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Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe

Justine, who wrote and hosted the Believe Her podcast, returns to the show to discuss her latest work. Justine is an award-winning independent journalist and author. Her latest book, Unreasonable Women, will be published in June 2026 by Ecco. Justine's prior books include We Are Not Such Things, and her features have been published in the New York Review of Books, New York Magazine, Harper's, the Guardian, VQR, and TheNew Republic, among others. Justine is also the host and co-producer of the investigative podcast Believe Her.She has been honored with the James Aronson Award, the Sigma Delta Chi Award, the Gracie Award, the iHeart Radio Award, the Mike Berger Award, and the Ambie Award. Justine has received grants from the Pulitzer Center, Type Investigations, the International Women's Media Foundation, and the Robert B. Silvers Foundation, and fellowships from New America, the Emerson Collective, the Sustainable Arts Foundation, the Logan Nonfiction Program, Type Media, and PEN America.Unreasonable Women releases on June 2nd. Please consider pre-ordering the book HEREThe majority of the funding of our work comes directly from listeners, through our Patreon community.  To join Patreon, click THIS LINK.  At the $5/month level you'll get access to lots of Patreon Only BONUS EPISODES, Ad Free versions of all episodes, an hour of Patreon Exclusive video content every week, and our new weekly podcast “Pre-Game”, which drops every Wednesday.  Not to mention early access to some episodes and the ability to watch and participate in interviews live.Today's Sponsors:Rula – Head to Rula.com/justice to get startedQuince – Head to Quince.com/Ruff for free shipping and 365 day returns.Factor Meals - Head to Factormeals.com/truth50off and use code "truth50off" to get 50% off and FREE BREAKFAST for one year.Draft Kings – Download the app and sign up with code “Truth” to claim 1500 Flex Spins!

Veteran Ohio political writer Mary Anne Sharkey discusses the massive graft and abuse we are witnessing in the second Trump term and ponders why it seems so hard to stop it.Is making a president's every action in office unpunishable as the Supreme Court has done a good idea?What do you see as the worst public corruption scandal in the news lately? A. A DOJ slush fund for the president to pay off friends. B. A deal with the IRS that keeps the agency from auditing Trump, his company and his family C. Insider stock trading by high-level officials.Mary Anne Sharkey has been an Ohio-based newspaper reporter and editor all her adult life, serving in a series of leading roles at the Cleveland Plain Dealer especially. The first woman elected president of the Ohio Legislative Correspondent Association, she is an expert on Ohio politics and government. She also has been a strong proponent of women journalists as a board member of the International Women's Media Foundation. 

On this episode of Fox Across America, Jimmy Failla broadcasts live from Mohegan Pennsylvania before participating in a panel discussion at the 10th annual Bold Gold Broadcast and Media Foundation Event. Host of “My View with Lara Trump” Lara Trump shares her thoughts on whether former Vice President Kamala Harris is still the Democratic Party's frontrunner for 2028. Pennsylvania State Treasurer and Republican gubernatorial nominee Stacy Garrity explains how Governor Josh Shapiro is more focused on his future White House ambitions than delivering for people of the Keystone State. Pennsylvania Republican Congressman Rob Bresnahan sheds light on a few of the issues that are most important to people in his district. PLUS, Pennsylvania Republican Congressman Dan Meuser tells your radio buddy about some of the education reforms needed in his state. [00:00:00] Trump & Hegseth double down on Iran operation [00:38:20] What the SCOTUS gerrymandering decision is about [00:57:10] Lara Trump [01:10:20] Stacy Garrity [01:27:33] Rep. Rob Bresnahan [01:33:50] Repp. Dan Meuser Learn more about your ad choices. Visit podcastchoices.com/adchoices

The hospitality industry has a mental health problem — we've talked about it plenty on this show. But what about the physical side? Long shifts, late-night snacking, beer after service, picking through the kitchen, stress that never turns off. Jay and Dom sit down with Calgary-based speaker and health strategist Robin O'Grady — a ten-year hospitality veteran turned leadership health coach — to talk about what's quietly taking out restaurant leaders, and why fixing it doesn't have to mean cutting carbs, buying a gym membership, or turning your life upside down.Robin's message is refreshingly simple: decide, assess, pick one thing, and stay consistent. That's it. No Ozempic. No six-pack. No elimination diets. Just the smallest change you can actually do forever.In this episode, we get into:Why waking up in pain is not a normal part of aging — and what your body is trying to tell youThe real reason most health plans fail (hint: you're trying to change too many things at once)"Discipline vs. restriction" — and why one works while the other always blows upThe hydration rule Robin won't negotiate on, even if you eat pizza every dayStress, cortisol, and why high performers gain weight even when they barely eatThe freezer story — how one chef taught Robin to release stress mid-shiftGrounding exercises you can do in 60 seconds between tablesThe sidewalk client — how a 400+ lb. client started with one square of concrete and built a new life from thereWhy "busy" is often a trauma response disguised as a flexHow to manufacture your own emergency before your body does it for youIf you've ever stood in the walk-in at the end of a Saturday night wondering how long you can keep this up — this one is for you.About Robin O'GradyRobin is a leadership health and performance speaker based in Calgary, Alberta. With over a decade of hands-on experience in hospitality and more than 36 years in customer service, she speaks directly to the leaders our industry depends on about building sustainable health into impossibly demanding careers. She's also a dancer, aerialist, and the founder of the newly launched International Arts and Media Foundation.

The hospitality industry has a mental health problem — we've talked about it plenty on this show. But what about the physical side? Long shifts, late-night snacking, beer after service, picking through the kitchen, stress that never turns off. Jay and Dom sit down with Calgary-based speaker and health strategist Robin O'Grady — a ten-year hospitality veteran turned leadership health coach — to talk about what's quietly taking out restaurant leaders, and why fixing it doesn't have to mean cutting carbs, buying a gym membership, or turning your life upside down.Robin's message is refreshingly simple: decide, assess, pick one thing, and stay consistent. That's it. No Ozempic. No six-pack. No elimination diets. Just the smallest change you can actually do forever.In this episode, we get into:Why waking up in pain is not a normal part of aging — and what your body is trying to tell youThe real reason most health plans fail (hint: you're trying to change too many things at once)"Discipline vs. restriction" — and why one works while the other always blows upThe hydration rule Robin won't negotiate on, even if you eat pizza every dayStress, cortisol, and why high performers gain weight even when they barely eatThe freezer story — how one chef taught Robin to release stress mid-shiftGrounding exercises you can do in 60 seconds between tablesThe sidewalk client — how a 400+ lb. client started with one square of concrete and built a new life from thereWhy "busy" is often a trauma response disguised as a flexHow to manufacture your own emergency before your body does it for youIf you've ever stood in the walk-in at the end of a Saturday night wondering how long you can keep this up — this one is for you.About Robin O'GradyRobin is a leadership health and performance speaker based in Calgary, Alberta. With over a decade of hands-on experience in hospitality and more than 36 years in customer service, she speaks directly to the leaders our industry depends on about building sustainable health into impossibly demanding careers. She's also a dancer, aerialist, and the founder of the newly launched International Arts and Media Foundation.

"At this stage, it is fine to say that those who were claiming that the Presidential jet was in pristine state, Okudzeto Ablakwa and co, perhaps were dishonest." -Sulemana Braimah (Executive Director, Media Foundation for West Africa)

Greg Childs, director of the Children's Media Foundation, discusses the decline of traditional children's television in the UK, the rise of YouTube and TikTok as children's primary viewing platforms, and what this shift could mean for public service broadcasting.We explore how changes to advertising rules and algorithms are transforming the economics and nature of children's content, the BBC's new deal with YouTube, and the growing debate over whether regulation should aim to “build better” online spaces or restrict children's access to social media.Have your say in the government's consultation by 10 March: https://www.gov.uk/government/consultations/britains-story-the-next-chapter-the-bbc-royal-charter-review-green-paper-and-public-consultation/britains-story-the-next-chapter-bbc-royal-charter-review-green-paper-and-public-consultationSuggested answers: British Broadcasting Challenge: https://britishbroadcastingchallenge.com/The Sandford St Martin Trust: https://sandfordawards.org.uk/religion-and-the-future-of-the-bbc-have-your-say/Listen to all our episodes here: https://podfollow.com/beebwatch To support our journalism and receive a weekly blog sign up now for £1.99 per month www.patreon.com/BeebWatch/membership @beebwatch.bsky.social@BeebRogerInstagram: rogerboltonsbeebwatchLinkedIn: Roger Bolton's Beeb Watchemail: roger@rogerboltonsbeebwatch.com Hosted on Acast. See acast.com/privacy for more information.

