Podcast appearances and mentions of Molly Crabapple

Artist and writer Molly Crabapple joins This Is Hell! to talk about her new book, “Here Where We Live Is Our Country: The Story of the Jewish Bund." Molly is the author of two books, her 2015 memoir, "Drawing Blood," and "Brothers of the Gun: A Memoir of the Syrian War," which is written and Illustrated by Molly and Marwan Hisham. "Brothers of the Gun" was long-listed for a National Book Award. She was a 2020 New America Fellow and her reportage was the winner of the Bernhard Labor Journalism Award, and has been published in The New York Times, New York Review of Books, The Paris Review, Vanity Fair, The Guardian, Rolling Stone, The New Yorker and elsewhere. Her animations have won two Emmys and an Edward R. Murrow Award. Her art is in the permanent collections of the Museum of Modern Art. We will have new installments of Rotten History and Hangover Cure. We will also be sharing your answers to this week's Question from Hell! from Patreon. Help keep This Is Hell! completely listener supported and access bonus episodes by subscribing to our Patreon: www.patreon.com/thisishell

The artist and writer Molly Crabapple joins journalist Spencer Ackerman and BISR's Suzy Schneider in coversation about her new book, Here Where We Live Is Our Country: The Story of the Jewish Bund, which recreates the revolutionary world of the Bundists, and explores the interwoven histories of the Bund, the Russian Revolution, and the Holocaust. What can we learn, she asks, from this short-lived but influential socialist alternative to Zionism? What does this movement have to say about the past and future of the Jewish left, radical diasporas, the politics of assimilation, and the Bund's cultural and intellectual legacy. What can the transnational history of the Bund teach us about working-class organization, education, and culture? How can the Bund's radical vision of solidarity inform liberation struggles in the present? You can download the episode by right-clicking here and selecting "save as." Or, look us up on Spotify or Apple Podcasts. This episode was produced by Ryan Lentini. If you like what you've heard, consider supporting the podcast by becoming a BISR member or subscribing to Brooklyn Institute's Patreon page, where you can enjoy access to all past and future episodes of the Podcast for Social Research.

As Zionism was taking shape in the late 19th century, parallel Jewish anti-Zionist movements were emerging as well.Palestine Deep Dive's Ahmed Al-Naouq and Hala Hanina pose the question: Was the creation of a Jewish ethno-nationalist state at the expense of Palestinians inevitable? And what other Jewish futures once existed before the creation of Israel?To answer these questions, they are joined by Palestinian cultural historian, educator and editor Hazem Jamjoum and Molly Crabapple, an artist, writer and author of 'Here Where We Live Is Our Country.'  Her book is a remarkable exploration of the Jewish Bund, a secular, socialist, anti-Zionist movement that once represented a completely different Jewish political future.Support us by becoming a paid subscriber from as little as £1 a month. Your support helps us build independent Palestinian-led media in a world which has never needed it more urgently:https://donorbox.org/support-palestine-deepdive Follow us:https://x.com/PDeepDivehttps://www.instagram.com/palestinedeepdive/https://www.facebook.com/palestinedeepdive

En este nonagésimo cuarto episodio del ¡Bipartidismo Strikes Back! (una producción del #PodcastLaTrinchera), Christian Sobrino y Luis Balbino discuten la reaparición de Molly Crabapple en nuestras vidas podcasteras, la guerra civil entre las fuerzas woke y socialistas de la ciudad de Nueva York, la renuncia del Secretario de Desarrollo Económico y Comercio, Sebastián Negrón Reichard, y la plana mayor del departamento, la demanda del Municipio de San Juan contra la Autoridad de Acueductos y Alcantarillados y mucho más.Este episodio es presentado a ustedes por:- San Juan Lincoln, donde encontrarán una exclusiva colección de vehículos de lujo diseñados para satisfacer todas sus expectativas. Allí descubrirán la presencia imponente de la Navigator, la elegancia dinámica de la Aviator, la sofisticación refinada de la Corsair y el diseño moderno de la Nautilus. Pueden visitarlos en la Avenida Kennedy en San Juan para explorar lo que una SUV de lujo debe ser. Su equipo está listo para ofrecerles una experiencia inigualable. Para más información u orientación, llamen al 787-331-5023.- La Tigre,  el primer destino en Puerto Rico para encontrar una progresiva selección de moda Italiana, orientada a una nueva generación de profesionales que reconocen que una imagen bien curada puede aportar a nuestro progreso profesional. Detrás de La Tigre, se encuentra un selecto grupo de expertos en moda y estilo personal, que te ayudarán a elaborar una imagen con opciones de ropa a la medida y al detal de origen Italiano para él, y colecciones europeas para ella. Visiten la boutique de La Tigre ubicada en Ciudadela en Santurce o síganlos en Instagram en @shoplatigre.Por favor suscribirse a La Trinchera con Christian Sobrino en su plataforma favorita de podcasts y compartan este episodio con sus amistades.Para contactar a Christian Sobrino y #PodcastLaTrinchera, nada mejor que mediante las siguientes plataformas:Facebook: @PodcastLaTrincheraTwitter: @zobrinovichInstagram: zobrinovichTikTok: @podcastlatrincheraYouTube: @PodcastLaTrinchera

