your reviews. Leave us more reviews. I want more reviews. It's my love language. And share this with a person who needs to hear it like you might have a friend in your life who is like, kind of stuck, kind of wondering what to do. Maybe this is what they need. So send them Jon's episode. Send them this episode. And until next time, Be It Till You See It. Brad Crowell 30:38  Bye for now. Lesley Logan 30:38  That's all I got for this episode of the Be It Till You See It Podcast. One thing that would help both myself and future listeners is for you to rate the show and leave a review and follow or subscribe for free wherever you listen to your podcast. Also, make sure to introduce yourself over at the Be It Pod on Instagram. I would love to know more about you. Share this episode with whoever you think needs to hear it. Help us and others Be It Till You See It. Have an awesome day. Be It Till You See It is a production of The Bloom Podcast Network. If you want to leave us a message or a question that we might read on another episode, you can text us at +1-310-905-5534 or send a DM on Instagram @BeItPod. Brad Crowell 31:21  It's written, filmed, and recorded by your host, Lesley Logan, and me, Brad Crowell.Lesley Logan 31:27  It is transcribed, produced and edited by the epic team at Disenyo.co.Brad Crowell 31:31  Our theme music is by Ali at Apex Production Music and our branding by designer and artist, Gianfranco Cioffi.Lesley Logan 31:39  Special thanks to Melissa Solomon for creating our visuals.Brad Crowell 31:42  Also to Angelina Herico for adding all of our content to our website. And finally to Meridith Root for keeping us all on point and on time.Support this podcast at — https://redcircle.com/be-it-till-you-see-it/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

9.9.2025 #RolandMartinUnfiltered: MO GOP Map Targets Black Voters, Pressley Demands Powell Answer on Black Jobs, Pastor vs. MAGAMissouri Republicans have passed a proposed congressional map that could expand the GOP's razor-thin majority in the U.S. House. Congressional Black Caucus Chair Yvette Clarke will join us to discuss the racist efforts aimed at undermining Black and minority representation in Congress.Congresswoman Ayanna Pressley is demanding that Federal Reserve Chair Jerome Powell address the rising unemployment rate among Black women. She'll be here to explain why Black women's employment is a "key metric of the health of the U.S. economy."A New York pastor calls out MAGA Christians. His message: "Don't confuse them with real Christians." Racist conservative commentator Charlie Kirk is blaming young white women for the "West's fertility collapse." Tonight's Black Star Network Marketplace segment is for art lovers. The award-winning artist, DomoINK, who created the James Baldwin piece in our studio, will explain how her work brings representation to people of color.#BlackStarNetwork partner: Fanbasehttps://www.startengine.com/offering/fanbaseThis Reg A+ offering is made available through StartEngine Primary, LLC, member FINRA/SIPC. This investment is speculative, illiquid, and involves a high degree of risk, including the possible loss of your entire investment. You should read the Offering Circular (https://bit.ly/3VDPKjD) and Risks (https://bit.ly/3ZQzHl0) related to this offering before investing.Download the Black Star Network app at http://www.blackstarnetwork.com! We're on iOS, AppleTV, Android, AndroidTV, Roku, FireTV, XBox and SamsungTV.The #BlackStarNetwork is a news reporting platform covered under Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research.See omnystudio.com/listener for privacy information.

Self-love is a skill that takes daily practice. And if you're feeling a bit out of practice... well, you're not alone. In this episode, we're diving into our Element of Love by focusing on the wisdom of James Baldwin as he encourages us all to find light within darkness. We'll talk about the relationship of self-love and mental health, self-love as a tool for behavior change, the importance of spotlighting positive actions, and the transformative power of kindness in practical situations.  About: Cope with stress, anxiety, and depression better with the Joy Lab Podcast. Learn evidence-based mental health practices and mindfulness skills to boost happiness, resilience, and emotional wellbeing.   Like and follow Joy Lab on Socials:  Instagram TikTok Linkedin Sources and Notes: Joy Lab Program: Take the next leap in your wellbeing journey with step-by-step practices to help you build and maintain the elements of joy in your life.  Excerpt from James Baldwin's Nothing Personal.  Article: Less Screaming, More Weightlifting: The Army Is Reinventing Basic Training for Gen Z    Full transcript available here. Please remember that this content is for informational and educational purposes only. It is not intended to provide medical advice and is not a replacement for advice and treatment from a medical professional. Please consult your doctor or other qualified health professional before beginning any diet change, supplement, or lifestyle program. Please see our terms for more information. If you or someone you know is struggling or in crisis, help is available. Call the NAMI HelpLine: 1-800-950-6264 available Monday through Friday, 10 a.m. – 10 p.m., ET. OR text "HelpLine" to 62640 or email NAMI at helpline@nami.org. Visit NAMI for more. You can also call or text SAMHSA at 988 or chat 988lifeline.org.

