Podcasts about James Weldon Johnson

In the early 1900s, James Weldon Johnson explored the complex life of a bi-racial man who chose to disappear into white society in The Autobiography of an Ex-Colored Man. Now, saxophonist Mark Turner uses this powerful novel as the foundation for his latest project. Join us as we listen to and discuss Turner's powerful compositions—a musical meditation on race, anonymity, and heritage—performed by his stellar quintet featuring Jason Palmer, David Virelles, Matt Brewer, and Nasheet Waits. Discover how this music forces the listener to confront the novel's enduring questions about identity and the American experience.

Welcome to Strictly Jazz Sounds. In this episode, we spotlight saxophonist Mark Turner, an LA native known for his technical brilliance and soulful undertones. Turner's music is influenced by R&B and jazz from his upbringing, as well as legendary saxophonists like Warne Marsh and John Coltrane. Mark's humility and self-deprecation are evident, but his artistry shines through, especially in his latest project, Reflections On: An Autobiography of an Ex-Colored Man, produced in collaboration with Jimmy Katz and Giant Step Arts. The episode explores how Turner's experiences as an African American have shaped his work in the thematic 10-part suite inspired by the novel penned by civil rights activist, author and poet, James Weldon Johnson, "An Autobiography of an Ex-Colored Man." Our conversation covers Turner's compositional process, the challenges of identity and race, and the historical context behind his music. He also shares plans for future projects, including those inspired by Sci-Fi author Octavia Butler, with hopes of returning to Giant Step Arts. You'll hear four movements from the quintet: Mark Turner-tenor sax and narration, Jason Palmer-trumpet, David Virelles-piano, Matt Brewer-bass, and Nasheet Waits-drums. The featured compositions are Movement 1: Anonymous-4:04 (4:24), Movement 4: New York-12:03 (45:18), Movement 9: Identity Politics-6:11(1:07:00), and Movement 10: Closure-2:22 (01:20:08). I am grateful to Jimmy Katz and Giant Step Arts for use of the recordings. Thank you for tuning in. If you haven't subscribed yet, please do so to stay updated on future episodes, jazz news, and our annual Top 20 Jazz playlist. All the music played on this podcast has been authorized. Support jazz musicians by buying their music and support live jazz wherever you are. Now, let's begin with Movement 1. Enjoy the conversation!

Support Us: Donation Page – LibriVox Free AudiobooksThe Book of American Negro Poetry is one of the earliest and most essential anthologies of African-American verse ever brought to print. Edited by writer and diplomat James Weldon Johnson, this collection was published with the hope of bringing to the public a greater awareness of the art and literature created by Black writers. This is the first edition of this long-republished anthology and collects seminal works by Paul Dunbar, W.E.B. Du Bois, Claude McKay, Leslie Hill, James Corrothers, and many more. - Summary by ChuckWGenre(s): AnthologiesLanguage: EnglishKeyword(s): black literature (2), african-american literature (1), african-american author (1)Support Us: ⁠Donation Page – LibriVox Free Audiobooks⁠

Did Chet Atkins invent fingerpicking just to keep other guitarists from catching up? In this episode, I talk with Don Cusic—author of Chet Atkins: Mr. Guitar—about Chet's legendary style, Nashville studio secrets, and how the music biz has changed (and stayed weird). Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is Don Cusic, the Curb Professor of Music Industry History at Belmont University and the author of over 30 books on music, culture, and the music business. His latest is Chet Atkins: Mr. Guitar, a newly released biography that explores the life, legacy, and lasting influence of one of Nashville's most iconic musicians. Don has also produced albums for legends like Bobby Bare, Jeannie Seely, and Jim Ed Brown. He co-produced the Eddy Arnold Tribute album with Cheetah Chrome and collaborated with Mike Curb on an album of James Weldon Johnson songs performed by American Idol finalist Melinda Doolittle. Thank you to Pam Lewis and Associates for the introduction!   THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://usa.sae.edu/ https://www.izotope.com Use code ROCK10 to get 10% off! https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.adam-audio.com/ https://www.spectra1964.com https://pickrmusic.com  https://RecordingStudioRockstars.com/Academy https://www.thetoyboxstudio.com/ Listen to the podcast theme song “Skadoosh!” https://solo.to/lijshawmusic Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/6RLwWj9VRj9MaiUecrbvxR?si=3ad154b682a94b3d&pt_success=1&nd=1&dlsi=3991a6a2d4d846d8 If you love the podcast, then please leave a review: https://RSRockstars.com/Review   CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/529

Roll on another month and another Three Ravens Live Show release - and of not just one but two performances recorded at Gloucester History Festival at the end of September 2025!As we explain in the episode, first comes our Forgotten Melodies Live show, performed on Sunday 21st September in the Great Hall at Gloucester's Blackfriars as part of Witch Night, followed by a retelling of Martin's Gloucester story first heard in Series 3 Episode 2 about Gloucestershire, "The Torbarrow Guardian" as recorded that afternoon in the Scriptorium Buttery.We really hope you enjoy both recordings, speak to you tomorrow for an all-new episode of Three Ravens Haunting Season, and if you would like details of the Forgotten Melodies Live set list then it's as follows:The Earth, The Air, The Fire, The Water (Trad)On Matthew Hopkins by Samuel Butler (c.1663)Ring Down Below (Trad)Hecate's Speech from Macbeth by William Shakespeare (c.1606)Old Pendle (Trad)Very Wicked People (spoken word)Witches Reel (Trad)Witch Burning by Sylvia Plath (1959)Sovay (Trad)The White Witch by James Weldon Johnson (1915)Hare Spell (Trad)Three Ravens is an English Myth and Folklore podcast hosted by award-winning writers Martin Vaux and Eleanor Conlon.Released on Mondays, each weekly episode focuses on one of England's 39 historic counties, exploring the history, folklore and traditions of the area, from ghosts and mermaids to mythical monsters, half-forgotten heroes, bloody legends, and much, much more. Then, and most importantly, the pair take turns to tell a new version of an ancient story from that county - all before discussing what that tale might mean, where it might have come from, and the truths it reveals about England's hidden past...Bonus Episodes are released on Thursdays plus Local Legends episodes on Saturdays - interviews with acclaimed authors, folklorists, podcasters and historians with unique perspectives on that week's county.With a range of exclusive content on Patreon, too, including audio ghost tours, the Three Ravens Newsletter, and monthly Three Ravens Film Club episodes about folk horror films from across the decades, why not join us around the campfire and listen in?Learn more at www.threeravenspodcast.com, join our Patreon at www.patreon.com/threeravenspodcast, and find links to our social media channels here: https://linktr.ee/threeravenspodcastProud members of the Dark Cast Network.Visit our website Join our Patreon Social media channels and sponsors Hosted on Acast. See acast.com/privacy for more information.