We’re entranced in Molly Crabapple’s reanimation of the Jewish Labour Bund in Europe and Russia, of a century ago. Yiddish Socialism was a nickname. You could plausibly describe that old Bund as forgotten but not ... The post Here Where We Live Is Our Country appeared first on Open Source with Christopher Lydon.

The history of Jewish revolutionary groups is fraught with complexity, violence and surprise — as author Molly Crabapple discovered when she traveled across eastern Europe to dig through the archives of her ancestors. Her journey is the subject of her new book, Here Where We Live Is Our Country. In it, Crabapple reveals the largely-forgotten history of the Jewish Labor Bund: a secular, anti-Zionist, and socialist political party founded in the late 1800s. In today's episode, Crabapple joins NPR's Leila Fadel to discuss the book, and why the Bund remains so controversial to this day.  To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedaySee pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

How might we be inspired by a worldwide community of Yiddish-speaking Jews, whose cultural identity was broadly internationalist?David Mazower is the author of Yiddish: A Global Culture, which accompanies an exhibit he curated at the Yiddish Book Center in Amherst, Massachusetts.Our conversation explores the heritage and influence of Yiddish – the everyday language of East European Jews, which became a diaspora lingua franca and the medium for bold creativity, from avant-garde art and subversive writing to radical politics that shaped socialist and anarchist movements.David's great-grandfather, Sholem Asch, was a pioneering Yiddishist writer and another of his ancestors – his father's father Max – was a revolutionary in tsarist Russia, becoming involved with a socialist party called the Bund, whose deeply humanistic perspective has since been marginalised.As David observes, the impact of the Bund is now the focus of a book by Molly Crabapple (titled Here Where We Live is Our Country). And an outing of London Bundists from the early 1900s features on the cover of David's book.Before joining the Yiddish Book Center as its research bibliographer and editorial director, David was a senior journalist with BBC World News and deputy curator of the Jewish Museum London. He writes for a range of publications on topics from Yiddish theatre and popular culture to British Jewish history.Selected highlights from the exhibit that accompanies his book are available here. There's also a digital guide via the Bloomberg Connects app (see here for details).--

Last week was one of the roughest for Democrats since Trump won the election in 2024: The Supreme Court ended Black congressional representation in most of the South and opened the door to the creation of several more Republican House seats, and then the Virginia Supreme Court ruled that the state's initiative that created four more Democratic House seats was invalid. Nevertheless, Trump is so unpopular that Democrats remain strong favorites to retake the House in November. Harold Meyerson comments.Also: During the first part of the 20th century, 100,000 Eastern European Jews joined a socialist organization that opposed Zionism. Their organization we call the Bund, and they believed that Jews should fight for full rights wherever they were, not for a new homeland somewhere else. Their motto was “Here, where we live, is our country”—that's the title of a new book about them by Molly Crabapple. Adam Hochschild comments.Plus: Historians on the March: Tennessee's anti-communist curriculum.

Last week was one of the roughest for Democrats since Trump won the election in 2024 - the Supreme Court ended Black congressional representation in most of the South and opened the door to the creation of several more Republican House seats – and then the Virginia Supreme Court ruled that the state's initiative that created four more Democratic House seats was invalid. Nevertheless Trump is so unpopular that Democrats remain strong favorites to retake the House in November. Harold Meyerson comments.Also: During the first part of the 20th century, 100,000 Eastern European Jews joined a socialist organization that opposed Zionism. Their organization we call the Bund, and they believed that Jews should fight for full rights wherever they were, not for a new homeland somewhere else. Their motto was “here, where we live, is our country”--that's the title of a new book by Molly Crabapple. Adam Hochschild comments.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Last week was one of the roughest for Democrats since Trump won the election in 2024 - the Supreme Court ended Black congressional representation in most of the South and opened the door to the creation of several more Republican House seats – and then the Virginia Supreme Court ruled that the state's initiative that created four more Democratic House seats was invalid. Nevertheless Trump is so unpopular that Democrats remain strong favorites to retake the House in November. Harold Meyerson comments.Also: During the first part of the 20th century, 100,000 Eastern European Jews joined a socialist organization that opposed Zionism. Their organization we call the Bund, and they believed that Jews should fight for full rights wherever they were, not for a new homeland somewhere else. Their motto was “here, where we live, is our country”--that's the title of a new book by Molly Crabapple. Adam Hochschild comments.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