This week, we have the (more or less) final update on the proposed harm reduction center on Madison's East Side. Turns out, the organization recommended to get $2.4 million to run it listed a bunch of partnerships and collaborations with organziations that never agreed to be partners or collaborate -- a fact we exclusively reported this week. The Board of Health ultimately rejected the contract. On the podcast today, we go through the details and dig into just how problematic it is for white leaders to claim more connection to Black and brown communities than nthey actually have. Then, well-known Ho-Chunk chef Elena Terry is finally opening a brick and mortar restaurant at the Madison Museum of Contemporary Art. Omar Waheed spoke with her and catches us up on her plans. Next up, Madison seventh-grader Iliyan Hoskins is just back from his first international judo competition, where he won a bronze medal for Team USA at the Pan American Judo Championships in Lima, Peru. He and his mom Ivanka join the show to educate Rob about the sport, recap the Pan Am championship, and talk about his Olympic Dreams. 365 Amplified is produced by Rob Chappell for the 365 Media Foundation, a nonprofit local media organization in Madison, Wisconsin. Follow Madison365 on BlueSky, Facebook, Instagram, LinkedIn, and Threads.

On this week's 365 Amplified, we have yet another Sun Prairie schools update, where the former West High School principal now faces charges of failure to report child abuse -- including in a case not previously known. Plus, the Forward Madison Academy was in Minneapolis for a match last weekend, and immigration authorities grabbed the mother of one of the players. The club and soccer community have rallied to the player's aid while his mom remains in custody. Then, former Badger Freddie Owens joins the show to talk about his memoir, Echoes of Stark Park, set to be publised next month. 365 Amplified is produced by Rob Chappell for the 365 Media Foundation, a nonprofit local media organization in Madison, Wisconsin. Follow Madison365 on Bluesky, Facebook, LinkedIn and Threads, and check Madison365.org every day for the latest news.

Hosts: Rob Chappell, Stephanie Díaz de León, Omar Waheed Guest: Prenicia Clifton Episode Overview This week, the team covers the end of SNAP benefits and its impact on Wisconsin families and small businesses, the return of Madison Nonprofit Day, the growing threat of media capture, and a few lighter conversations to close the show — including conspiracy theories they wish were true. SNAP Benefits Ending Nearly 700,000 Wisconsinites are about to lose Supplemental Nutrition Assistance Program (SNAP) benefits as of November 1. Rob, Stephanie, and Omar discuss what this means for food pantries, families, and local economies. They also highlight that federal workers are unpaid during the shutdown and that the ripple effects extend to small businesses and farmers. LOUD's New Gallery Space Omar talks with Oscar Morales, founder of Latinos Organizing for Understanding and Development (LOUD), about opening a new gallery at Next Wave Studios on Madison's east side. The first artist in residence, La Pistola from Oaxaca, led workshops and connected with Madison's growing arts scene. Media Capture and the Importance of Local News Rob discusses a recent episode of the Question Everything podcast, focusing on "media capture" — when governments or their allies take control of the media. Starting November 1, every donation to Madison365 will be doubled through the Institute for Nonprofit News' matching fund. Donate here → madison365.org/donate Madison Nonprofit Day Returns Guest: Prenicia Clifton, organizer of Madison Nonprofit Day, joins to preview the event's return on Friday, November 7 at TruStage. She explains that it's a professional development opportunity for nonprofit professionals, board members, and community leaders — with sessions on funding, collaboration, safety, and leadership transitions. "Professional development is often the last thing invested in," Clifton says. "But we need to develop ourselves to serve our communities safely and effectively." Highlights include: Opening panel with Angela Davis (Madison Community Foundation), Angela Russell (TruStage), Renée Moe (United Way of Dane County), and Shiva Bidar-Sielaff (UW Health) Workshops on fundraising, partnership, and succession planning Clifton's keynote on preventing abuse in youth-serving spaces Social Impact Happy Hour recognizing local changemakers

Hosts: Rob Chappell, Stephanie Díaz de León, and Omar Waheed Guest: Nate Buescher, UW–Madison freshman and star of Disney Channel's Electric Bloom Runtime: 53:38 On this week's podcast, we catch up on a range of news stories from the week, and get acquainted with a new neighbor who's a rising Disney star.

"I have sued the Media Foundation for falsely claiming that the NLA gave away a GHS 3 billion business 'in exchange for peanuts.' Their report is untrue." - Gary Nimako Marfo, Member of the NPP Legal Team.

A captivating episode with Yemeni-Egyptian artist Yumna Al-Arashi who discusses her upbringing in Washington D.C., the impact of the 2017 executive order (often referred to as the "Muslim ban") on her family, and how her art explores themes of identity, feminism, sexuality, healing, and human rights, frequently challenging the misrepresentation of Muslim women in Western media. Al-Arashi delves into her projects, including her first solo exhibition in Switzerland "Tears For The Future," her film "99 Names of God," and her powerful book "Aisha," which examines facial tattooing traditions from South Arabia to North Africa and the Sahara. She also shares her thoughts on self-portraits, the discomfort her work can evoke, and the importance of authorship and challenging orientalist desires in art. 0:00 Growing Up Egyptian-Yemeni in Washington D.C.0:09 The 2017 Executive Order and Its Impact0:49 The Salt Project: Healing and the Vulnerability of Movement7:13 Childhood George Bush's America10:04 Growing up in Washington D.C.12:05 Balancing Complexity and Tropes in “99 Names of God”19:09 The Evolution of Resistance in Art21:29 Filming “99 Names of God” in Oman and References to Yemen22:50 Introducing the Book “Aisha”23:55 the Connection Between Al-Arashi's Projects24:50 Reclaiming Narratives and Challenging Colonial History28:20 The Importance of Authorship32:23 The History and Meaning of Facial Tattoos36:58 The Awkwardness and Power of Self-Portraits Yumna Al-Arashi is a Yemeni-Egyptian artist, photographer, filmmaker, and writer born and raised in Washington, D.C. She studied International Politics with a focus on the Middle East at The New School. Her work, which is often self-taught in photography, explores themes of identity, feminism, sexuality, and human rights, frequently challenging the misrepresentation of Muslim women in Western media. Her notable works include the award-winning short film "The 99 Names of God" (2018) and the monograph "Aisha," which documents the ancient art of women's facial tattooing in North Africa and West Asia. Her photography has been featured in publications and exhibitions worldwide, and she has received support from organizations such as the International Women's Media Foundation and the Arab Fund for Arts and Culture. She has lived and worked in various locations, including New York, Los Angeles, London, and Zürich. Connect with Yumna Al-Arashi

President Trump is preparing to send the National Guard to cities across the country. On this week's On the Media, what the press is missing about the president's so-called “crackdown” on crime. Plus, in the aftermath of a Russian attack, a Ukrainian town asks journalists to record the atrocities.[01:00]  Host Micah Loewinger speaks with Jamison Foser, media critic and author of the newsletter Finding Gravity, about President Trump's plans to send troops into American cities, and how mainstream outlets are missing the mark in their coverage. [14:08] Host Brooke Gladstone sits down with Zack Beauchamp, senior correspondent at Vox, about a telling conversation between four leading MAGA tastemakers, and what it reveals about how the right is thinking about authoritarianism in relation to US democracy.[31:41] Veteran NPR reporter Deb Amos visited Ukraine to report on how Ukrainians are telling the story of the atrocities committed by Russian troops in Bucha – to themselves and the world. Support for this reporting was provided by the International Women's Media Foundation's Women on the Ground: Reporting from Ukraine's Unseen Frontlines Initiative in partnership with the Howard G. Buffett Foundation. Further reading / watching:“Trump's military occupation of American cities is unpopular. The media is trying to manufacture consent for it.” by Jamison Foser“The right debates just how weird their authoritarianism should be,” by Zack BeauchampBucha On the Media is supported by listeners like you. Support OTM by donating today (https://pledge.wnyc.org/support/otm). Follow our show on Instagram, Twitter and Facebook @onthemedia, and share your thoughts with us by emailing onthemedia@wnyc.org.

"I don't think that our military are trained to attack civilians and punch them anyhow, unless we are being told that is part of their training now" - Sulemana Braimah, Executive Director, Media Foundation for West Africa.

The Ukrainian town of Irpin made international headlines at the outset of Russia's 2022 full-scale invasion when local reservists repelled Russian forces advancing toward Kyiv. But the toll was severe for the town Ukraine has now designated a “hero city.” Hundreds of civilians were killed during Russia's month-long occupation of Irpin, and thousands of buildings were destroyed. Among those was the main campus building of the State Tax University. Now a Bay Area organization is helping to rebuild the university, bringing design and construction ideas that it hopes will be a model for other sites. We'll talk about the project and the multilayered challenges Ukraine faces as it seeks to rebuild while still at war. The reporting for this episode was supported by the International Women's Media Foundation's Women on the Ground: Reporting from Ukraine's Unseen Frontlines Initiative in partnership with the Howard G. Buffett Foundation. Guests: Zhanna Bezpiatchuk, reporter, BBC Ukraine Margie O'Driscoll, executive director, Center for Innovation Eugene Chumakov, design and project architect, Stantec - a sustainable engineering and architecture firm Yuriy Gorodnichenko, professor of economics, UC Berkeley Learn more about your ad choices. Visit megaphone.fm/adchoices

"People were using their COVID and University card and the system was validating it" - Sulemana Braimah, Executive Director of the Media Foundation for West Africa.