In this episode, we discuss the life and legacy of James Weldon Johnson. A leader of the Harlem Renaissance, he wrote fiction, poetry, and nonfiction. He also wrote lyrics for many songs, including “Lift Ev'ry Voice and Sing,” popularly regarded as the Black National Anthem. Johnson raised public awareness of lynching and fought Jim Crow [...]

In this episode, we discuss the life and legacy of James Weldon Johnson. A leader of the Harlem Renaissance, he wrote fiction, poetry, and nonfiction. He also wrote lyrics for many songs, including “Lift Ev'ry Voice and Sing,” popularly regarded as the Black National Anthem. Johnson raised public awareness of lynching and fought Jim Crow [...]

Our Ancestors Were Messy, is a show about the ancestors and all their drama. On each episode, host Nichole Hill and her guests unpack the ancestors' historical schemes, feuds, and quests to examine how their relationships with one another shaped who we are today. Before the 1960s nearly every major city in the nation had a newspaper written for, by, and about Black Americans. During their “Golden Era” between the 1930s-50s, there were over ten thousand newspapers with an estimated subscriber count of over 1 million. The editors, reporters, and columnists for these papers included legends like Ida B. Wells, Frederick Douglass, Langston Hughes, W.E.B. DuBois, Mary McLeod Bethune, Zora Neale Hurston, and James Weldon Johnson. They reported on local, national, and international news from the Black perspective. They also kept track of what everyone was up to in their segregated neighborhoods and spoiler alert: there was never a dull moment! *** Listen to Our Ancestors Were Messy: https://thesecretadventuresofblackpeople.com/our-ancestors-were-messy Learn more about your ad choices. Visit podcastchoices.com/adchoices

Guests: Khalil Habib, Kevin M. Shipp, & Brent Cline Host Scot Bertram talks with Khalil Habib, associate professor of politics and Allison and Dorothy Rouse Chair in Politics at Hillsdale College, about how examples of statesmanship in the Roman Republic can teach us about good government. Kevin M. Shipp, former CIA officer and anti-terrorism expert, lays out the history of the CIA and gives an overview of his new book Twilight of the Shadow Government: How Transparency Will Kill the Deep State. And Brent Cline, associate professor of English at Hillsdale College, continues a short series on the Harlem Renaissance. This week, the life and work of writer James Weldon Johnson.See omnystudio.com/listener for privacy information.

On a Sunday morning in the spring of 1921, a small boy made a grim discovery as he played on a riverbank in the cotton country of rural Georgia: the bodies of two drowned men, bound together with wire and chain and weighted with a hundred-pound sack of rocks. Within days a third body turned up in another nearby river, and in the weeks that followed, eight others. And with them a deeper horror: all eleven had been kept in virtual slavery before their deaths. In fact, as America was shocked to learn, the dead were among thousands of Black men enslaved throughout the South in conditions nearly as dire as those before the Civil War.Hell Put to Shame tells the forgotten story of that mass killing and of the revelations about peonage, or debt slavery, that it placed before a public self-satisfied that involuntary servitude had ended at Appomattox more than fifty years before.By turns police procedural, courtroom drama, and political exposé, Hell Put to Shame also reintroduces three Americans who spearheaded the prosecution of John S. Williams, the wealthy plantation owner behind the murders, at a time when white people rarely faced punishment for violence against their Black neighbors. The remarkable polymath James Weldon Johnson, newly appointed the first Black leader of the National Association for the Advancement of Colored People, marshaled the organization into a full-on war against peonage. Johnson's lieutenant, Walter F. White, a light-skinned, fair-haired, blue-eyed Black man, conducted undercover work at the scene of lynchings and other Jim Crow atrocities, helping to throw a light on such violence and to hasten its end. And Georgia governor Hugh M. Dorsey won the statehouse as a hero of white supremacists—then redeemed himself in spectacular fashion with the “Murder Farm” affair.This is a story that remains fresh and relevant a century later, as the nation continues to wrestle with seemingly intractable challenges in matters of race and justice. And the 1921 case at its heart argues that the forces that so roil society today have been with us for generations.  Joining me to discuss his book, HELL PUT TO SHAME: The 1921 Murder Farm Massacre and the Horror of America's Second Slavery—Earl Swift. Follow and comment on Facebook-TRUE MURDER: The Most Shocking Killers in True Crime History https://www.facebook.com/profile.php?id=100064697978510Check out TRUE MURDER PODCAST @ truemurderpodcast.com

Doug & Diane recently had the opportunity to chat with George Marriner Maull (Founder & Artistic Director of The Discovery Orchestra) and Vocalist Cheryl Warfield (Founder of Manhattan Opera Repertory Ensemble or MORE) about their upcoming concert, Discover Angelitos Negros (Little Black Angels). Maull and Warfield – along with Composer & Pianist Patricio Molina – will present this special Black History Month concert at 3pm on Sunday, February 23rd at Grace Episcopal Church in Newark, New Jersey.During our conversation we touched upon the importance of bringing classical and operatic music into the spotlight and connecting new audiences to these genres through the innovative and immersive techniques spearheaded by their respective organizations. Maull's and Warfield's passion for music is contagious and their drive to make it accessible and more familiar is brilliant. We learned all about their musical backgrounds and experiences which have led them both to their careers. Angelitos Negros is a concert series launched in 2021 by MORE Opera to collectively serve Black and Latino communities severely impacted by the pandemic. The program was based on a poignant moment in the 1948 Mexican film of the same name in which a young child asks why there are no paintings by the great masters of Black angels. An acclaimed second iteration of Angelitos Negros was presented in December 2023, with composer-pianist Patricio Molina as musical director. The upcoming concert will feature a rousing rendition of “Lift Every Voice and Sing,” the James Weldon Johnson and J. Rosamond Johnson song known today as the Black National Anthem, in honor of its 125th anniversary; and a Discovery Concert exploration of “Hay una Antilla en Medio del Mar Caribe,” the traditional Dominican poem set to music, arranged by Molina.TDO is known for its teaching Discovery Concerts™ — musical performances featuring an interactive exploration segment that helps participants focus on specific details of the work — on stage and on the small screen. The Orchestra also presents community engagement programs in collaboration with its educational partners for underserved audiences in six New Jersey counties.Discover Angelitos Negros is free with registration at https://discoveryorchestra.org/angelitos-negros/. Groups wishing to attend should contact TDO Executive Director Rick Kaller at rick@discoveryorchestra.org. The concert snow date is Sunday, March 2 (at 3 p.m.) Asbury Park Vibes Podcast Available on Spotify, Apple, Google, iHeart, Audible, and PandoraHosted by Diane DiMemmo & Doug DresherCopyright 2020-2025 Asbury Park Vibes. All rights reserved.