On today's episode of You Are What You Read, we are joined by biographer Nicholas Boggs to talk about literary icon James Baldwin. Nick is the author of Baldwin: A Love Story, a deep dive into Baldwin's personal relationships and their influence on his life and work. Nick's biography was named a “A Most Anticipated Book” by The New York Times, The Washington Post, The Los Angeles Times, The Boston Globe, the Chicago Tribune, Publisher's Weekly and more. Nicholas also co-edited a new edition of Baldwin's collaboration with French artist Yoran Cazac, Little Man, Little Man: A Story of Childhood. Learn more about your ad choices. Visit megaphone.fm/adchoices

What this book showed me was how to balance pieces of myself that didn't fit together.Today we meet Abdi Nazemian and we're talking about the queer book that saved his life: Another Country by James Baldwin.Abdi Nazemian spent his childhood in a series of exciting locations (Tehran, Paris, Toronto, New York), but could usually be found in his bedroom watching old movies and reading. His first novel, The Walk-In Closet, was awarded Best Debut at the Lambda Literary Awards. He has written three young adult novels: The Authentics, Like a Love Story, and The Chandler Legacies. As Head of Development for Water's End Productions, Abdi has been an executive producer or associate producer on numerous films, including Call Me By Your Name, It Happened In L.A., The Price, The House of Tomorrow, and Little Woods.Another Country, stunning for its emotional intensity and haunting sensuality, depicts men and women, blacks and whites, stripped of their masks of gender and race by love and hatred at the most elemental and sublime. It was nominated as one of America's best-loved novels by PBS's The Great American Read.James Baldwin was born in 1924 and educated in New York. The author of over twenty works of fiction and non-fiction, Baldwin received numerous accolades, including a Guggenheim Fellowship and a Ford Foundation Grant.Connect with Abdiwebsite: abdinazemian.cominstagram: @abdaddyOur BookshopVisit our Bookshop for new releases, current bestsellers, banned books, critically acclaimed LGBTQ books, or peruse the books featured on our podcasts: bookshop.org/shop/thisqueerbookBuy Another Country: https://bookshop.org/a/82376/9780679744719Become an Associate Producer!Become an Associate Producer of our podcast through a $20/month sponsorship on Patreon! A professionally recognized credit, you can gain access to Associate Producer meetings to help guide our podcast into the future! Get started today: patreon.com/thisqueerbookCreditsHost/Founder: John ParkerExecutive Producer: Jim PoundsAssociate Producers: Archie Arnold, K Jason Bryan and David Rephan, Bob Bush, Natalie Cruz, Jonathan Fried, Paul Kaefer, Joe Perazzo, Bill Shay, and Sean SmithPatreon Subscribers: Stephen D., Terry D., Stephen Flamm, Ida Göteburg, Thomas Michna, Sofia Nerman, and Gary Nygaard.Creative and Accounting support provided by: Gordy EricksonQuatrefoil LibraryQuatrefoil has created a curated lending library made up of the books featured on our podcast! If you can't buy these books, then borrow them! Link: https://libbyapp.com/library/quatrefoil/curated-1404336/page-1Support the show

An Arendt expert has arrived at Arendt-obsessed Recall This Book. Lyndsey Stonebridge discusses her widely praised 2024 We Are Free to Change the World: Hannah Arendt's Lessons in Love and Disobedience. Lesley sees both radical evil and the banality of evil at work in Nazi Germany and in the causes of suffering and death in Gaza today. She compares the moral idiocy of authoritarians (like the murderous Nazis and those who are starving Gaza) to that of philosophers who cannot hear the echoes of what they are doing. Lesley and John discuss Arendt's belief in the fragile ethics of the Founding Fathers, with its checks and balances and its politics based not on emotion but cool deliberation. Arendt could say that “The fundamental contradiction of [America] is political freedom coupled with social slavery,”” but why was she too easy on the legacy of imperial racism in America, missing its settler-colonial logic? Arendt read W. E. B. DuBois (who saw and said this) but perhaps, says Lesley, not attentively enough. Lyndsey is not a fan of Jonathan Glazer's Zone of Interest, because it makes the evil banality of extermination monstrous all over again (cf. her"Mythic Banality: Jonathan Glazer and Hannah Arendt.") Responsibility is crucial: She praises Arendt for distinguishing between temptation and coercion. Mentioned in the episode: Carnation Revolution in Portugal in 1974 one of the last great historical events in Arendt's lifetime. Lesley praises “reading while walking” and the unpacking of the totalitarian in Anna Burns's marvelous Norther Ireland novel, Milkman. Hannah Pitkin's wonderful 1998 The Attack of the Blob: Hannah Arendt's Concept of the Social, emphasizes Arendt's idea that although we are free, we can forfeit that freedom by assuming we are rule-bound. Arendt on the challenge of identity: “When one is attacked as a Jew, one must respond not as a German or a Frenchman or a world citizen, but as a Jew.” The Holocaust is a crime agains humanity a crime against the human status, a crime "perpetrated on the body of the Jewish people".” Various books by Hannah Arendt come up: Eichmann in Jerusalem: A Report on teh Banality of Evil. (1963). Judgement in Arendt is crucial from earliest days studying Kant and in her final works (among The Life of the Mind) she speaks of the moments when "the mind goes visiting.” Her earliest ideas about love and natality are in Love and Saint Augustine (1929, not published in English until 1996). Hannah Arendt is buried at Bard, near her husband Heinrich Blucher and opposite Philip Roth, who reportedly wanted to capture some of the spillover Arendt traffic. James Baldwin's essay “The Fire Next Time” (1963) caused Arendt to write Baldwin about the difference between pariah love and the love of those in power, who think that love can justify lashing out with power. Recallable Books Lyndsey praises Leah Ypi's (Free) forthcoming memoir about her Albanian family, Indignity. John recalls E. M Forster, Howard's End a novel that thinks philosophically (in a novelistic vein) about how to continue being an individual in a new Imperial Britain. Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