Christiane Amanpour is chief international anchor of CNN's flagship global affairs program “Amanpour,” which airs weekdays on CNN International and nightly on PBS in the United States. She is also host of “The Amanpour Hour,” and is based in the network's London bureau. Beginning in 1983 as an entry-level assistant on the international assignment desk at CNN's headquarters in Atlanta, Amanpour rose through the organization becoming a reporter at the New York bureau, and later, the network's leading international correspondent. On the ground during the siege of Sarajevo, Amanpour exposed the brutality of the Bosnian War, reporting on the daily tragedy of life for civilians in the city. She was outspoken, calling out the human rights abuses, massacres and genocide committed against the Bosnian Moslems, later saying “There are some situations one simply cannot be neutral about, because when you are neutral you are an accomplice.” Throughout her time at CNN, Amanpour has secured exclusive interviews with global power players. In the wake of the September 11 attacks she was the first international correspondent to interview British Prime Minister Tony Blair, Pakistani President Pervez Musharraf and Afghan President Hamid Karzai. During the height of the Arab Spring she conducted an Emmy-winning interview with Libya's former leader ‘Colonel' Moammar Gadhafi, and she was also the last journalist to interview Egypt's President Hosni Mubarak just before he was deposed. In January 2014, Amanpour also exclusively broke the news of a dossier of testimony and photographs which alleged to show systematic torture of prisoners by government forces in Syria, evidence she used to confront Russian Prime Minister Dmitry Medvedev about his government's support for the Assad regime. In addition to her work as an anchor and reporter, Amanpour is an active rights campaigner. A board member of the Committee to Protect Journalists, the Centre for Public Integrity and the International Women's Media Foundation, she has used her profile to raise awareness of key global issues and journalists' rights. She has interviewed educational rights activist Malala Yousafzai for CNN on several occasions – bringing focus to her courage and international advocacy work. Amanpour has earned 16 News and Documentary Emmy Awards, four Peabody Awards, two George Polk Awards, three duPont-Columbia Awards and the IWMF's Courage in Journalism Award. She has received nine honorary degrees, is an honorary citizen of Sarajevo, and a UNESCO Goodwill Ambassador for Freedom of the Press and the Safety of Journalists. Amanpour holds a BA in Journalism from the University of Rhode Island.Ralph Ranalli of the HKS Office of Communications and Public Affairs is the host, producer, and editor of HKS PolicyCast. A former journalist, public television producer, and entrepreneur, he holds an BA in political science from UCLA and a master's in journalism from Columbia University.Scheduling and logistical support for PolicyCast is provided by Lilian Wainaina.Design and graphics support is provided by Laura King and Delane Meadows. Web design and social media promotion support is provided by Catherine Santrock and Natalie Montaner. Editorial support is provided by Nora Delaney and Robert O'Neill. 

Vladimir Putin has removed tens of thousands of Ukrainian children to Russia since the start of his full scale invasion in February 2022. The deportations, often carried out under the pretense of “humanitarian evacuation,” have targeted vulnerable Ukrainian children including orphans, children with disabilities and children with parents in the military. Children who have escaped describe having been sent to re-education camps, prohibited from speaking Ukrainian and denied contact with their relatives at home. The International Criminal Court, which issued arrest warrants in 2023 for Putin and Russian Commissioner for Children's Rights Maria Alekseyevna Lvova-Belova, defines the unlawful transfer of children to Russia as a war crime. We'll talk to Kyiv-based child advocates about the status of efforts to bring the children back, and we'll meet a U.S. congressman from California who wants to hold Russia accountable. The reporting for this episode was supported by the International Women's Media Foundation's Women on the Ground: Reporting from Ukraine's Unseen Frontlines Initiative in partnership with the Howard G. Buffett Foundation. Guests: Jimmy Panetta, member, U.S. House of Representatives (CA-19) Mykola Kulebra, founder, Save Ukraine; former Commissioner for Children's Rights for the President of Ukraine (2014-2021) Lena Rozvadoska, co-founder, Voices of Children Azad Safarov, journalist, documentarian and producer; co-founder of Voices of Children Learn more about your ad choices. Visit megaphone.fm/adchoices

Wiktorija Roschtschyna war 25 Jahre alt, als sie von der International Women's Media Foundation mit dem «Courage in Journalism Award» ausgezeichnet wurde. An der Preisverleihung in den Vereinigten Staaten nahm die ukrainische Journalistin nicht teil, weil sie sich ganz auf ihre Berichterstattung über den Krieg konzentrieren wollte.Wiktorija Roschtschyna war einige der wenigen Journalistinnen, die noch aus den russisch besetzten Gebieten in der Ukraine berichteten. Sie recherchierte zu russischen Foltergefängnissen, in denen womöglich auch zahlreiche Zivilisten im Krieg inhaftiert wurden. Sie wollte die Folterkammern dokumentieren, von denen ihr erzählt worden war, mit Überlebenden sprechen und Täter identifizieren. Doch berichten konnte sie darüber am Ende nicht mehr.Letzten Herbst meldete Russland den Tod der  Journalistin.  Die 27 Jahre alte Ukrainerin geriet in russische Gefangenschaft  und starb in einem der brutalen Gefängnisse, über die sie zuvor recherchiert hatte.Das journalistische Kollektiv «Forbidden Stories» – an dem auch Tamedie beteiligt ist – hat die letzte Recherche von Wiktorija Roschtschyn nach ihrem Tod zu Ende geführt – und dabei auch mehr über ihre Todesumstände erfahren. Darüber erzählt Oliver Zihlmann, Co-Leiter des Tamedia Recherchedesks, im täglichen Podcast «Apropos».Mehr zum Thema: Recherche von Forbidden Stories und Tamedia über Wiktorija RoschtschynaMehr von Forbidden Stories: Eine (weitere) Journalistin wurde ermordet, 100 andere führen ihre Recherche weiterWieso die Medienfreiheit immer mehr unter Druck gerät Unser Tagi-Spezialangebot für Podcast-Hörer:innen: tagiabo.chHabt ihr Feedback, Ideen oder Kritik zu «Apropos»? Schreibt uns an podcasts@tamedia.ch

Amid Sudan's brutal civil war, the paramilitary Rapid Support Forces are using sexual violence to terrorize women and girls from non-Arab ethnic groups. These war crimes have sparked international outrage. Special correspondent Neha Wadekar and filmmaker Zoe Flood, with the support of the International Women’s Media Foundation, spoke with survivors and a woman determined to help them heal. PBS News is supported by - https://www.pbs.org/newshour/about/funders

Amid Sudan's brutal civil war, the paramilitary Rapid Support Forces are using sexual violence to terrorize women and girls from non-Arab ethnic groups. These war crimes have sparked international outrage. Special correspondent Neha Wadekar and filmmaker Zoe Flood, with the support of the International Women’s Media Foundation, spoke with survivors and a woman determined to help them heal. PBS News is supported by - https://www.pbs.org/newshour/about/funders

For two years now, Sudan has been wracked by a civil war between the Sudanese armed forces and the paramilitary Rapid Support Forces. Correspondent Neha Wadekar and filmmaker Zoe Flood, with the support of the International Women’s Media Foundation, report on the crisis on Chad’s eastern border, where hundreds of thousands of Sudanese civilians have fled violence and the risk of starvation. PBS News is supported by - https://www.pbs.org/newshour/about/funders

For two years now, Sudan has been wracked by a civil war between the Sudanese armed forces and the paramilitary Rapid Support Forces. Correspondent Neha Wadekar and filmmaker Zoe Flood, with the support of the International Women’s Media Foundation, report on the crisis on Chad’s eastern border, where hundreds of thousands of Sudanese civilians have fled violence and the risk of starvation. PBS News is supported by - https://www.pbs.org/newshour/about/funders