Today's poem is The Gift to Sing by James Weldon Johnson. The Slowdown is your daily poetry ritual. In this episode, Major writes… “For those of us who want to hold onto the light as long as we can, we make sure to embrace more than the material comforts — we can make sure to surround ourselves with family, friends and song.” Celebrate the power of poems with a gift to The Slowdown today. Every donation makes a difference: https://tinyurl.com/rjm4synp

Nelson is likely best known for her literary output as a poet. She regularly published in Opportunity and Crisis magazines between 1917 and 1928. Her poems also appeared in James Weldon Johnson's seminal anthology, The Book of American Negro Poetry (Harcourt, Brace and Company, 1931). Nelson began to keep a personal diary in 1921. Her entries from 1926 to 1931 were later edited by scholar Gloria T. Hull for a volume entitled Give Us Each Day: The Diary of Alice Dunbar-Nelson (W. W. Norton, 1984).Toward the end of her public career, Nelson focused on journalism and public speaking. She gave numerous speeches as the executive secretary of the American Friends Inter-Racial Peace Committee from 1928 to 1931. From 1926 to 1930, Nelson wrote newspaper columns and became an activist for women's suffrage and civil rights. In 1922, she advocated for the passage of the Dyer Anti-Lynching Bill, and helped establish the Industrial School for Colored Girls in Delaware. One of her speeches was published and included in Masterpieces of Negro Eloquence (The Bookery Publishing Company, 1914), and examples of her dialect poetry, dramatic prose, and oratory were collected The Dunbar Speaker and Entertainer (J. L. Nichols & Co., 1920). Both are anthologies that Nelson edited. -bio via Academy of American Poets Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Tess and Brock travel to Wiscasset, ME, to investigate the scene of James Weldon Johnson's tragic death in a train accident. Author Russell Rymer gives us a glimpse of Johnson's life as a Black poet, diplomat, novelist, and activist—Johnson was a jack of all trades, master of all. Poet C.S. Giscombe discuss Johnson's The Autobiography of an Ex-Colored Man and finds surprising similarities to the tv cartoon Futurama.Tess and Brock also meet with Melanie K. Edwards, Johnson's great grandniece, who gives some insight into what her famous uncle was doing in Maine in the first place.Mentioned:The Autobiography of an Ex-Colored Man by James Weldon Johnson“We To America” by James Weldon JohnsonGod's Trombones by James Weldon Johnson“Listen Lord, A Prayer” by James Weldon Johnson“Lift Ev'ry Voice and Sing” by James Weldon JohnsonNegro Mountain by C.S. GiscombeAmerican Beach by Russell RymerFuturama (1999)Simpsons (1989)The house:James Weldon Johnson Bench in Wiscasset, METess Chakkalakal is the creator, executive producer and host of Dead Writers. Brock Clarke is our writer and co-host.Lisa Bartfai is the managing producer and executive editor. Our music is composed by Cedric Wilson, who also mixes the show. Ella Jones is our web editorial intern, and Mark Hoffman created our logo. This episode was produced with the generous support of our sponsors Bath Savings and listeners like you.

Destination Freedom was a weekly radio program produced by NBC radio station WMAQ in Chicago from 1948 to 1950. It presented biographical histories of prominent African-Americans as written by the program's producer Richard Durham. You are going to hear episodes about three tireless advocates for civil rights, diversity and inclusion. The 1948 story of James Weldon Johnson, an attorney, diplomat, writer, and co-creator of the Negro National Anthem. The 1949 story of the legendary educator Booker T. Washington, president of the Tuskegee Institute. And the 1949 story of Mary Church Terrell, one of the first African-American women to earn a college degree. Terrell was a talented journalist and charter member of the NAACP. More at http://krobcollection.com

In this enlightening episode of Sista Brunch, we sit down with Reginé Gilbert, a powerhouse in the intersection of tech and social justice. Holding the esteemed James Weldon Johnson professorship at New York University, Reginé is not only shaping minds in academia with her profound insights into inclusive and accessible digital design but also touching lives through her pioneering work in augmented reality (AR) and virtual reality (VR). Reginé takes us on a journey through her impressive career trajectory—from the fashion industry's elite corridors to becoming a leading voice in user experience design (UX). She shares her transition from fashion to tech, her passion for making digital worlds accessible to all, and her drive to ensure that emerging AR and VR technologies are inclusive from the ground up. Her book, "Inclusive Design for a Digital World," showcases her commitment to creating digital spaces that everyone can navigate with ease, echoing her belief that thoughtful design starts with considering all potential users. In her role at NYU, Reginé champions these principles, equipping her students to think ethically and inclusively as they create the digital experiences of tomorrow. Tune in to learn from Reginé's wealth of experience and be inspired by her vision for a tech-inclusive future where accessibility is not an afterthought, but a foundational principle. Follow us for more stories that celebrate and amplify the voices of Black women and gender-expansive individuals thriving at the forefront of entertainment, media, and technology. #ReginéGilbert #InclusiveTech #DigitalDesign #SistaBrunch

En este episodio monumental, te dejo las cosas maravillosas que se pueden estudiar con los eclipses, los fenómenos que se aprecian, la seguridad para verlos y como ver el sol, con o sin gafas y muchas cosas dementes que no sabias de los eclipses. Recuerda que el próximo 6 de abril estaré entregando gafas, stickers e información en la biblioteca publica James Weldon Johnson commutity library en el 1059 18th ave S. Saint Petersburg FL 33712 Para mas información del programa y el host en los links abajo: Amazon.com: Historias cortas Para sentarte en el inodoro: Parte 2 (Spanish Edition): 9798395803429: Alvarado, MR Agustin Valenzuela: Books curiosidad científica podcast | Linktree vale.alva (@curiosidacientificapodcast) • Fotos y videos de Instagram --- Support this podcast: https://podcasters.spotify.com/pod/show/agustin-valenzuela/support

Welcome home y'all! On this MiniPod hosts Angela Rye, Andrew Gillum and Tiffany Cross answer a question we've gotten many times: why “Native Land” Pod? The hosts explain the inspiration behind the title of the show, and the show as a whole. Drawing from their own experience, they critique mainstream news, share how they came together, and why they felt they needed to create a new “home” for their audience.  You can find the lyrics to Lift Every Voice and Sing, the Black National Anthem, at this link.   The audio for this episode is from promotional material created for the launch of the podcast. As always, we want to hear from you! Send us a video @nativelandpod and we may feature you on the podcast.  Instagram  X/Twitter Facebook Watch full episodes of Native Land Pod here on Youtube. Thank you to the Native Land Pod team:  Angela Rye as host, executive producer and cofounder of Reasoned Choice Media; Tiffany Cross as host and producer, Andrew Gillum as host and producer, and Gabrielle Collins as executive producer; Loren Mychael and Jabari Davis are our research producers, and Nikolas Harter is our editor and producer. A special thanks as well to Chris Morrow and Lenard McKelvey, co-founders of Reasoned Choice Media. See omnystudio.com/listener for privacy information.