An Arendt expert has arrived at Arendt-obsessed Recall This Book. Lyndsey Stonebridge discusses her widely praised 2024 We Are Free to Change the World: Hannah Arendt's Lessons in Love and Disobedience. Lesley sees both radical evil and the banality of evil at work in Nazi Germany and in the causes of suffering and death in Gaza today. She compares the moral idiocy of authoritarians (like the murderous Nazis and those who are starving Gaza) to that of philosophers who cannot hear the echoes of what they are doing. Lesley and John discuss Arendt's belief in the fragile ethics of the Founding Fathers, with its checks and balances and its politics based not on emotion but cool deliberation. Arendt could say that “The fundamental contradiction of [America] is political freedom coupled with social slavery,”” but why was she too easy on the legacy of imperial racism in America, missing its settler-colonial logic? Arendt read W. E. B. DuBois (who saw and said this) but perhaps, says Lesley, not attentively enough. Lyndsey is not a fan of Jonathan Glazer's Zone of Interest, because it makes the evil banality of extermination monstrous all over again (cf. her"Mythic Banality: Jonathan Glazer and Hannah Arendt.") Responsibility is crucial: She praises Arendt for distinguishing between temptation and coercion. Mentioned in the episode: Carnation Revolution in Portugal in 1974 one of the last great historical events in Arendt's lifetime. Lesley praises “reading while walking” and the unpacking of the totalitarian in Anna Burns's marvelous Norther Ireland novel, Milkman. Hannah Pitkin's wonderful 1998 The Attack of the Blob: Hannah Arendt's Concept of the Social, emphasizes Arendt's idea that although we are free, we can forfeit that freedom by assuming we are rule-bound. Arendt on the challenge of identity: “When one is attacked as a Jew, one must respond not as a German or a Frenchman or a world citizen, but as a Jew.” The Holocaust is a crime agains humanity a crime against the human status, a crime "perpetrated on the body of the Jewish people".” Various books by Hannah Arendt come up: Eichmann in Jerusalem: A Report on teh Banality of Evil. (1963). Judgement in Arendt is crucial from earliest days studying Kant and in her final works (among The Life of the Mind) she speaks of the moments when "the mind goes visiting.” Her earliest ideas about love and natality are in Love and Saint Augustine (1929, not published in English until 1996). Hannah Arendt is buried at Bard, near her husband Heinrich Blucher and opposite Philip Roth, who reportedly wanted to capture some of the spillover Arendt traffic. James Baldwin's essay “The Fire Next Time” (1963) caused Arendt to write Baldwin about the difference between pariah love and the love of those in power, who think that love can justify lashing out with power. Recallable Books Lyndsey praises Leah Ypi's (Free) forthcoming memoir about her Albanian family, Indignity. John recalls E. M Forster, Howard's End a novel that thinks philosophically (in a novelistic vein) about how to continue being an individual in a new Imperial Britain. Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