Historian Greg Grandin, journalist José Luis Granados Ceja & journalist Andalusia Soloff talk about Mexico, Colombia, Venezuela, Cuba, neocolonialism, immigration and deportation. Greg Grandin is Professor of History at Yale University. He is the author of a number of prize-winning books, including most recently The End of the Myth: From the Frontier to the Border Wall in the Mind of America, and The Empire of Necessity: Slavery, Freedom, and Deception in the New World, which won the Bancroft and Beveridge prizes in American History and was shortlisted for the Samuel Johnson Prize in the UK. He is also the author of Fordlandia: The Rise and Fall of Henry Ford's Forgotten Jungle City, a finalist for the Pulitzer Prize in History, as well as for the National Book Award and the National Book Critics Circle Award. His first book, The Blood of Guatemala, won the Latin American Studies Association's Bryce Wood Award for the best book published on Latin America, in any discipline. He has published widely in, among other places, The New York Times, Harper's, The London Review of Books, The Nation, The Boston Review, The Los Angeles Times, The New Republic, The Hispanic American Historical Review, and The American Historical Review. A graduate of Brooklyn College at the City University of New York, Professor Grandin received his doctorate at Yale University, where he studied under Emilia Viotti da Costa. He is also a member of the American Academy of Arts and Sciences. José Luis Granados Ceja (@GranadosCeja https://twitter.com/granadosceja?lang=en) is a writer and photojournalist based in Mexico City. He previously worked as a staff writer for teleSUR and currently works on a freelance basis. He is also the host of the Soberanía podcast co-host of the Soberanía podcast ( / @soberaniapodcast . His stories focus on contemporary political issues, particularly those that involve grassroots efforts to affect social change. He often covers the work of social and labor movements in Latin America. Follow him on Twitter: @GranadosCeja (https://twitter.com/granadosceja?lang=en) Andalusia K. Soloff is an Emmy nominated documentary filmmaker and multimedia journalist in Mexico who seeks to center the voices of those most affected by violence by focusing on their human dignity and resilience. Soloff has produced award-winning documentaries including "A Sense of Community: Iztapalapa," "Frontline Mexico," "Guatemala's Past Unearthed"(Al Jazeera) as well as "Endangered" (HBO), focused on the risks that journalists face. Her new cinematic short, "Poppy Crash," which flips the script on the fentanyl crisis, is part of the official selection of the DOCS MX film festival and IDFA Docs for Sale. She has produced news documentaries and reports for RAI, ZDF, CGTN, Democracy Now!, AJ+, VICE News, TRT World and worked both as a DP, Drone Operator, and Correspondent for numerous other production companies and global news outlets. She is Founder of the journalist organization Frontline Freelance México as well as Co-coordinator of the Fixing Journalism initiative, which seeks to change the unequal relationships that exist between local fixers and foreign correspondents. Andalusia has been a fellow with the Dart Center and the International Women's Media Foundation. ***Please support The Katie Halper Show *** For bonus content, exclusive interviews, to support independent media & to help make this program possible, please join us on Patreon - https://www.patreon.com/thekatiehalpershow Get your Katie Halper Show Merch here! https://katiehalper.myspreadshop.com/all Follow Katie on Twitter: @kthalps

Elisa Lees Muñoz, executive director of the International Women's Media Foundation discusses a series of training sessions the foundation is offering for journalists covering political conventions and other news events. Visit the It's All Journalism website to find out how to subscribe to our podcast and weekly email newsletter. Learn more about your ad choices. Visit megaphone.fm/adchoices