Susan and Sharon sit down with actor, director, and writer Elayne Heilveil. Elayne has worked with Mike Nichols and Mark Rydell in the classic 70s television series Family and has guested on such shows as The Rockford Files, The Waltons, Emergency!, Hawaii 5-0, Hill Street Blues and The Mary Tyler More Show. She has appeared opposite such legendary stars such as James Garner, Rip Torn, Ben Vereen, Jeff Goldblum, Valerie Bertinelli, David Jansen, Robert Culp and Dame Judith Anderson.In this layered conversation, Elayne discusses standing up for yourself on set, learning to trust your instincts, navigating dicey auditions -- and discovering the joy and artistic rewards of writing.THE CONVERSATIONHow a “mystical” experience reading “The Creation” by James Weldon Johnson at eleven years old led to Elayne's start in show business.Going to the Fame school –the movie and TV show barely scratched the surface!Topless go-go dancers and drunk bodies in the streets: living and acting in 70's New York.What do you say when an agent wants you to change your name – to Daisy Astor?On being asked to take her top off at an audition: “I broke out laughing and said, ‘Are women buying this bullshit?' ”On casting quirks: “I've played three nuns. It's every Jewish girl's dream to be a nun.”Being “beyond nervous” auditioning for Mike Nichols.Doing the TV movie, A Cry For Help – and wearing Columbo's trench coat the whole time!What do you do when your lines aren't quite right on The Waltons? Give them to Richard Thomas' John-Boy!LIVING WITH AN ‘ANGEL' – what's it like secretly living with Stuart Margolin, and then getting “married” on-screen?What's the best therapy after an abusive moment on set? Try throwing drinking glasses at a brick wall.So join Susan and Sharon – and Elayne – as they talk nude photos, James Garner, reverse nepotism, finding your sweet spot – and getting tear-gassed by Rip Torn! AUDIOGRAPHYThe Rockford Files is streaming FREE on Roku.So Fetch, The Making of Mean Girls (and Why We're Still Obsessed with It) by Jennifer Keishin Armstrong. Get it at Bookshop or your favorite bookstore.Pre-order the book: The Girls: From Golden to Gilmore by Stan Zimmerman. Will ship Feb. 13.Read The Creation by James Weldon Johnson.8TL EXCLUSIVE OFFERS!Invest in yourself at TheNextish.com - Special 80s TV Ladies offer! Get 10% off an already 30% off promotion on their newest online course that will help you chart a course forward: "Be The Disruptor" - Use code "8TL24" at checkout at TheNextish.com.CONNECTRead transcripts and more at 80sTVLadies.com.Sign up for the 80s TV Ladies mailing list.Follow 8TL on Facebook.Check out 8TL on Linkedin.Get ad-free episodes and exclusive videos on PATREON.Find more cool podcasts at our host sight, Weirding Way Media.The 80s TV Ladies travel to Podfest 2024! If you'll be there, find us and say hello to Sharon and Susan.

Alonzo King Lines Ballet will perform an original work called "Deep River," blending music from Jewish and African American spiritual traditions with a score by pianist, composer, and MacArthur fellow Jason Moran and vocals by Grammy-award winning singer Lisa Fischer. The work also incorporates compositions by Pharoah Sanders, Maurice Ravel, and James Weldon Johnson. The performance will take place tonight at 7:30 at Northrop's Carlson Family Stage. Jazz88's Peter Solomon spoke with choreographer and group founder Alonzo King.

Liz McCoy shares some of the activities going on downtown in the near future. The first Wednesday of every month (as in TONIGHT!) features Art Walk downtown, with a variety of performers and vendors set up among various businesses. It's a great opportunity to explore shops, restaurants, and entertainment opportunities in your community. Additionally, this weekend features Galaxy Fest, a STEM-focused event "where culture and science collide" at James Weldon Johnson Park. And coming up later this month, the Blues & BBQ event is always a crowd pleaser. Visit "downtownjacksonville.org" for more information, then check out the fun downtown!

Badr Milligan, host of the Short Box Podcast, discusses comics and superheroes; August is National Black Philanthropy Month; what's new at James Weldon Johnson Park.

Black Queer Flesh: Rejecting Subjectivity in the African American Novel (U Minnesota Press, 2021) reinterprets key African American novels from the Harlem Renaissance to Black Modernism to contemporary literature, showing how authors have imagined a new model of Black queer selfhood. African American authors blame liberal humanism's model of subjectivity for double consciousness and find that liberal humanism's celebration of individual autonomy and agency is a way of disciplining Black queer lives. These authors thus reject subjectivity in search of a new mode of the self that Alvin J. Henry names “Black queer flesh”—a model of selfhood that is collective, plural, fluctuating, and deeply connected to the Black queer past. Henry begins with early twentieth-century authors such as Jessie Redmon Fauset and James Weldon Johnson. These authors adapted the Bildungsroman, the novel of self-formation, to show African Americans gaining freedom and agency by becoming a liberal, autonomous subjects. These authors, however, discovered that the promise of liberal autonomy held out by the Bildungsroman was yet another tool of antiblack racism. As a result, they tentatively experimented with repurposing the Bildungsroman to throw off subjectivity and its attendant double consciousness. In contrast, Nella Larsen, Henry shows, was the first author to fully reject subjectivity. In Quicksand and Passing, Larsen invented a new genre showing her queer characters—characters whose queerness already positioned them on the margins of subjectivity—escaping subjectivity altogether. Using Ralph Ellison's archival drafts, Henry then powerfully rereads Invisible Man, revealing that the protagonist as a queer, disabled character taught by the novel's many other queer, disabled characters to likewise seek a selfhood beyond subjectivity. Although Larsen and Ellison sketch glimpses of this selfhood beyond subjectivity, only Saidiya Hartman's Wayward Lives, Beautiful Experiments shows a protagonist fully inhabiting Black queer flesh—a new mode of selfhood that is collective, plural, always evolving, and no longer alienated from the black past. Black Queer Flesh is an original and necessary contribution to Black literary studies, offering new ways to understand and appreciate the canonical texts and far more. Omari Averette-Phillips is a graduate student in the Department of History at UC Davis. He can be reached at omariaverette@gmail.com. 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