An Arendt expert has arrived at Arendt-obsessed Recall This Book. Lyndsey Stonebridge discusses her widely praised 2024 We Are Free to Change the World: Hannah Arendt's Lessons in Love and Disobedience. Lesley sees both radical evil and the banality of evil at work in Nazi Germany and in the causes of suffering and death in Gaza today. She compares the moral idiocy of authoritarians (like the murderous Nazis and those who are starving Gaza) to that of philosophers who cannot hear the echoes of what they are doing. Lesley and John discuss Arendt's belief in the fragile ethics of the Founding Fathers, with its checks and balances and its politics based not on emotion but cool deliberation. Arendt could say that “The fundamental contradiction of [America] is political freedom coupled with social slavery,”” but why was she too easy on the legacy of imperial racism in America, missing its settler-colonial logic? Arendt read W. E. B. DuBois (who saw and said this) but perhaps, says Lesley, not attentively enough. Lyndsey is not a fan of Jonathan Glazer's Zone of Interest, because it makes the evil banality of extermination monstrous all over again (cf. her"Mythic Banality: Jonathan Glazer and Hannah Arendt.") Responsibility is crucial: She praises Arendt for distinguishing between temptation and coercion. Mentioned in the episode: Carnation Revolution in Portugal in 1974 one of the last great historical events in Arendt's lifetime. Lesley praises “reading while walking” and the unpacking of the totalitarian in Anna Burns's marvelous Norther Ireland novel, Milkman. Hannah Pitkin's wonderful 1998 The Attack of the Blob: Hannah Arendt's Concept of the Social, emphasizes Arendt's idea that although we are free, we can forfeit that freedom by assuming we are rule-bound. Arendt on the challenge of identity: “When one is attacked as a Jew, one must respond not as a German or a Frenchman or a world citizen, but as a Jew.” The Holocaust is a crime agains humanity a crime against the human status, a crime "perpetrated on the body of the Jewish people".” Various books by Hannah Arendt come up: Eichmann in Jerusalem: A Report on teh Banality of Evil. (1963). Judgement in Arendt is crucial from earliest days studying Kant and in her final works (among The Life of the Mind) she speaks of the moments when "the mind goes visiting.” Her earliest ideas about love and natality are in Love and Saint Augustine (1929, not published in English until 1996). Hannah Arendt is buried at Bard, near her husband Heinrich Blucher and opposite Philip Roth, who reportedly wanted to capture some of the spillover Arendt traffic. James Baldwin's essay “The Fire Next Time” (1963) caused Arendt to write Baldwin about the difference between pariah love and the love of those in power, who think that love can justify lashing out with power. Recallable Books Lyndsey praises Leah Ypi's (Free) forthcoming memoir about her Albanian family, Indignity. John recalls E. M Forster, Howard's End a novel that thinks philosophically (in a novelistic vein) about how to continue being an individual in a new Imperial Britain. Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

An Arendt expert has arrived at Arendt-obsessed Recall This Book. Lyndsey Stonebridge discusses her widely praised 2024 We Are Free to Change the World: Hannah Arendt's Lessons in Love and Disobedience. Lesley sees both radical evil and the banality of evil at work in Nazi Germany and in the causes of suffering and death in Gaza today. She compares the moral idiocy of authoritarians (like the murderous Nazis and those who are starving Gaza) to that of philosophers who cannot hear the echoes of what they are doing. Lesley and John discuss Arendt's belief in the fragile ethics of the Founding Fathers, with its checks and balances and its politics based not on emotion but cool deliberation. Arendt could say that “The fundamental contradiction of [America] is political freedom coupled with social slavery,”” but why was she too easy on the legacy of imperial racism in America, missing its settler-colonial logic? Arendt read W. E. B. DuBois (who saw and said this) but perhaps, says Lesley, not attentively enough. Lyndsey is not a fan of Jonathan Glazer's Zone of Interest, because it makes the evil banality of extermination monstrous all over again (cf. her"Mythic Banality: Jonathan Glazer and Hannah Arendt.") Responsibility is crucial: She praises Arendt for distinguishing between temptation and coercion. Mentioned in the episode: Carnation Revolution in Portugal in 1974 one of the last great historical events in Arendt's lifetime. Lesley praises “reading while walking” and the unpacking of the totalitarian in Anna Burns's marvelous Norther Ireland novel, Milkman. Hannah Pitkin's wonderful 1998 The Attack of the Blob: Hannah Arendt's Concept of the Social, emphasizes Arendt's idea that although we are free, we can forfeit that freedom by assuming we are rule-bound. Arendt on the challenge of identity: “When one is attacked as a Jew, one must respond not as a German or a Frenchman or a world citizen, but as a Jew.” The Holocaust is a crime agains humanity a crime against the human status, a crime "perpetrated on the body of the Jewish people".” Various books by Hannah Arendt come up: Eichmann in Jerusalem: A Report on teh Banality of Evil. (1963). Judgement in Arendt is crucial from earliest days studying Kant and in her final works (among The Life of the Mind) she speaks of the moments when "the mind goes visiting.” Her earliest ideas about love and natality are in Love and Saint Augustine (1929, not published in English until 1996). Hannah Arendt is buried at Bard, near her husband Heinrich Blucher and opposite Philip Roth, who reportedly wanted to capture some of the spillover Arendt traffic. James Baldwin's essay “The Fire Next Time” (1963) caused Arendt to write Baldwin about the difference between pariah love and the love of those in power, who think that love can justify lashing out with power. Recallable Books Lyndsey praises Leah Ypi's (Free) forthcoming memoir about her Albanian family, Indignity. John recalls E. M Forster, Howard's End a novel that thinks philosophically (in a novelistic vein) about how to continue being an individual in a new Imperial Britain. Listen and Read here. 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