Elisa Lees Muñoz, executive director of the International Women's Media Foundation discusses a series of training sessions the foundation is offering for journalists covering political conventions and other news events.Visit the It's All Journalism website to find out how to subscribe to our podcast and weekly email newsletter. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Empowering Women in AgriFood Tech: A Conversation with Amy Wu of From Farms to Incubators - In this episode of the Leading Voices in Food podcast, host Norbert Wilson speaks with Amy Wu, the creator and content director of From Farms to Incubators. Amy shares her inspiring journey in highlighting and supporting women, particularly women of color, in the agri-food tech industry. Learn about the origins of her groundbreaking documentary and book, her vision for a vibrant community of women innovators, and the crucial role of education, mentorship, and policy in advancing women's roles in this sector. Interview Summary I have a great set of questions for you. So, the first thing, could you just tell our listeners a little bit more about From Farms to Incubators? Sure. From Farms to Incubators is a special initiative and project that tells the stories of women in this fast-growing field known as ag tech, sometimes interchangeably used as Agri food tech as well. The mission of it is really to get more women involved in ag tech through storytelling, through resources, and also through education and training. I also would describe it as a multimedia content platform. I actually came to this as a journalist and as a storyteller that uses storytelling to amplify the voices of women leaders and entrepreneurs in this field. It's also a documentary and a book and also a website where we archive their stories and their biographies as well. Thanks for that overview, and you just talked about the book and the documentary From Farms to Incubators: women innovators revolutionizing how our food is grown, which uses storytelling to highlight women innovators and how women innovators in the Agri food tech are doing their best. But there's also a movement and the community and this multimedia platform. Why did you expand from the book and documentary into this larger network? That's a really good question. Briefly, as some context, I kind of fell into this project. It was a bit of serendipity. I was a reporter in Salinas, California, which is the vegetable salad bowl of the world. Ag is a huge industry, a 10 billion industry. And I was covering government and agriculture. And I observed that there were not a lot of women at the helm of the table, whether it be at farms or also in this growing field of ag tech as well. So it started off as a documentary. I got a grant from the International Center for Journalists, and then ultimately I got another grant from the International Media Women's Foundation to do a short documentary to profile three women who are entrepreneurs in ag tech. It was great. It was at the time in 2016, which now was ages ago, I guess. It was really hard to find women in ag, in this field of ag tech, women creating the innovations to tackle some of the biggest challenges that farmers are facing, especially under climate change. So, it could have ended there because the documentary turned out to be very, very well received. It's screened at hundreds of places, and I would have panels and discussions and the women would look at each other like, 'my gosh, I didn't know there were other women doing this too. Can you connect us? We'd love to convene further.' And then educators, community leaders, agribusinesses, investors just didn't know they existed as well. So, what happened was the stories kind of multiplied and multiplied as the more that I collected them. And then I decided to put it into a book profiling about 30 women in this growing field. And to answer your question, Norbert, why is it continuing is that I saw a real need for women to have a community, women in agriculture and innovation and food systems to have a community to connect with one another, to potentially build friendship, build collaboration, build partnership, creating a collective vision sometimes and a place for them. I didn't plan on it. So, I guess the storytelling connects them. We've also have resources like a database that connects them and the goal is really so that they can have a community where they can build more. They can either build out their own startups. They can build their careers, build their professions. And then it kind of grew more legs. Now we're also extending into the area of education and training to try to get younger women, young people, youth. To see that agriculture, hey, may not be traditionally sexy. I mean, tractors and overalls are still what a lot of people think about it, but there are so many other opportunities in the food system for young people as well, especially since we all have to eat. So, how are farmers going to be producing the food for 10 billion people in 2050, right? Who's going to produce the food? How are we going to do it? Especially under the auspices of climate change, the weather's getting crazier and crazier. That's sort of why it has expanded from the stories all the way to what it is today. This is a great story and I would love to hear a little bit more about some of the women and their innovations. And if I may, I would like for you to actually even explain a little bit about what you mean by the ag food tech or Agri food tech as you're talking about these women. Broadly defined, is any kind of innovation that makes it easier, frankly, for farmers to do their work, to grow more efficiently, and to also increase [00:06:00] their yield. I can give some examples of what innovation is. Blockchain addresses food safety, really. It traces everything from the seed to all the way on the shelf, right? So if there's any safety issues, it's used to trace back, where did that seed come from? Where was it grown? What field was it in? And that really helps everybody in the food systems a lot more, right? We have sensors connected with drones. I forgot to mention robotics as well, which is a fast-growing area of ag tech. Everything from self-driving tractors to laser scarecrows to another level of robots that are picking specific kinds of fruits and vegetables that's tackling labor challenges. I don't foresee that ag tech necessarily is a replacement by the way of people. It's actually offering more opportunities because we need people who are very knowledgeable that kind of innovation. And then you also asked a bit about the stories of the women in ag tech, for example, in the film and in the book and so forth. Soil sampling is a fast-growing area of ag tech. There's the story that I have in the book and also in the movie of two young women who are Stanford PhD graduates. Who created a soil testing kit that makes it easy for farmers to just test their soil for diseases, for pests, and soil testing is traditionally, you know, very, very expensive for most farmers actually. Not easy for farmers to get access to it and to get the data, but the soil testing kit that they created makes it a lot easier for farmers, small farmers even, to access it. And why is that important is because the more knowledge, the more data that, and analytics that farmers can get, the more that they can make smart decisions about how much to fertilize, how much to irrigate. And that connects with the yield and their success. You know, another company that I can think about, another amazing woman. I just like her story, the story of AgTools and the story of Martha Montoya, who was actually an award-winning cartoonist. And she doesn't come from agriculture at all, and that's actually something that I want to highlight is a lot of these women are not farmers and don't come from agriculture. But she was a award winning cartoonist. I believe she was also a librarian and she fell into the food industry, and saw a need for having more data, offering more data and analytics to farmers. She created a system a little bit like a Bloomberg for farmers, where they can get real time data immediately on their phones, on their watches, so that they can get second by second data to make decisions on specific crops. Those are a couple of the stories that are in the book, but really what I want to highlight is that all of the innovation that they are creating addresses some of the biggest challenges that farmers are facing, whether it be labor issues,lack of water, some areas of our country are becoming more wet, others are becoming more dry, drones that are actually doing the irrigation now or drones taking photos to give more data to farmers as well on what is their land look like. You know, it could also be human resources related as well to manage staff. So mobile apps to manage staff on cattle farms. I mean, how big are the cattle farms sometimes, you know, 50,000 acres. So, it's really to save money and to create efficiency for farmers. If farmers are able to do their work more efficiently, they're able to generate greater profits, but it also allows for food prices not to rise. This has really big implications. Thank you for sharing those stories. And I love hearing about some of the individuals, but here's the question. I mean, why focus on women? What's important about what women contribute to this? And also, why are you also considering race as an important lens in this sector? Well, I would say, why not women? Because women have already been contributing to the global food system, whether in the production end or the decision makers at the head of the dinner table for thousands of thousands of years, arguably. So what I discovered is that their stories, their contributions, existing contributions were not being celebrated and were not being amplified. And I actually discovered that a lot of the women that I connected with were a bit shy about even telling their story and sharing it like kind of like, 'what is my contribution?' And I'm like, 'well, why aren't you sharing your story more?' So the goal of it really is to document and celebrate their contributions, but also to inspire. As I said, young women, next generation, all of us have daughters, nieces, granddaughters, you know, and then future generations to consider opportunities in a field where we need people. We need people who are smart and you don't have to be from a generation of farmers. You could be in science, engineering, technology, and math. You could just be passionate about it and you could be in the field. So that's the first aspect of it. And in terms of the lens of gender and race, there are not enough women in terms of just the startups in ag tech right now, only 2 percent of the billions of dollars being invested in ag tech startups. Only 2 percent are going into women led companies. It is very, very little. It is a problem that is deep rooted. And it starts with [00:12:00] funding. One problem is where is the funding coming from. Venture capitalists, traditional avenues of funding, where it is traditionally male dominated. So, there are many studies that show that investors will invest in companies where they connect with those who are leading the companies, right? So similar gender, similar backgrounds, similar stories. So, we're really looking to have a paradigm shift and move the needle of sorts and say that if there are more investors, there are more board members who are from a diversity backgrounds, then there will be more funding for women and those who are traditionally not leading agriculture, not in the leadership positions, not in the decision-making roles, right? There is a problem. There is a, what is a grass ceiling, not just glass ceiling, but grass ceiling. I hear you. I hear you. Now this is really fascinating. I know from colleagues who are in agriculture that there is this demand for more agricultural workers throughout the Agri food system. And if there is a demand, we're saying that our colleges that produce the potential workers aren't meeting those demands. One of the ways we can see that change is by having more women and more people of color join in. And so, this is a critical thing. And I would imagine also the experiences that people bring may be a critical part of coming up with new innovations. Diversity can do that. This is exciting that you're exploring this. I love what you're saying Norbert. I know I wanted to touch upon that about what you just noted is that it's also to create a pipeline, right? Education training is just so critical. And it makes me so happy to see that there are more and more programs at universities and colleges that are addressing programs in food systems, in agriculture, and increasingly in ag tech. So, whether it be courses or programs or certificates or eventually minors and majors, developing the pipeline of talent is really important and having mentors and mentees, which is something that now we're working on. This fall we'll have launched a menteeship program for women and for young people interested in ag tech and the first collaborator is the UC Merced in California. So, thanks for bringing that up. We have a couple of young people ready at the starting gates. Really excited. I will say just on a personal note, I was active in 4 H for most of my youth and that's the way I got involved in agriculture. So, touching or reaching out to folks in their youth is critical to get them excited and help them to make the connection so that they can do that work further. I'm glad to hear this work. In your view, what are some of the ongoing challenges and opportunities that women face in the ag tech sector or the Agri food sector? What are some of the things you're observing? Well, a continued challenge is having a place at the table, meaning at the leadership and decision-making level. And actually, as I noted earlier, the access to funding and not just the money, but the access to resources, meaning could be legal operational. Just how to get their startups or get their ideas out there. One example that I'm seeing that's again positive is that there's a growing number of incubators and accelerators specifically in food tech or ag tech that are is actually looking for candidates who are women or who are from underrepresented communities. The first thing is that they have a great innovation, of course, but the next thing that the incubators and accelerators are looking for is to have a diversity of perspectives. And to have representation, so seeing a lot more of that, whether it be. Individual accelerators, or even once at the university, right? Universities and colleges and the governmental level. The other challenge is access to farmers and connecting them with the farmers themselves. Cause farmers are very, very busy and that's highlighted and bolded. Increasingly just dealing with this chess game that's very hard to play with the weather, but also with their own resources. It's expensive being a farmer, equipment, labor. They don't often have the time, frankly, to beta test some of the innovations coming out. So how best to connect innovators with the farmers and to have them communicate with each other: like this is the innovation. This is how it's going to help your problem. Educating the farmers and allowing them to see that this is how it's going to address the problem that I have. So, the two are still kind of separate and access to each other is still, I would say, a major challenge. But right now, some of the solutions are, as I've noted, networking at conferences and convenings. Also, under the grant programs sometimes under the National Science Foundation or USDA, they are allowing more collaborative initiatives where you have educators, where you have policy, where you have the innovators, where you have the young people. Increasingly, seeing more and more of those kinds of projects and initiatives happen. So hopefully everybody will have a seat at the table and that would help women out a lot in the field as well. Awesome. Thank you for sharing those. And I love the fact that you're looking at not just identifying issues, but also trying to find ways of connecting folks to help overcome those challenges that women and women of color are facing in the marketplace. And it's the connections that are really critical. I appreciate you highlighting that. So, what is your ideal vision? Oh, one more thing I forgot to note is that in terms of connecting, there's also a database - a women in Agri food tech database, and I, and at least four or five other women in the field have been working on for at least four or five years now. We now have more than a thousand members. It's an open-source database where you can click on a form, put your name there and information takes a few minutes and then you're added to this database where the women can be connected to each other as well. So that's another resource. Yeah. And I mean, even just having peer mentors, not just mentors who are above you and they've like solved all the problems, but having people to go along with you as you're developing and as they are developing can be a critical part. I know as an academic, that's important for me and has been important for me. And I can imagine the same is true in this space as well. So, I'm so grateful to hear about this work. Yeah. What is your ideal vision for women in Agri food tech in the next, say, five years? And how will the digital network for from farms to incubators play a role in achieving that goal or those goals? So, my dream - it always starts, I think, in the dreaming phase and then connecting that with also resources along the way. But if I could wave my magic wand, I would say that. We would have a lot more women in leadership and thought decision making positions in ag tech to the point where maybe we won't even need something like From Farms to Incubators anymore because they'll be already equal. The stories will be out there. So, it might be questionable as to why we have a special subgroup or network for this now. How to get to that vision, I think is the three components of increasingly having more stories, and the women tell their stories at public outreach. You know, it could be at conferences, it could be in their own communities, sharing their story out to the community of farmers, of local government, of schools, local schools and colleges and universities, gardening clubs. The second component is education and training, building a pipeline. A vision that I have is actually having a campus. A virtual, and also in-person campus where women, especially from women in underprivileged communities will have the opportunity to have training and to be connected with mentors and the rock stars in the ag tech and Agri food tech field. Where they will also be able to have a project and initiative and test it out and have something to add to their portfolio. To have classes and people who are teaching those courses as well, ultimately. And then also to just build up a hub of resources. Like I mentioned the database. I mentioned that we'd like to extend it to having resources where folks can easily access internships, fellowships, granteeships, where they can be connected to funding. If they need help with legal, HR, just all components of everything that's needed to have a successful organization. And it doesn't have to just be their own startup. It could be a job database of where we have larger organizations and companies that are building up their own ag innovation or food innovation center as well. So that is the vision. It's a big vision. It's a big dream. So we're going to have to kind of break it down into components. But I think taking it step by step is the way to go kind of like climbing Everest or doing a long distance swim. Yes, I can see where you're trying to go in this vision and I'm interested to know what, if any role policy could play and help advance that vision. Yeah, so what role could policy play in advancing this vision? Currently, when it comes to diversity inclusion in the ag tech field or even in agriculture, there is somewhat a lack of policy in a way. But then also with individual organizations and corporations, obviously, there is the movement of diversity inclusion. But also, I think it's very much with the hiring practices with HR. I think it's up to individual organizations, whether they be small, larger ones, governmental, to look at their own hiring practices. To look at who they are, how are they crafting the language when they look for a job, when they look at their leadership team, are there ways to further diversify it and when it comes to, gender, ethnicities, people who come from a rural area, urban. I mean, we all come with, from a diversity of perspectives and stories. I think a lot of it will come down to hiring practices and advancing this vision and with the individuals who are already working at those organizations to be more thoughtful and conscious about giving those who don't have a place at the table, a place and a voice at the table, giving everybody a chance. Because we have some amazingly talented and knowledgeable people who just traditionally in agriculture don't have families and generations who come from an ag background. But they do come with so much that they could offer. I would say that those are a couple of examples of that as well. And maybe, more discussion about policy is really needed on a larger level when it comes to farmers, when it comes to government leaders, when it comes to innovation leaders as well. And when it comes to educators and schools. I think the more the merrier when it comes to bringing folks at the table to open it up for discussion on solutions. I appreciate this. And, this idea of not just welcoming people so that they get in the door, but also creating change. Environments and spaces where people are actually welcomed once they're there. That it becomes a place where folks can be themselves and bring all of who they are to the work that they're doing. This is critical. Yes, absolutely. I want to touch upon that. My own story is I don't have an agricultural background myself. But when I first , landed in a place like Salinas, very much sort of an outsider because I'm not from there anyway, but also not in agriculture and then being a woman and being, you know, a Chinese American woman too, you know, I, I did feel that there was a challenge to kind of break into certain circles and to be welcome. Even despite my passion and enthusiasm, there was a little bit like, 'what is she? Why? Why? What? She, she doesn't know anything.' But I felt like it was the people who in the beginning, it was just a couple of people who were like, 'Hey, this is somebody who really wants to tell the story of what we're doing. Give her a chance.' You know, having advocates, frontline advocates made a huge difference. So that's what I'm hoping for, more frontline advocates. Amy, I want to pick up on a personal story out of this. I did my graduate training out at UC Davis, at University of California, Davis. And I worked on dairy policy, which I do not have a dairy background. And it was great to have a mentor who actually helped me. Who introduced me to a number of folks and working through extension and the California Department of Food and Ag. Folks made space for me, and they understood that I was interested in this particular policy and trying to understand what it meant. And I actually got to learn so much. It was because people just said, okay, we'll give you a try. And I did the best I could. I'm grateful for that. Creating these spaces is not hard. It's not impossible. It can be done. I'm really appreciative of your efforts to keep furthering that story. I love that story. And indeed Norbert it's like what you said, creating the space and even, even in the beginning and just having a couple of folks just to make space. And then I think the space is going to grow from there. I fully agree. I've got one last question for you. And it's, sort of related to the vision, but just also thinking long term. What impact do you hope your work will ultimately have on society. I hope that my work will create a bit of a shift ultimately. I mean, that's a rather large goal, but it's not just myself. As this project has grown and extended and expanded. It's really a joint team effort. I mean, along this journey, I've met folks who are mission aligned. And they also see the value in this, and they believe in something similar. Whether it be that they contribute their story, whether it be that they help write the stories, whether it be that they come be a guest speaker, and they share their career, and then they end up connecting with the younger person, every person counts in this. In making a shift. And it might take generations to completely have a paradigm shift, but I think that just moving the needle a bit is ultimately the goal, certainly. And in terms of the bigger picture of things, I'm hoping that it will continue to spark a discussion and ongoing conversation about the importance and the value of bringing different voices and people who traditionally were not given a space at the table when it comes to the food systems and agriculture. But who brings so much talent, so much to the table already. How we can make greater space for them as well, and how we can incorporate their talent and create a better food system for everybody. We all eat and we're looking at 10 billion people in 2050. So, looking at the people who are making those contributions and telling their stories and especially for those who traditionally have not had their voices told, I think is really, really important. I just keep the fire going, I guess. BIO Amy Wu is an award-winning writer for the women's Ag and Agtech movement. She is the creator and chief content director of From Farms to Incubators, a multimedia platform that uses documentary, video, photography, and the written word to tell the stories of women leaders and innovators in Agtech. It has a mission of highlighting women in food, farming, and farmtech, especially women of color. From Farms to Incubators includes a documentary and a book that spotlights women leaders in Ag and Agtech. The documentary and stories have been screened and presented at SXSW and Techonomy. The initiative was awarded grants from the International Center for Journalists and International Women's Media Foundation's Howard G. Buffett Fund. Amy was named on Worth magazine's “Groundbreakers 2020 list of 50 Women Changing the World” list. Since 2018 she has served as the communications manager at the Hudson Valley Farm Hub in Hurley NY where she runs the website, digital newsletter, and social media. Prior to starting From Farms to Incubators, Amy spent over two decades as an investigative reporter at media outlets including the USA Today Network where she reported on agriculture and Agtech for The Salinas Californian. She's also worked at Time magazine, The Deal and contributed to The New York Times, The Huffington Post and The Wall Street Journal. She earned her bachelor's degree in history from New York University, and master's degree in journalism from Columbia University.  