Black Queer Flesh: Rejecting Subjectivity in the African American Novel (U Minnesota Press, 2021) reinterprets key African American novels from the Harlem Renaissance to Black Modernism to contemporary literature, showing how authors have imagined a new model of Black queer selfhood. African American authors blame liberal humanism's model of subjectivity for double consciousness and find that liberal humanism's celebration of individual autonomy and agency is a way of disciplining Black queer lives. These authors thus reject subjectivity in search of a new mode of the self that Alvin J. Henry names “Black queer flesh”—a model of selfhood that is collective, plural, fluctuating, and deeply connected to the Black queer past. Henry begins with early twentieth-century authors such as Jessie Redmon Fauset and James Weldon Johnson. These authors adapted the Bildungsroman, the novel of self-formation, to show African Americans gaining freedom and agency by becoming a liberal, autonomous subjects. These authors, however, discovered that the promise of liberal autonomy held out by the Bildungsroman was yet another tool of antiblack racism. As a result, they tentatively experimented with repurposing the Bildungsroman to throw off subjectivity and its attendant double consciousness. In contrast, Nella Larsen, Henry shows, was the first author to fully reject subjectivity. In Quicksand and Passing, Larsen invented a new genre showing her queer characters—characters whose queerness already positioned them on the margins of subjectivity—escaping subjectivity altogether. Using Ralph Ellison's archival drafts, Henry then powerfully rereads Invisible Man, revealing that the protagonist as a queer, disabled character taught by the novel's many other queer, disabled characters to likewise seek a selfhood beyond subjectivity. Although Larsen and Ellison sketch glimpses of this selfhood beyond subjectivity, only Saidiya Hartman's Wayward Lives, Beautiful Experiments shows a protagonist fully inhabiting Black queer flesh—a new mode of selfhood that is collective, plural, always evolving, and no longer alienated from the black past. Black Queer Flesh is an original and necessary contribution to Black literary studies, offering new ways to understand and appreciate the canonical texts and far more. Omari Averette-Phillips is a graduate student in the Department of History at UC Davis. He can be reached at omariaverette@gmail.com. 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

Black Queer Flesh: Rejecting Subjectivity in the African American Novel (U Minnesota Press, 2021) reinterprets key African American novels from the Harlem Renaissance to Black Modernism to contemporary literature, showing how authors have imagined a new model of Black queer selfhood. African American authors blame liberal humanism's model of subjectivity for double consciousness and find that liberal humanism's celebration of individual autonomy and agency is a way of disciplining Black queer lives. These authors thus reject subjectivity in search of a new mode of the self that Alvin J. Henry names “Black queer flesh”—a model of selfhood that is collective, plural, fluctuating, and deeply connected to the Black queer past. Henry begins with early twentieth-century authors such as Jessie Redmon Fauset and James Weldon Johnson. These authors adapted the Bildungsroman, the novel of self-formation, to show African Americans gaining freedom and agency by becoming a liberal, autonomous subjects. These authors, however, discovered that the promise of liberal autonomy held out by the Bildungsroman was yet another tool of antiblack racism. As a result, they tentatively experimented with repurposing the Bildungsroman to throw off subjectivity and its attendant double consciousness. In contrast, Nella Larsen, Henry shows, was the first author to fully reject subjectivity. In Quicksand and Passing, Larsen invented a new genre showing her queer characters—characters whose queerness already positioned them on the margins of subjectivity—escaping subjectivity altogether. Using Ralph Ellison's archival drafts, Henry then powerfully rereads Invisible Man, revealing that the protagonist as a queer, disabled character taught by the novel's many other queer, disabled characters to likewise seek a selfhood beyond subjectivity. Although Larsen and Ellison sketch glimpses of this selfhood beyond subjectivity, only Saidiya Hartman's Wayward Lives, Beautiful Experiments shows a protagonist fully inhabiting Black queer flesh—a new mode of selfhood that is collective, plural, always evolving, and no longer alienated from the black past. Black Queer Flesh is an original and necessary contribution to Black literary studies, offering new ways to understand and appreciate the canonical texts and far more. Omari Averette-Phillips is a graduate student in the Department of History at UC Davis. He can be reached at omariaverette@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Black Queer Flesh: Rejecting Subjectivity in the African American Novel (U Minnesota Press, 2021) reinterprets key African American novels from the Harlem Renaissance to Black Modernism to contemporary literature, showing how authors have imagined a new model of Black queer selfhood. African American authors blame liberal humanism's model of subjectivity for double consciousness and find that liberal humanism's celebration of individual autonomy and agency is a way of disciplining Black queer lives. These authors thus reject subjectivity in search of a new mode of the self that Alvin J. Henry names “Black queer flesh”—a model of selfhood that is collective, plural, fluctuating, and deeply connected to the Black queer past. Henry begins with early twentieth-century authors such as Jessie Redmon Fauset and James Weldon Johnson. These authors adapted the Bildungsroman, the novel of self-formation, to show African Americans gaining freedom and agency by becoming a liberal, autonomous subjects. These authors, however, discovered that the promise of liberal autonomy held out by the Bildungsroman was yet another tool of antiblack racism. As a result, they tentatively experimented with repurposing the Bildungsroman to throw off subjectivity and its attendant double consciousness. In contrast, Nella Larsen, Henry shows, was the first author to fully reject subjectivity. In Quicksand and Passing, Larsen invented a new genre showing her queer characters—characters whose queerness already positioned them on the margins of subjectivity—escaping subjectivity altogether. Using Ralph Ellison's archival drafts, Henry then powerfully rereads Invisible Man, revealing that the protagonist as a queer, disabled character taught by the novel's many other queer, disabled characters to likewise seek a selfhood beyond subjectivity. Although Larsen and Ellison sketch glimpses of this selfhood beyond subjectivity, only Saidiya Hartman's Wayward Lives, Beautiful Experiments shows a protagonist fully inhabiting Black queer flesh—a new mode of selfhood that is collective, plural, always evolving, and no longer alienated from the black past. Black Queer Flesh is an original and necessary contribution to Black literary studies, offering new ways to understand and appreciate the canonical texts and far more. Omari Averette-Phillips is a graduate student in the Department of History at UC Davis. He can be reached at omariaverette@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Black Queer Flesh: Rejecting Subjectivity in the African American Novel (U Minnesota Press, 2021) reinterprets key African American novels from the Harlem Renaissance to Black Modernism to contemporary literature, showing how authors have imagined a new model of Black queer selfhood. African American authors blame liberal humanism's model of subjectivity for double consciousness and find that liberal humanism's celebration of individual autonomy and agency is a way of disciplining Black queer lives. These authors thus reject subjectivity in search of a new mode of the self that Alvin J. Henry names “Black queer flesh”—a model of selfhood that is collective, plural, fluctuating, and deeply connected to the Black queer past. Henry begins with early twentieth-century authors such as Jessie Redmon Fauset and James Weldon Johnson. These authors adapted the Bildungsroman, the novel of self-formation, to show African Americans gaining freedom and agency by becoming a liberal, autonomous subjects. These authors, however, discovered that the promise of liberal autonomy held out by the Bildungsroman was yet another tool of antiblack racism. As a result, they tentatively experimented with repurposing the Bildungsroman to throw off subjectivity and its attendant double consciousness. In contrast, Nella Larsen, Henry shows, was the first author to fully reject subjectivity. In Quicksand and Passing, Larsen invented a new genre showing her queer characters—characters whose queerness already positioned them on the margins of subjectivity—escaping subjectivity altogether. Using Ralph Ellison's archival drafts, Henry then powerfully rereads Invisible Man, revealing that the protagonist as a queer, disabled character taught by the novel's many other queer, disabled characters to likewise seek a selfhood beyond subjectivity. Although Larsen and Ellison sketch glimpses of this selfhood beyond subjectivity, only Saidiya Hartman's Wayward Lives, Beautiful Experiments shows a protagonist fully inhabiting Black queer flesh—a new mode of selfhood that is collective, plural, always evolving, and no longer alienated from the black past. Black Queer Flesh is an original and necessary contribution to Black literary studies, offering new ways to understand and appreciate the canonical texts and far more. Omari Averette-Phillips is a graduate student in the Department of History at UC Davis. He can be reached at omariaverette@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Black Queer Flesh: Rejecting Subjectivity in the African American Novel (U Minnesota Press, 2021) reinterprets key African American novels from the Harlem Renaissance to Black Modernism to contemporary literature, showing how authors have imagined a new model of Black queer selfhood. African American authors blame liberal humanism's model of subjectivity for double consciousness and find that liberal humanism's celebration of individual autonomy and agency is a way of disciplining Black queer lives. These authors thus reject subjectivity in search of a new mode of the self that Alvin J. Henry names “Black queer flesh”—a model of selfhood that is collective, plural, fluctuating, and deeply connected to the Black queer past. Henry begins with early twentieth-century authors such as Jessie Redmon Fauset and James Weldon Johnson. These authors adapted the Bildungsroman, the novel of self-formation, to show African Americans gaining freedom and agency by becoming a liberal, autonomous subjects. These authors, however, discovered that the promise of liberal autonomy held out by the Bildungsroman was yet another tool of antiblack racism. As a result, they tentatively experimented with repurposing the Bildungsroman to throw off subjectivity and its attendant double consciousness. In contrast, Nella Larsen, Henry shows, was the first author to fully reject subjectivity. In Quicksand and Passing, Larsen invented a new genre showing her queer characters—characters whose queerness already positioned them on the margins of subjectivity—escaping subjectivity altogether. Using Ralph Ellison's archival drafts, Henry then powerfully rereads Invisible Man, revealing that the protagonist as a queer, disabled character taught by the novel's many other queer, disabled characters to likewise seek a selfhood beyond subjectivity. Although Larsen and Ellison sketch glimpses of this selfhood beyond subjectivity, only Saidiya Hartman's Wayward Lives, Beautiful Experiments shows a protagonist fully inhabiting Black queer flesh—a new mode of selfhood that is collective, plural, always evolving, and no longer alienated from the black past. Black Queer Flesh is an original and necessary contribution to Black literary studies, offering new ways to understand and appreciate the canonical texts and far more. Omari Averette-Phillips is a graduate student in the Department of History at UC Davis. He can be reached at omariaverette@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