An Arendt expert has arrived at Arendt-obsessed Recall This Book. Lyndsey Stonebridge discusses her widely praised 2024 We Are Free to Change the World: Hannah Arendt's Lessons in Love and Disobedience. Lesley sees both radical evil and the banality of evil at work in Nazi Germany and in the causes of suffering and death in Gaza today. She compares the moral idiocy of authoritarians (like the murderous Nazis and those who are starving Gaza) to that of philosophers who cannot hear the echoes of what they are doing. Lesley and John discuss Arendt's belief in the fragile ethics of the Founding Fathers, with its checks and balances and its politics based not on emotion but cool deliberation. Arendt could say that “The fundamental contradiction of [America] is political freedom coupled with social slavery,”” but why was she too easy on the legacy of imperial racism in America, missing its settler-colonial logic? Arendt read W. E. B. DuBois (who saw and said this) but perhaps, says Lesley, not attentively enough. Lyndsey is not a fan of Jonathan Glazer's Zone of Interest, because it makes the evil banality of extermination monstrous all over again (cf. her"Mythic Banality: Jonathan Glazer and Hannah Arendt.") Responsibility is crucial: She praises Arendt for distinguishing between temptation and coercion. Mentioned in the episode: Carnation Revolution in Portugal in 1974 one of the last great historical events in Arendt's lifetime. Lesley praises “reading while walking” and the unpacking of the totalitarian in Anna Burns's marvelous Norther Ireland novel, Milkman. Hannah Pitkin's wonderful 1998 The Attack of the Blob: Hannah Arendt's Concept of the Social, emphasizes Arendt's idea that although we are free, we can forfeit that freedom by assuming we are rule-bound. Arendt on the challenge of identity: “When one is attacked as a Jew, one must respond not as a German or a Frenchman or a world citizen, but as a Jew.” The Holocaust is a crime agains humanity a crime against the human status, a crime "perpetrated on the body of the Jewish people".” Various books by Hannah Arendt come up: Eichmann in Jerusalem: A Report on teh Banality of Evil. (1963). Judgement in Arendt is crucial from earliest days studying Kant and in her final works (among The Life of the Mind) she speaks of the moments when "the mind goes visiting.” Her earliest ideas about love and natality are in Love and Saint Augustine (1929, not published in English until 1996). Hannah Arendt is buried at Bard, near her husband Heinrich Blucher and opposite Philip Roth, who reportedly wanted to capture some of the spillover Arendt traffic. James Baldwin's essay “The Fire Next Time” (1963) caused Arendt to write Baldwin about the difference between pariah love and the love of those in power, who think that love can justify lashing out with power. Recallable Books Lyndsey praises Leah Ypi's (Free) forthcoming memoir about her Albanian family, Indignity. John recalls E. M Forster, Howard's End a novel that thinks philosophically (in a novelistic vein) about how to continue being an individual in a new Imperial Britain. Listen and Read here. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we are joined by translator Max Lawton to celebrate the release of Michael Lenz's Schattenfroh from Deep Vellum. But rather than focus only on this one book, we open the conversation to a wider theme: the joy of reading books that resist. These are works that don't give themselves up on a first pass, that refuse to be solved, that instead teach us how to read them as we go. With Schattenfroh as our starting point, we wander through the labyrinths of these kinds of books, asking why surrounding to the unknown might be one of the great rewards of reading.We've got some fantastic author-focused episodes lined up for the foreseeable future, and we want to give you plenty of time to dive in if you'd like to read along with us. These episodes come around every ten episodes, and with our bi-weekly release schedule, you'll have a few months to get ready for each. Here's what we have in store:* Episode 115: Kazuo Ishiguro* Episode 125: Flannery O'Connor* Episode 135: William Faulkner* Episode 145: Elizabeth Taylor* Episode 155: Naguib MahfouzThere's no rush—take your time, and grab a book (or two, or three) so you're prepared for these as they come!Join the Mookse and the Gripes on DiscordWant to share your thoughts on these upcoming authors or anything else we're discussing? Join us over on Discord! It's the perfect place to dive deeper into the conversation—whether you're reading along with our author-focused episodes or just want to chat about the books that are on your mind.We're also just now in our second novella book club, where we're reading Giovanni's Room by James Baldwin. It's a fantastic book, and we'd love to have you join the discussion. It's a great space to engage with fellow listeners, share your insights, and discover new perspectives on the books you're reading.ShownotesWhat are we reading?* Max: An Outcast of the Islands and The Rescue, by Joseph Conrad* Paul: Frontier, by Can Xue, translated by Karen Gernant & Chen Zeping, and The Stronghold, by Dino Buzzati, translated by Lawrence Venuti* Trevor: The Magic Mountain, by Thomas Mann, translated by John E. WoodsOn the Web:* Deep Vellum: Schattenfroh, by Michael Lenz, translated by Max Lawton* The Untranslated on Schattenfroh* The Untranslated: A Visual Guide to SchattenfrohThe Mookse and the Gripes Podcast is a bookish conversation hosted by Paul and Trevor. Every other week, we explore a bookish topic and celebrate our love of reading. We're glad you're here, and we hope you'll continue to join us on this literary journey!A huge thank you to those who help make this podcast possible! If you'd like to support us, you can do so via Substack or Patreon. Subscribers receive access to periodic bonus episodes and early access to all new episodes. Plus, each supporter gets their own dedicated feed, allowing them to download episodes a few days before they're released to the public. We'd love for you to check it out! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mookse.substack.com/subscribe

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

Nicholas Boggs, whose new book, "Baldwin: A Love Story," offers a fresh, intimate portrait of James Baldwin. Drawing on letters, archives, and conversations, Boggs traces Baldwin's search for connection across Harlem, Paris, and beyond, revealing how love shaped his politics and prose.