The seductive promise of microfinance might have conveniently died in the Western media, but Muhammad Yunis' alluring economic idea has actually wreaked unintentional havoc around the world. Mara Kardas-Nelson's important new book, We Are Not Able to Live in the Sky, reveals the damage done by microfinance loans in developing world countries like Sierra Leone and Bangladesh because their predatory interest rates. As too often with supposedly democratizing “innovations” like microfinance or cryptocurrency, Kardas-Nelson reminds us, it's poor people, particularly women, who ultimately get saddled with the techno-utopian bill. Mara Kardas-Nelson is an independent journalist focusing on international development and inequality. Her award-winning work has been supported by the International Women's Media Foundation, Investigative Editors and Reporters, the Richard J. Margolis Award and others and has appeared in the New York Times, the Nation, the Guardian, on NPR, and elsewhere. Mara has also spent years working in global health. Originally from the U.S., she has also lived in Canada, South Africa and Sierra Leone.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Please join us at patreon.com/tortoiseshack Maha Hussaini is a Palestinian award-winning journalist and the Strategy Director of Euro-Med Human Rights Monitor. In June, she won the Courage in Journalism Award by the International Women's Media Foundation, an award that was later rescinded following a smear campaign by pro-Israelis. She joins us from Gaza to talk about her reporting, the situation on the ground, the need to have an active Palestinian voice and western media bias towards the Palestinians. Maha was displaced multiple times but she continues reporting from Gaza despite the huge challenges. Please listen and share this very special PalCast episode with Yousef Aljamal, Helena Cobban and Tony Groves. The Latest RTE Exclusive is out now here:https://www.patreon.com/posts/patron-exclusive-106869218 The Gaza Appeal Details are here:https://www.patreon.com/posts/nuseirat-dr-105860337

Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls Check out StandUpwithPete.com to learn more Jill Filipovic is a Brooklyn-based journalist, lawyer, and author of OK Boomer, Let's Talk: How My Generation Got Left Behind and The H-Spot: The Feminist Pursuit of Happiness. A weekly columnist for CNN and a 2019 New America Future of War fellow, she is also a contributing opinion writer to The New York Times and a former columnist for The Guardian. Her work has appeared in Time, The Washington Post, Vanity Fair, Foreign Policy, Politico, Marie Claire, Cosmopolitan, and many others. She contributed essays to the anthologies Nasty Women: Feminism, Resistance and Revolution in Trump's America and Yes Means Yes: Visions of Female Sexual Power and a World Without Rape. Jill was a 2019 International Women's Media Foundation fellow, and her Politico story on reproductive rights in Honduras was shortlisted for a One World Media Award. She is also a winner of a 2014 Newswomen's Club of New York Front Page Award for her global health reporting, two Society of Professional Journalists Sigma Delta Chi award for political commentary, and a Maggie award for reproductive health reporting. She was 2018 European Journalism Center grantee, a UN Foundation Fellow in Malawi and Indonesia, and an International Reporting Project fellow in Brazil and India. Subscribe to her substack jill.substack.com Follow her on Twitter and Instagram at @JillFilipovic Listen to her new podcast Pete on Threads Pete on Tik Tok Pete on YouTube Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page All things Jon Carroll Follow and Support Pete Coe Buy Ava's Art

This week, Lale speaks with women who risk their lives to document conflict and catastrophe around the world—and who are all recipients of a Courage in Photojournalism Award from the International Women's Media Foundation. Listen to hear Cairo-based Nariman El-Mofty, who has been traveling through Yemen and Sudan, and Anastasia Taylor-Lind, whose work is focused on Ukraine, share stories of the human side of war, as well as a message from Samar Abu Elouf, a photojournalist from Gaza City.