Join Maddy as we learn swimming safety tips, take time to notice how we feel, and learn all about the Floridian, James Weldon Johnson!  Everyone is welcome at the Clubhouse!   

Christianity has no issue with the concept of resurrection. It is the fundamental tenant of our common faith that all men will be raised from the dead as the free gift of Jesus Christ. What is stranger is that Judaism has no concept of the resurrection today. Because of scriptures like Ezekiel 37, in Jesus's Day, Jewry was spilt into two camps on this issue. The Pharisees believed in a coming resurrection while the Sadducees did not. You can remember this with the corny saying, “The Sadducees didn't believe in the resurrection, which is why they are sad-you-see.” In truth, there is nothing sadder than a modern Jewish funeral. The terrible loss of loved ones, combined with the firm belief that they will never see them again, makes for a darkness that is tragic. Dem Bones, Dry Bones or Dem Dry Bones is a well-known traditional spiritual song. The melody was written by James Weldon Johnson (1871–1938)  and his brother, J. Rosamond Johnson. It is another example of the rich tradition of purely American music. It takes its lyrics from the Prophet Ezekiel.We are happy to announce that the author's latest book Elijah the Prophet is now available on Amazon. Time for another feast into the word of God!Ready for some meat after all the milk? The Gospel Feast Series is available here in 20+ volumes.It's time to Feast on the Word of God!

What is the meaning behind the James Weldon Johnson and J. Rosamond Johnson song, “Lift Every Voice and Sing?” Also known as the Black national anthem, what is its special place in history? Dr. Karen shares her perspective and interpretation of the three verses and concludes with seven inspirations to remember for our time. Contact … The post Lift Every Voice and Sing (Episode # 407) first appeared on TRANSLEADERSHIP, INC®.

Synopsis On today's date in the year 1900, the principal of Stanton Elementary in Jacksonville, Florida was asked to give a Lincoln's Day speech to his students. Stanton was a segregated school for African-American children, and was the school that its principal, James Weldon Johnson, had himself attended. Johnson decided he would rather have the students do something themselves, perhaps sing an inspirational song. He decided to write the words himself, and enlisted the aid of his brother, John Rosamond Johnson, who was a composer. "We planned to have it sung by schoolchildren, a chorus of 500 voices," Johnson recalled. "I got my first line, 'Lift Ev'ry Voice and Sing"—not a startling first line, but I worked along, grinding out the rest." Johnson gave the words to his brother as they came to him, not even writing them down as his brother worked at the piano. By the time they finished, Johnson confessed he was moved by what they had created: "I could not keep back the tears and made no effort to do so." The song was a great success on February 12th, 1900, and then was pretty much forgotten by Johnson—but not by the children who sang it. They memorized it. Some of them became teachers, and taught it to their students. The song spread across the country, and soon became the unofficial National Anthem of Black America. "We wrote better than we knew," said Johnson. Music Played in Today's Program J.W. (1871-1938) and J.R. (1873-1954) Johnson Lift Ev'ry Voice and Sing Choirs and Boston Pops Orchestra; Keith Lockhart, conductor. BMG/RCA 63888

This week, we're kicking off our Black History Month celebration by honoring the legacy of James Weldon Johnson, the brilliant writer behind 'Lift Every Voice and Sing'. BUT did you know that Johnson wrote numerous other poems, articles, and songs in addition to being a school principal, lawyer, diplomat, jingle writer, Broadway composer, and professor? There's a lot to learn about this incredible author, come a long for the ride and the celebration! 