Love isn't just desire, provision, or possession—yet too often that's what men are taught to believe. In this episode, we dive into 5 Things Men Don't Understand About Love, drawing from the wisdom of bell hooks, James Baldwin, and John Makransky.We explore why love requires vulnerability, accountability, and daily practice—and why true love is always liberation, not control. This isn't about shaming men, but about breaking free from harmful myths and discovering what real, connected love can look like.✨ What you'll hear in this episode: • The difference between desire, possession, and love • Why vulnerability is the heart of intimacy • How love is a daily practice, not just a feeling • Why accountability matters in relationships • How love frees us rather than controls us

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

In this Sunday Gathering message that draws upon the work of James Baldwin and the teachings of A Course in Miracles, Emily Perry explores how hate functions like a spiritual cancer—growing silently within us until it erupts into division, violence, and despair. If you've ever wondered how to confront the hostility in our world—and in yourself—without losing sight of love, this message will encourage you to look honestly at your own heart and discover the freedom that comes with letting hate go. ___________________________ Since 1993, our purpose has been to help with both the theory and practical application of A Course in Miracles. We are the publisher of the Complete and Annotated Edition of the Course (known as the “CE”), which is available as a paperback*, ebook*, and via Audible. Our work grows out of our commitment to be as faithful as possible to what A Course in Miracles says,  years of dedication to walking this path ourselves, and a desire to see the Course's purpose realized in the lives of students and in the world. You are invited to download the free ACIM CE App to read, search, or listen to the Course wherever you are in the world, by following the instructions at https://acimce.app/ Whether you are new to ACIM or you've been a student for many years, you are welcome to join our online community and learning platform to access a vast collection of resources designed to help you understand and apply Course teachings in everyday life: https://community.circleofa.org/ To submit a question or suggest a topic for a future podcast episode, please email info@circleofa.org. If you enjoyed this podcast, please consider subscribing and leaving a review, as this will help us reach other listeners. You are also welcome to make a donation to help support our work at circleofa.org/donate. *Amazon affiliate links  

Eric Newman speaks with Nicholas Boggs about his monumental new biography, James Baldwin: A Love Story. Drawing on fresh archival research and interviews, Boggs offers an intimate portrait of the literary legend anchored by the romances that shaped his life, writing, and political vision. Spanning Baldwin's formative mentorship under artist Beauford Delaney, his romance with Lucien Happersberger, and lesser-known relationships with Turkish actor Engin Cezzar and French artist Yoran Cazac, the book explores how these relationships, alongside periods of isolation, served as the engines of Baldwin's literary production. Arriving amid a renaissance of interest in Baldwin's life and work, Boggs' biography offers a fresh perspective on the iconic writer for longtime fans and younger generations who may be encountering him for the first time.

Finalist, Award for Excellence in the Study of Religion, Constructive-Reflective Studies, given by the American Academy of ReligionExplores how Black Buddhist Teachers and Practitioners interpret Western Buddhism in unique spiritual and communal waysIn Black Buddhists and the Black Radical Tradition: The Practice of Stillness in the Movement for Liberation (NYU Press, 2022), Rima Vesely-Flad examines the distinctive features of Black-identifying Buddhist practitioners, arguing that Black Buddhists interpret Buddhist teachings in ways that are congruent with Black radical thought. Indeed, the volume makes the case that given their experiences with racism—both in the larger society and also within largely white-oriented Buddhist organizations—Black cultural frameworks are necessary for illuminating the Buddha's wisdom.Drawing on interviews with forty Black Buddhist teachers and practitioners, Vesely-Flad argues that Buddhist teachings, through their focus on healing intergenerational trauma, provide a vitally important foundation for achieving Black liberation. She shows that Buddhist teachings as practiced by Black Americans emphasize different aspects of the religion than do those in white convert Buddhist communities, focusing more on devotional practices to ancestors and community uplift.The book includes discussions of the Black Power movement, the Black feminist movement, and the Black prophetic tradition. It also offers a nuanced discussion of how the Black body, which has historically been reviled, is claimed as a vehicle for liberation. In so doing, the book explores how the experiences of non-binary, gender non-conforming, and transgender practitioners of African descent are validated within the tradition. The book also uplifts the voices of lesbian, gay, bisexual, and queer Black Buddhists. This unique volume shows the importance of Black Buddhist teachers' insights into Buddhist wisdom, and how they align Buddhism with Black radical teachings, helping to pull Buddhism away from dominant white cultural norms. Please also check out her forthcoming book, The Fire Inside: The Dharma of James Baldwin and Audre Lordre. 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