Having a strong presence on social media isn't just about physical structures, but about creating genuine connections that set the groundwork for success in the digital era. In this episode, we have Emma Tessler, founder of Ninety Five Media, reveal the construction CEO's guide to building a strong social media foundation. Discover why diversifying your social media team, including field personnel, is crucial for authentic engagement. She also discusses how storytelling can set your construction brand apart and foster trust with your audience. Emma highlights the importance of crafting a diverse range of content buckets, promoting in multiple media forms, and more. Tune in now and learn how to maximize your presence!   Buy Eric's Book: Construction Genius: Effective, Hands-On, Practical, Simple, No-BS Leadership, Strategy, Sales, and Marketing Advice for Construction Companies - https://www.amazon.com/Construction-Genius-Effective-Hands-Leadership/dp/B0BHTRDY1T/    Need an Executive Coach? Book in 10 Minutes to chat about how Eric can help: https://10minuteswitheric.youcanbook.me   Ninety Five Media: https://ninetyfivemedia.co/ Instagram: https://www.instagram.com/ninety.five.media/ LinkedIn: https://www.linkedin.com/in/emmatessler/ Podcast: https://podcasts.apple.com/us/podcast/stop-scrolling-start-scaling-podcast/id1635151196 Learn how to create content that converts: https://ninety-five-media.mykajabi.com/mym

From Spotify comes Stolen Season 3: Trouble In Sweetwater. Violence. Retaliation. Disappearances. The Navajo Nation is 27,000 square miles of remote terrain with just over 200 tribal police officers. This season on Stolen, Connie Walker's investigation into the cases of two missing women leads her on a search for justice in a place where people say you can get away with murder. Reporting for Stolen: Trouble in Sweetwater was supported by the International Women's Media Foundation's (IWMF) Fund for Indigenous Journalists reporting on issues related to Missing & Murdered Indigenous People (MMIP) with a concentration on women, girls, Two-Spirit, and transgender people.

Violence. Retaliation. Disappearances. The Navajo Nation is 27,000 square miles of remote terrain with just over 200 tribal police officers. This season on Stolen, Connie Walker's investigation into the cases of two missing women leads her on a search for justice in a place where people say you can get away with murder. This reporting was supported by the International Women's Media Foundation's Fund for Indigenous Journalists: Reporting on Missing and Murdered Indigenous Women, Girls, Two- Spirit and Transgender People (MMIWGT2S). Learn more about your ad choices. Visit podcastchoices.com/adchoices

On Monday, we celebrated leaders who served our country. Today, I am thrilled to say we are doing the same by celebrating Heroes Voices Media Foundation: an amazing organization that serves those who have served, our military. Donald Dunn was a veteran suffering from PTSD when he and a fellow veteran began a podcast to talk about whatever was on their mind. Donald joins us today to talk more about his experience!

President Macky Sall of Senegal is facing mounting pressure after the decision to postpone the scheduled 25 February presidential election to December. The opposition says the move is a “constitutional coup” but the president says more time is needed to resolve a dispute over who is eligible to stand as a presidential candidate after several opposition contenders were barred. Last week, three people were killed and hundreds arrested in protests against the delay of the election. Senegal has long been seen as one of the most stable democracies in West Africa. It is the only country in mainland West Africa that has never had a military coup. It has had three largely peaceful handovers of power and never delayed a presidential election. But is that about to change? And what will the consequences of any political, social and economic turmoil for a country with a young population? Shaun Ley is joined by a panel of experts:Borso Tall - Freelance journalist based in the Senegalese capital Dakar, recipient of the Chevening scholar with The University of Glasgow and member of The International Women's Media Foundation.Paul Melly - Consulting fellow for the international affairs think tank Chatham House and a journalist specialising on development, politics and business issues in francophone Africa. Aanu Adeoye - West Africa correspondent for the Financial Times.Also in the programme:Dr Ndongo Samba Sylla -An economist who served as an adviser in the president's office.Image: Senegalese demonstrators protest against the postponement of the Feb. 25 presidential election, in Dakar, Senegal February 9, 2024. Credit: Reuters/Zohra Bensemra

After Jess receives feedback that throws a major wrench into her production schedule, she has to make some tough decisions. Shocking, Heartbreaking, Transformative is written, hosted and produced by Jess Shane. Sara Nics is the story editor. Sound design, mix/mastering by Michelle Macklem. Production support from Mona Hassan. Cover art is by Justin Broadbent. Jess's bibliography is available here. This reporting was supported in part by the International Women's Media Foundation's Howard G.Buffett Fund for Women Journalists. Special thanks to Eleanor McDowall and Chioke I'Anson. For Radiotopia Presents, Yooree Losordo is the managing producer. Audrey Mardavich is the Executive Producer. It's a production of PRX's Radiotopia and part of Radiotopia Presents, a podcast feed that debuts limited-run, artist-owned series from new and original voices. Learn more about Shocking, Heartbreaking, Transformative at radiotopiapresents.fm and discover more shows from across the Radiotopia network at radiotopia.fm. We'd like to thank the extended Shocking, Heartbreaking, Transformative team, without whom you may not have heard about this project. For PRX marketing: Gretchen Borzi, David Cotrone, Sher Delva, Apu Goteh, and Maggie Gourville. For PRX sponsorship: Audrey Davidson, Melissa Garcia-Houle, Carolyn Willander, and Jeanne Yeh. This series was possible thanks to Ernesto, Michael, and Judy, whose vibrant souls could never fit into the confines of any series. Most of all, thank you for listening.

With only a few months till launch, Jess plays a draft of the series for her subjects and gives them an opportunity to request major changes. Their feedback throws a major wrench into the production schedule. What will it take for Jess to do right by them, while still delivering the series she owes her distribution partner?  Jess' bibliography is available HERE. Shocking, Heartbreaking, Transformative is written, hosted and produced by Jess Shane. Sara Nics is the story editor. Sound design, mix/mastering by Michelle Macklem. Production support from Mona Hassan. Cover art is by Justin Broadbent. This reporting was supported in part by the International Women's Media Foundation's Howard G.Buffett Fund for Women Journalists. Special thanks to Eleanor McDowall and Chioke I'Anson. For Radiotopia Presents, Yooree Losordo is the managing producer. Audrey Mardavich is the Executive Producer. It's a production of PRX's Radiotopia and part of Radiotopia Presents, a podcast feed that debuts limited-run, artist-owned series from new and original voices. Learn more about Shocking, Heartbreaking, Transformative at radiotopiapresents.fm and discover more shows from across the Radiotopia network at radiotopia.fm.

Jess makes a deal with Judy, an unhoused senior. Judy will let Jess document her, and Jess will help Judy resolve some of her ongoing life problems. As Jess gets sucked into Judy's crises, the rest of the series starts to slip and Jess' relationships with her other subjects get messy. Jess starts to doubt the premise of this entire undertaking. Shocking, Heartbreaking, Transformative is written, hosted and produced by Jess Shane. Sara Nics is the story editor. Sound design, mix/mastering by Michelle Macklem. Production support from Mona Hassan. Cover art is by Justin Broadbent. This reporting was supported in part by the International Women's Media Foundation's Howard G.Buffett Fund for Women Journalists. Special thanks to Eleanor McDowall and Chioke I'Anson. For Radiotopia Presents, Yooree Losordo is the managing producer. Audrey Mardavich is the Executive Producer. It's a production of PRX's Radiotopia and part of Radiotopia Presents, a podcast feed that debuts limited-run, artist-owned series from new and original voices. Learn more about Shocking, Heartbreaking, Transformative at radiotopiapresents.fm and discover more shows from across the Radiotopia network at radiotopia.fm.

Jess begins by documenting Ernesto, a 20-year-old, newly sober fashion model. The plan is to pay Ernesto and let him be in charge of the story he wants to tell in the documentary. Things go sideways when Jess and Ernesto grapple with what will need to be cut out of Ernesto's life to turn it into a viable media product.  More about Pooja Rangan's book Immediations HERE. Shocking, Heartbreaking, Transformative is written, hosted and produced by Jess Shane. Sara Nics is the story editor. Sound design, mix/mastering by Michelle Macklem. Production support from Mona Hassan. Cover art is by Justin Broadbent. Support for this project was provided in part by the International Women's Media Foundation. Special thanks to Eleanor McDowall and Chioke I'Anson. For Radiotopia Presents, Yooree Losordo is the managing producer. Audrey Mardavich is the Executive Producer. It's a production of PRX's Radiotopia and part of Radiotopia Presents, a podcast feed that debuts limited-run, artist-owned series from new and original voices. Learn more about Shocking, Heartbreaking, Transformative at radiotopiapresents.fm and discover more shows from across the Radiotopia network at radiotopia.fm.

Jess used to think making documentaries was good for her subjects and good for the world. But she's not so sure anymore. With this series, she's throwing out the old rules of documentary production and trying out some new ones. Shocking, Heartbreaking, Transformative is written, hosted and produced by Jess Shane. Sara Nics is the story editor. Sound design, mix/mastering by Michelle Macklem. Production support from Mona Hassan. Cover art is by Justin Broadbent. Support for this project was provided in part by the International Women's Media Foundation. Special thanks to Eleanor McDowall and Chioke I'Anson. For Radiotopia Presents, Yooree Losordo is the managing producer. Audrey Mardavich is the Executive Producer. It's a production of PRX's Radiotopia and part of Radiotopia Presents, a podcast feed that debuts limited-run, artist-owned series from new and original voices. Learn more about Shocking, Heartbreaking, Transformative at radiotopiapresents.fm and discover more shows from across the Radiotopia network at radiotopia.fm.