Guest preacher, Rev. Adam Mixon invites us into our new series, Praying Twice, as well as into the work of prophetic joy. We are called into this work through the life and death of Jesus as well as the words of artists like James Weldon Johnson who wrote, "Sing a song full of the faith that the dark past has taught us, Sing a song full of the hope that the present has brought us" in his hymn, Lift Every Voice And Sing. Follow City Church San Francisco: Instagram: https://instagram.com/citychurchsf Facebook: https://facebook.com/citychurchsf Twitter: https://twitter.com/citychurchsf Website: https://www.citychurchsf.org To fill out a connect card or sign up for any of our upcoming events visit: https://linktr.ee/citychurchsf You can make a one-time of recurring gift to support the work of City Church at: www.citychurchsf.org/give

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We always love digging into food history, so we're excited to welcome back friend of the pod Dr. Frederick Douglass Opie. He's an author and professor of history and foodways at Babson College outside of Boston. Among the courses he teaches is African History and Foodways. We always learn something from Dr. Opie, and he has the best stories. In this conversation, he explains the African roots of Southern staples like watermelon, beans and rice, and Coca-Cola. He also details how enslaved Africans brought their farming techniques and cooking methods to America, and how Reconstruction-era politics led to racist food stereotypes that persist today.Related episodes:James Weldon Johnson's Foodie LifeZora Neale Hurston's Foodie LifeToni Tipton-Martin Celebrates African-American Chefs in ‘Jubilee'Two USF Professors Offer a Crash Course in American Food History 

We always love digging into food history, so we're excited to welcome back friend of the pod Dr. Frederick Douglass Opie. He's an author and professor of history and foodways at Babson College outside of Boston. Among the courses he teaches is African History and Foodways. We always learn something from Dr. Opie, and he has the best stories. In this conversation, he explains the African roots of Southern staples like watermelon, beans and rice, and Coca-Cola. He also details how enslaved Africans brought their farming techniques and cooking methods to America, and how Reconstruction-era politics led to racist food stereotypes that persist today.Related episodes:James Weldon Johnson's Foodie LifeZora Neale Hurston's Foodie LifeToni Tipton-Martin Celebrates African-American Chefs in ‘Jubilee'Two USF Professors Offer a Crash Course in American Food History 

Day 9 The Address: Edgecombe Avenue, Harlem, NY The Story: There should be a sign as you drive up Edgecombe Avenue in Harlem that reads, “Black excellence started here.” A place of royalty. The home of Black Kings and Queens. Known as “Harlem's House of Celebrities,” residents of Edgecombe Avenue in Harlem's Sugar Hill neighborhood included W.E.B DuBois, Supreme Court Justice Thurgood Marshall, poet James Weldon Johnson, boxer Joe Louis, and musicians, Count Basie, Duke Ellington, and Lena Horne, just to name a few. Their apartments were a place of aspirations. A place of respite in a world that was hostile to Black folks who were audacious enough to expect more from life than struggle and sacrifice. Their community was a place where an artist's dreams could come to life and where a revolutionary could come to incubate ideas. Edgecombe Avenue housed the hopes of so many Black people who changed the world that it should be an essential stop on anyone's visit to NY. Today we take you there, into the homes and into the stories of this special place.

This episode is part of our Make A Difference Non Profit Spotlight Series, where we highlight non profits, organizations and individuals making a difference in their communities.  Why do we do this series? If we think we know everything about our communities and our neighbors, chances are we do not, meaning, we only see the surface or we only see the negativity, the division and we do not always get offered the stories of those in our communities who are doing it, using their powers for good. Which is what our Make A Difference Non Profit Spotlight is all about! Today we focus on 50K Souls and its founder Minister G. Mandel Copeland, who is also a musician and music director of United Faith Church of Deliverance in Salisbury, Maryland. 50KSouls is an outreach ministry that was established in 2015 and at that time, it consisted of churches and individual volunteers in the local area of Salisbury, MD.  That year was monumental for them and  #50KSouls fed 75 families and became incorporated as a non-profit organization in the State of Maryland. Their Current Strategy is to build  a network of partners (volunteers, churches, and donors) across the country, that will work together to provide outreach to those individuals and communities that find themselves in despair and need, as a result of natural disasters and/or economic disadvantages. Plus a chat with Ilyana and James live from @nikpodroad on Janes Island National Park. Music and Lyrics by James Harrell and Ilyana Kadushin (*except for Lift Every Voice: Lyrics by James Weldon Johnson.

The panel reads three stirring poems by the American diplomat, activist, author, poet, and professor James Weldon Johnson, examining the theological symbolism and social commentary in "The Creation", "Listen, Lord", and "Lift Every Voice and Sing".Continue reading

Poet Paul Laurence Dunbar, widely known for penning the famous words, “I know why the caged bird sings!” in his poem, Sympathy. Born in 1872, Dunbar was one of the first African American writers to be internationally recognized in the wake of emancipation. But while his extraordinary talent was celebrated, a deeper examination of his life reveals much about Black fame, and the cultural response to it, near the turn of the century. In a meticulously researched biography, author and scholar Gene Andrew Jarrett describes the person behind the fame, offering a revelatory account of a writer whose celebrity as the “poet laureate of his race” hid the private struggles of a man who felt like a “caged bird” that sings. While audiences across the United States and Europe flocked to enjoy his literary readings, Dunbar privately bemoaned shouldering the burden of race as an artist. He came to regard his fame as a curse as well as a blessing. Jarrett's work illustrates the tension that Dunbar held throughout his brief, astonishing life. Beautifully written and full of historical artifacts, Jarrett offers a richly detailed and nuanced portrait of Dunbar and his work, transforming how we understand the life and times of a central figure in American literary history. And in some ways, Jarrett has given Dunbar a chance to tell his own story, to share the fully actualized person that he was. Rather than a caged writer under the category of race, we get to honor the human behind the poetry on the 150th anniversary of his birth. Gene Andrew Jarrett is Dean of the Faculty and William S. Tod Professor of English at Princeton University. He is the author of Representing the Race: A New Political History of African American Literature and Deans and Truants: Race and Realism in African American Literature. He is also the coeditor of The Collected Novels of Paul Laurence Dunbar and The Complete Stories of Paul Laurence Dunbar. Tom Morgan is the Program Director for Race and Ethnic Studies and an Associate Professor of English at the University of Dayton. His research focuses on the politics of narrative form, African American haiku, the short story in late nineteenth-century periodical culture, and, of course, Paul Laurence Dunbar. His published work includes essays on James Weldon Johnson, Paul Laurence Dunbar, Richard Wright, Kate Chopin, and Stephen Crane, and he edited The Complete Stories of Paul Laurence Dunbar with Gene Andrew Jarrett. He is currently working on a new edition of Dunbar's poetry. Paul Laurence Dunbar: The Life and Times of a Caged Bird

#OTD Activist and composer, J. Rosamond Johnson, known for composing the hymn "Lift Every Voice And Sing," was born in Jacksonville, Florida. Actor Flex Alexander narrates.