Finalist, Award for Excellence in the Study of Religion, Constructive-Reflective Studies, given by the American Academy of ReligionExplores how Black Buddhist Teachers and Practitioners interpret Western Buddhism in unique spiritual and communal waysIn Black Buddhists and the Black Radical Tradition: The Practice of Stillness in the Movement for Liberation (NYU Press, 2022), Rima Vesely-Flad examines the distinctive features of Black-identifying Buddhist practitioners, arguing that Black Buddhists interpret Buddhist teachings in ways that are congruent with Black radical thought. Indeed, the volume makes the case that given their experiences with racism—both in the larger society and also within largely white-oriented Buddhist organizations—Black cultural frameworks are necessary for illuminating the Buddha's wisdom.Drawing on interviews with forty Black Buddhist teachers and practitioners, Vesely-Flad argues that Buddhist teachings, through their focus on healing intergenerational trauma, provide a vitally important foundation for achieving Black liberation. She shows that Buddhist teachings as practiced by Black Americans emphasize different aspects of the religion than do those in white convert Buddhist communities, focusing more on devotional practices to ancestors and community uplift.The book includes discussions of the Black Power movement, the Black feminist movement, and the Black prophetic tradition. It also offers a nuanced discussion of how the Black body, which has historically been reviled, is claimed as a vehicle for liberation. In so doing, the book explores how the experiences of non-binary, gender non-conforming, and transgender practitioners of African descent are validated within the tradition. The book also uplifts the voices of lesbian, gay, bisexual, and queer Black Buddhists. This unique volume shows the importance of Black Buddhist teachers' insights into Buddhist wisdom, and how they align Buddhism with Black radical teachings, helping to pull Buddhism away from dominant white cultural norms. Please also check out her forthcoming book, The Fire Inside: The Dharma of James Baldwin and Audre Lordre. 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

Eric Newman speaks with Nicholas Boggs about his monumental new biography, "James Baldwin: A Love Story." Drawing on fresh archival research and interviews, Boggs offers an intimate portrait of the literary legend anchored by the romances that shaped his life, writing, and political vision. Spanning Baldwin's formative mentorship under artist Beauford Delaney, his romance with Lucien Happersberger, and lesser-known relationships with Turkish actor Engin Cezzar and French artist Yoran Cazac, the book explores how these relationships, alongside periods of isolation, served as the engines of Baldwin's literary production. Arriving amid a renaissance of interest in Baldwin's life and work, Boggs' biography offers a fresh perspective on the iconic writer for longtime fans and younger generations who may be encountering him for the first time.

What does it take to build the perfect first shelf? This week we tackle the joyful—and surprisingly stressful—task of creating a starter library. We're joined by John Williams, book editor at The Washington Post, to discuss how to choose ten books that someone can use as a starter library, offering comfort, surprise, and a little stretch along the way. We compare approaches, confess our struggles, and share the shelves we'd hand to a friend ready build their personal library.We'd love to hear from you—what books would make it onto your own starter library?We've got some fantastic author-focused episodes lined up for the foreseeable future, and we want to give you plenty of time to dive in if you'd like to read along with us. These episodes come around every ten episodes, and with our bi-weekly release schedule, you'll have a few months to get ready for each. Here's what we have in store:* Episode 115: Kazuo Ishiguro* Episode 125: Flannery O'Connor* Episode 135: William Faulkner* Episode 145: Elizabeth Taylor* Episode 155: Naguib MahfouzThere's no rush—take your time, and grab a book (or two, or three) so you're prepared for these as they come!Join the Mookse and the Gripes on DiscordWant to share your thoughts on these upcoming authors or anything else we're discussing? Join us over on Discord! It's the perfect place to dive deeper into the conversation—whether you're reading along with our author-focused episodes or just want to chat about the books that are on your mind.We're also just now in our second novella book club, where we're reading Giovanni's Room by James Baldwin. It's a fantastic book, and we'd love to have you join the discussion. It's a great space to engage with fellow listeners, share your insights, and discover new perspectives on the books you're reading.ShownotesWhat are we reading?* Paul: The Endless Week, by Laura Vasquez, translated by Alex Niemi* John: Giovanni's Room, by James Baldin* Trevor: Nadja, by André Breton, translated by Mark PolizzottiOur Starter LibrariesPaul* The Complete Calvin and Hobbes, by Bill Waterson* Moby-Dick, by Herman Melville* Finding Beauty in a Broken World, by Terry Tempest Williams* The Complete Works of William Shakespeare* Lonesome Dove, by Larry McMurtry* The Complete Poems of Emily Dickinson* The Complete Stories of Clarice Lispector* To the Lighthouse, by Virginia Woolf* Kindred, by Octavia Butler* Pride and Prejudice, by Jane AustenTrevor* Ex Libris, by Anne Fademan* The Remains of the Day, by Kazuo Ishiguro* The Count of Monte Cristo, by Alexandre Dumas* A Good Man Is Hard to Find, by Flannery O'Connor* The Emigrants, by W.G. Sebald, translated by Michael Hulse* The Hobbit, by J.R.R. Tolkein* Cockroaches, by Scholastique Mukasonga, translated by Jordan Stump* So Long, See You Tomorrow, by William Maxwell* Pilgrim at Tinker Creek, by Annie Dillard* The Complete Poems of Emily DickinsonJohn* The Collected Stories of William Trevor* The Varieties of Religious Experience, by William James* The Collected Poems of Philip Larkin* Notes from Underground, by Fyodor Dostoevsky* The Book of Disquiet, by Fernando Pessoa* The Sellout, by Paul Beatty* The Black Prince, by Iris Murdoch* Nixon Agonistes: The Crisis of the Self-Made Man, by Garry Wills* Essays in Disguise, by Wilfrid Sheed* Mrs. Dalloway, by Virginia Woolf* Why Does the World Exist, by Jim HoltOther* The Library, Duncan FallowellThe Mookse and the Gripes Podcast is a bookish conversation hosted by Paul and Trevor. Every other week, we explore a bookish topic and celebrate our love of reading. We're glad you're here, and we hope you'll continue to join us on this literary journey!A huge thank you to those who help make this podcast possible! If you'd like to support us, you can do so via Substack or Patreon. Subscribers receive access to periodic bonus episodes and early access to all new episodes. Plus, each supporter gets their own dedicated feed, allowing them to download episodes a few days before they're released to the public. We'd love for you to check it out! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit mookse.substack.com/subscribe