Donald Dunn served in the Army, beginning his military journey in 1994 and dedicating 20 years to service. Throughout his distinguished career, he endured 68 months of deployment and combat tours, with notable missions in Bosnia, Iraq, and Afghanistan. Following his military service, Donald ventured into the trucking industry, establishing his own company—an endeavor affected by the challenges brought on by the COVID-19 pandemic, leading to its closure.In his unwavering commitment to supporting the veteran community, Donald embarked on a new path by launching the podcast "Two Drunk Dudes in a Gun Room." Through this platform, he aims to shed light on the triumphs and challenges faced by veterans. Additionally, Donald is actively involved in the Heroes Voices Media Foundation, a nonprofit organization he founded. The foundation is dedicated to assisting veterans in achieving their dreams while incorporating therapeutic elements.For further insights into Donald Dunn's initiatives, you can explore his podcast at www.twodrunkdudesinagunroom.com, learn about his nonprofit efforts at www.heroesvoicemediafoundation.org, discover the podcast program for veterans at www.militaryunitedpodcaststreams.org, and explore the radio station program for veterans at www.gunroomradio.com.

In today's episode, HeHe sits down with Allison Yarrow to discuss her new book, 'Birth Control: The Insidious Power of Men Over Motherhood.' What happens when hospital culture is rooted in tradition and not evidence? How does it impact patient care when incentives are set up to reward providers for doing expensive surgeries and seeing as many patients as possible, but theres no incentive for supporting unmedicated, biological labor and meeting patients where they're at in this journey? What happens when a system that is designed to be FOR PROFIT is faced with the decision profits or people— and, they can only choose one? Join us to discuss how the hospital system was designed to produce specific results and how that may affect your labor experience!    Join The Birth Lounge!    Connect with Ali: https://allisonyarrow.com/ Order Birth Control: The Insidious Power of Men Over Motherhood     Bio: Allison Yarrow is an award-winning journalist, speaker, and author of 90s Bitch: Media, Culture, and the Failed Promise of Gender Equality (Harper Perennial, 2018), finalist for the Los Angeles Press Club book award, and Birth Control: The Insidious Power of Men Over Motherhood (Hachette/Seal Press, July 2023). She has written about health, politics, and gender for many publications including the New York Times, the Washington Post, Vox, Insider, USA Today, Time, and Newsweek. She was a national magazine award finalist, a TED resident, an Aspen Ideas Festival fellow, and a grantee of the International Women's Media Foundation. She produced the award-winning Vice News documentary “Misconception,” and gave a TED talk called “What to Expect Post-Expecting.”

Welcome to my new Series "can you talk real quick?" This is a short, efficiently produced conversation with someone who knows stuff about things that are happening and who will let me record a quick chat to help us all better understand an issue in the news or our lives as well as connect with each other around something that might be unfolding in real time.  Please subscribe now for as little as 5$ and gain access to a community of over 700 awesome, curious, kind, funny, brilliant, generous souls   I WAS WRONG ABOUT TRIGGER WARNINGS Has the national obsession with trauma done real damage to teen girls? Jill Filipovic is a Brooklyn-based journalist, lawyer, and author of OK Boomer, Let's Talk: How My Generation Got Left Behind and The H-Spot: The Feminist Pursuit of Happiness. A weekly columnist for CNN and a 2019 New America Future of War fellow, she is also a contributing opinion writer to The New York Times and a former columnist for The Guardian. Her work has appeared in Time, The Washington Post, Vanity Fair, Foreign Policy, Politico, Marie Claire, Cosmopolitan, and many others. She contributed essays to the anthologies Nasty Women: Feminism, Resistance and Revolution in Trump's America and Yes Means Yes: Visions of Female Sexual Power and a World Without Rape. Jill was a 2019 International Women's Media Foundation fellow, and her Politico story on reproductive rights in Honduras was shortlisted for a One World Media Award. She is also a winner of a 2014 Newswomen's Club of New York Front Page Award for her global health reporting, two Society of Professional Journalists Sigma Delta Chi award for political commentary, and a Maggie award for reproductive health reporting. She was 2018 European Journalism Center grantee, a UN Foundation Fellow in Malawi and Indonesia, and an International Reporting Project fellow in Brazil and India. Subscribe to her substack jill.substack.com Follow her on Twitter and Instagram at @JillFilipovic Listen to her new podcast Pete on YouTube Check out all things Jon Carroll Follow and Support Pete Coe Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page

For journalists, it's a jungle out there - both in the actual jungle and, increasingly, in Anytown USA. So we've got Elisa Lees Muñoz of the International Women's Media Foundation here to tell us how to train journalists to serve (all of us) and protect (themselves!). And then it's time to wrap your brains around a fresh new set of conundrums - it's the return of the Poundstone Riddle Invitational! GUEST Elisa Lees Munoz https://www.iwmf.org HOUSE BAND Tim Sway newperspectivesmusic.com  www.guineapigtanks.com Learn more about your ad choices. Visit megaphone.fm/adchoices

The Border Patrol is one of the largest federal law enforcement agencies in the U.S., with roughly 19,000 officers. It also has one of the largest gender disparities – for decades, the number of women on the force has held steady around 5%. Despite years of demands for reform, the Border Patrol hasn't managed to substantially increase the number of women in the agency. Reporter Erin Siegal McIntyre set out to examine why this number has remained so low. She spoke with more than two dozen current and former Border Patrol agents and reviewed hundreds of pages of complaints and lawsuits in which agents allege sexual harassment or assault. Those interviews and documents reveal a workplace where a wide range of sexual misconduct is pervasive: from stale sex jokes to retaliation for reporting sexual misconduct and assault and rape. Siegal McIntyre starts with the first class of women who were allowed to become Border Patrol agents in 1975. We hear from Ernestine Lopez, a member of that class. Days before graduation, she is raped by a classmate and reports it. She's abruptly fired, leading her on a 12-year legal battle against the government. This is the first time Lopez, now 85, has told her story publicly. Next, we hear from a young woman who loved working as an agent but left the Border Patrol at the peak of her career. Her supervisor had targeted her and other women on her team by hiding a camera in the floor drain in the women's restroom. This is the first time she has spoken to a news outlet about her experience of reporting her supervisor and pursuing a case in court against him and the Border Patrol. Then we follow the story of Kevin Warner, a Border Patrol probationary agent who was abruptly fired months after participating in a sex game along with a dozen other agents, including his superiors. Warner alleges that he was wrongfully discharged. Then Siegal McIntyre takes her reporting to a former chief of the Border Patrol, Mark Morgan. She asks about workplace culture, the low number of women in the agency and the lack of transparency around investigations of sexual misconduct in the patrol. Support for Erin Siegal McIntyre's work was provided by the International Women's Media Foundation, the Economic Hardship Reporting Project and The Harnisch Foundation. Special thanks to Ruth Ann Harnisch, Deborah Golden and the Gumshoe Group for their legal support and to John Turner and Gary Kirk from the Hussman School of Journalism and Media at UNC Chapel Hill. Support Reveal's journalism at Revealnews.org/donatenow Subscribe to our weekly newsletter to get the scoop on new episodes at Revealnews.org/newsletter Connect with us on Twitter, Facebook and Instagram

Harry Blackmun wasn't Richard Nixon's first choice to fill a vacancy on the Supreme Court. But after Blackmun was confirmed, he got the assignment of a lifetime: writing the majority opinion in Roe v. Wade. His approach to that case would have consequences he never imagined. Season 7 of Slow Burn is produced by Susan Matthews, Samira Tazari, Sophie Summergrad, and Sol Werthan. Derek John is Sr. Supervising Producer of Narrative Podcasts. Editorial direction by Josh Levin, Derek John, and Johanna Zorn. Merritt Jacob is our Technical Director. Our theme music is composed by Alexis Cuadrado. Artwork by Derreck Johnson based on a photo provided by Robert Wheeler. The season's reporting was supported by a grant from the International Women's Media Foundation's Howard G. Buffett Fund for Women Journalists. Learn more about your ad choices. Visit megaphone.fm/adchoices

Soon after Ann Hill arrived at Yale Law School in 1968, she realized she was pregnant. Her options were limited: she could give birth—or get an illegal abortion. The decision she faced inspired her to take on Connecticut's abortion ban. The legal battle that followed would set the stage for Roe v. Wade. Season 7 of Slow Burn is produced by Susan Matthews, Samira Tazari, Sophie Summergrad, and Sol Werthan. Derek John is Sr. Supervising Producer of Narrative Podcasts. Editorial direction by Josh Levin, Derek John, and Johanna Zorn. Merritt Jacob is our Technical Director. Our theme music is composed by Alexis Cuadrado. Artwork by Derreck Johnson based on a photo provided by Robert Wheeler. The season's reporting was supported by a grant from the International Women's Media Foundation's Howard G. Buffett Fund for Women Journalists. Learn more about your ad choices. Visit megaphone.fm/adchoices