Jack Marchbanks sits down with Dionne Custer Edwards, Scott Woods, and Is Said for a discussion about Black poetry using James Weldon Johnson's groundbreaking anthology The Book of American Negro Poetry as a springboard. Dionne Custer Edwards is a writer, educator, and the Director of Learning & Public Practice at the Wexner Center for the Arts, Scott Woods is a poet, writer, and the founder and director of the performing arts organization Streetlight Guild, and Columbus poetry legend Is Said, has received the King Arts Complex Legends & Legacies Award and was inducted into the Lincoln Theater Hall of Fame.  This program is generously funded by Jack Marchbanks and The Kridler Family Fund at The Columbus Foundation. Special thanks to fo/mo/deep for lending us their song, "Bourbon Neat" for the podcast! Find out about upcoming Bexley Public Library events at https://www.bexleylibrary.org Follow Bexley Public Library across platforms @bexleylibrary

A review of "The Autobiography of an Ex-Colored Man" by James Weldon Johnson, the fictional account of a biracial man looking back over his life.   Show notes are available at http://noirehistoir.com/blog/autobiography-of-an-ex-colored-man-book-review.

On this episode of The King's Healing Room, Elder. Jones uses Biblical principles and real life experiences in relations to his word. Give GOD a call and he will answer when YOU are ready. Have you ever wonder in your life things aren't moving for you the way you desire. Maybe your steps aren't ordered. How about allowing the Lord to order your steps. Just give GOD a call and he will answer; but remember you have to be ready for him to answer. This episode does include a rendition of "Lift Every Voice" by James Weldon Johnson which is song by The King's Healing Room Church. Also there are several Black History Month tribute in which some of our members speak on the unsung heroes that have paved the way for the things we us on a regular in our daily lives. Enjoy this amazing service and Black History Month Tribute. To give today: Givelify: Search: The King's Healing Room Pay Pal TKHROFFICE1@gmail.com TKHR now offers Text to Give... Here's how it works: 5 Steps... 1. Text - "give " to 1 (844) 981-2759 which is unique to TKHR 2. You will receive a text with instructions 3. Follow the instructions to set up a giving account 4. Text the amount you want to give and the designation (eg. tithe, offering, general fund) 5. You will receive a receipt via email confirming your gift I did it and it works! If you want to listen to the sermon on audio podcast here are the links below Apple Podcast https://podcasts.apple.com/us/podcast/the-kings-healing-room-podcast/id1494591065?uo=4 Breaker https://www.breaker.audio/the-kings-healing-room-podcast Google Podcast https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMjJjOWQ4OC9wb2RjYXN0L3Jzcw== Overcast https://overcast.fm/itunes1494591065/the-kings-healing-room-podcast Pocket Cast https://pca.st/bv1ufvf7 Radio Public https://radiopublic.com/the-kings-healing-room-podcast-WJ2LL1 Spotify https://open.spotify.com/show/4LDhQ58s0Ysk6PYJ9vKMbo --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/TKHRChurch/message

In this special and exciting episode, i relive why i fell in love with hip hop. I attended a hip hop festival last weekend at James Weldon Johnson park, here in Jacksonville, Fl. and it brought back so many memories and feelings. Please listen while i take you back for a short moment and stick around for one of my songs that i wrote and produced. You can also buy merch at Thebowtiegenius.bigcartel.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/seldrik-johnson/support

This week's special Encore episode of Broadway Nation celebrates a unique "Broadwayversary": On February 18, 1903 – 119 years ago tomorrow – one of the very first Broadway musicals entirely written, staged, produced, and performed by black theater artists opened at the New York Theatre in the heart of Times Square. That musical was titled In Dahomey.  With music by Will Marion Cook, book by Jesse A. Ship & lyrics by Paul Laurence Dunbar (with additional lyrics by Alex Rodgers, Cecil Mack, Benjamin Shook, and James Weldon Johnson), this show was created to showcase four of the biggest Vaudeville stars of that era – the team of Bert Williams & George Walker and their wives and co-stars Lottie Williams and Ida Overton Walker. In Dahomey toured America for more than 3 years, including two runs on Broadway, and became a sensation in London where it played 252 performances at the Shaftesbury Theater and gave a command performance at Buckingham Palace for the royal family who apparently all danced the cakewalk.  If you have never heard of In Dahomey, you are not alone. It is part of an entire decade of extremely popular Broadway musicals created by black artists that today are largely overlooked and forgotten.  In light of this show's anniversary, and Black History Month, it seemed like the perfect time to reprise one of Broadway Nation's earliest episodes: Forgotten Forefathers – The Black Artists Who Invented Broadway. This episode explores the roots of black theater in America – in both its positive and negative aspects – and especially shines a light on the first decade of the 20th Century when dozens of black musicals, and hundreds of black theater artists took Broadway by storm, nearly 20 years before Shuffle Along would do it again.   Broadway Nation is written and produced by David Armstrong. Special thanks to Kyle Carter and James Rocco for their voice acting contributions and the the Paragon Ragtime Orchestra for there terrific recordings of songs from these songwriters and shows, Learn more about your ad choices. Visit megaphone.fm/adchoices

Friday on Political Rewind: After two new polls show Gov. Brian Kemp with a solid lead over his opponent Sen. David Perdue, the Kemp camp calls for Perdue to drop out of the race. Meanwhile, GOP legislators continue their campaign to increase oversight on the curriculum in Georgia schools. The Panel: Dr. Andra Gillespie — Professor of political science and director, James Weldon Johnson for the Study of Race and Difference at Emory University Rene Alegria — CEO, Mundo Hispanico Digital Patricia Murphy — Politics reporter and columnist, The Atlanta Journal-Constitution

Friday on Political Rewind: Fulton County District Attorney Fani Willis has called for a grand jury to investigate former President Donald Trump's attempts to meddle in the 2020 election. Plus, A fiery gubernatorial election drives the Republican primary to hot-button issues. The panel: Dr. Andra Gillespie — Professor of political science and director, James Weldon Johnson for the Study of Race and Difference at Emory University Rene Alegria — CEO, Mundo Hispanico Digital Patricia Murphy — Politics reporter and columnist, The Atlanta Journal-Constitution Timestamps: :00- We are back with live video 1:07- Introductions 3:05- Fulton DA calls to investigate if there was any criminal wrongdoing by President Donald Trump in the 2020 election 15:35- David Perdue calls for election police force 20:00- Johnny Isakson's son was asked to join some in GOP on pushing the myth of election fraud 24:28- Kemp pushes tough on crime platform 34:39- Shuffling of Democratic candidates 39:55- Rethinking suburban Georgia 47:39- Mayor Dickens turns on the charm offensive to stop Buckhead cityhood movement We are back on video for our Friday shows. Head to: https://www.gpb.org/radio/programs/political-rewind to see our live show. Please be sure to download our newsletter: www.gpb.org/newsletters. And subscribe, follow and rate this show wherever podcasts are found.