In the first major biography of James Baldwin in over three decades, Nicholas Boggs presents an intimate portrait shaped by the people who inspired him. Boggs traces four of Baldwin's transformative relationships that depict him not just as a fearless social critic, but as an emotional, vulnerable man shaped by love. Geoff Bennett spoke with Boggs about his book, "Baldwin: A Love Story." PBS News is supported by - https://www.pbs.org/newshour/about/funders. Hosted on Acast. See acast.com/privacy

Three decades in the making, Baldwin: A Love Story by Nicholas Boggs explores the personal relationships that made James Baldwin the indelible figure we know today. Nicholas joins us to talk about what first led him to Baldwin, the future of biographies, how Baldwin became the writer we know now, the art of yearning and more with host Miwa Messer. This episode of Poured Over was hosted by Miwa Messer and mixed by Harry Liang.                     New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app. Featured Books (Episode): Baldwin: A Love Story by Nicholas Boggs James Baldwin: A Biography by David Leeming Little Man, Little Man by James Baldwin and Yoran Cazac Giovanni's Room by James Baldwin Go Tell It on the Mountain by James Baldwin Another Country by James Baldwin Sleepwalking Through History by Haynes Johnson If Beale Street Could Talk by James Baldwin The Evidence of Things Not Seen by James Baldwin Jimmy's Blues and Other Poems by James Baldwin Tell Me How Long the Train's Been Gone by James Baldwin The Fire Next Time by James Baldwin

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

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

The Grand Paloma Resort by Cleyvis Natera centers on a tropical paradise hiding a sinister secret. Cleyvis joins us to talk about the intricacies of sibling stories, class disparities, tourism, the Dominican Republic, literary influences and more with Miwa Messer. This episode of Poured Over was hosted by Miwa Messer and mixed by Harry Liang.                     New episodes land Tuesdays and Thursdays (with occasional Saturdays) here and on your favorite podcast app. Featured Books (Episode): The Grand Paloma Resort by Cleyvis Natera Neruda on the Park by Cleyvis Natera The Farming of Bones by Edwidge Danticat A Small Place by Jamaica Kincaid Go Tell It on the Mountain by James Baldwin

Nineteenth-century Americans regarded Paris as a libertine paradise: a smorgasbord of food and fashion, of night life and sex. Today, the pull toward France endures, though the precise nature of its appeal has shifted. On the second in a series of Critics at Large interview episodes, Alexandra Schwartz talks with the staff writer Lauren Collins about her work as The New Yorker's woman on the ground in France and the long lineage of Francophilic Americans—from Edith Wharton to James Baldwin and, yes, even “Emily.” The two consider how French femininity has been marketed to American women and how modern influencers transmit an incomplete picture of Paris. “Yes, it's romantic, and, yes, it's picturesque, but it's also a big, loud, dirty, profane, complicated city that evolves and changes like everywhere else,” Collins says. “There's a lot of misbegotten essentializing that happens when Americans start talking about France.”Read, watch, and listen with the critics:“Ces restaurants qui gonflent l'addition des touristes américains,” by Mathieu Hennequin (Le Parisien)“Can Emmanuel Macron Stem the Populist Tide?,” by Lauren Collins (The New Yorker)“The Unlikely Rise of French Tacos,” by Lauren Collins (The New Yorker)“Dearest Edith,” by Janet Flanner (The New Yorker)“The Custom of the Country,” by Edith Wharton“Go Tell It on the Mountain,” by James Baldwin“Giovanni's Room,” by James Baldwin“The Discovery of What It Means to Be an American,” by James Baldwin (The New York Times)“Emily in Paris” (2020–)“Sex and the City” (1998–2004)“French Women Don't Get Fat,” by Mireille Guiliano“Bringing Up Bébé,” by Pamela DruckermanNew episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Learn about your ad choices: dovetail.prx.org/ad-choices

This 2020 episode covers James Baldwin, who was a brilliant essayist, one of the chroniclers of the Civil Rights Movement, and a powerful voice against racism.See omnystudio.com/listener for privacy information.