A Sunsetting Trump's Demonstratively Declining Mental and Physical Abilities | Trump's Weak Hand as He Meets With Xi | Molly Crabapple on the Jewish Labor Bund's Struggle For a Secular, Internationalist Society Based on Socialist Ideals of Equality and Dignity backgroundbriefing.org/donate x.com/ianmastersmedia bsky.app/profile/ianmastersmedia.bsky.social facebook.com/ianmastersmedia

Kate & Leah talk to Melissa about her new book, The U.S. Constitution: A Comprehensive and Annotated Guide for the Modern Reader, or, as we like to call it at Strict HQ, The Constitution (Melissa's Version). Then all three unravel what happened with the Virginia Supreme Court invalidating voter-approved redistricting maps, along with other voting-related shenanigans in the wake of Callais. Finally, they talk with Nancy Northup, president and CEO of the Center for Reproductive Rights, about why and how anti-abortion forces are once again targeting mifepristone.Favorite things: Kate: Yesteryear by Caro Claire Burke; NYC Mayor Mamdani skipping the Met Gala to hang out with fashion industry workers; Chris Hayes' interview with Molly Crabapple on Why Is This Happening?; the Artemis II crew answering kids' questions on The Daily Leah: Middle of Nowhere, Kacey Musgraves; Dancing on the Wall, MUNA; “Who Will Stand Up to the Supreme Court Justices?” By Niko Bowie and Daphna Renan; “John Roberts Believes in an America That Doesn't Exist,” by Jamelle Bouie Melissa: Amy Sherald's Met Gala look Get tickets for STRICT SCRUTINY LIVE – The Bad Decisions Tour 2026! 6/20/26 – New York City Learn more: http://crooked.com/eventsBuy Melissa's book, The U.S. Constitution: A Comprehensive and Annotated Guide for the Modern ReaderPreorder a signed paperback of Leah's book, Lawless, here.Follow us on Instagram, Threads, and Bluesky

The Jewish Bund was one of the most revolutionary political parties of the twentieth century. It aimed to build a socialist alternative to Zionism. Molly Crabapple is an artist and the author of the New York Times Bestseller “Here Where We Live is Our Country: The Story of the Jewish Bund,” which tells the story of the movement. She joins WITHpod to discuss how she found her way to this story, the rise and fall of the Jewish Labor Bund and more. Sign up for MS NOW Premium on Apple Podcasts to listen to this show and other MS podcasts without ads. You'll also get exclusive bonus content from this and other shows. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

We talk to author and illustrator Molly Crabapple about her new book "Here Where We Live Is Our Country: The Story of the Jewish Bund." But first, some fun news items including the "doxxing" of a certain internet personality. LA Solidarity Ride and Community Fest: https://www.instagram.com/p/DXMxyt_iZJj/?igsh=NTc4MTIwNjQ2YQ== Sub to our bonus feed for extra episodes at Patreon.com/poddamnamerica

One of the elements that makes Molly Crabapple’s latest book so remarkable is, not only the remarkable stories it unearths and retells, but more specifically how she tells these stories, these erased stories, these stories meant to be forgotten. Not only does she tell them in a dynamic, often thrilling, way, she also does so in a way that somehow opens up the history and gifts it to contemporary movements, organizers and their artists. You can feel how alive to the moment Molly’s book of history is in the words of everyone who praises it. Whether Naomi Klein calling it a “gripping, human story of love, idealism and betrayal” or Tareq Baconi “a road map for our revolution today” and we explore this together—how to write, in whatever genre, in a way that offers one’s work to anti-colonial movements of liberation. A great conversation to pair today’s with is the recent episode with Jordy Rosenberg, who asks many of these same questions, but within the realm of fiction. After Jordy and my conversation had aired, Jordy sent me a second contribution to the bonus audio archive, a reading of the Palestinian writer and performance artist Fargo Tbakhi’s “Notes on Craft: Writing in the Hour of Genocide.” This joins many contributions from past guests whether from Naomi Klein, Dionne Brand, Isabella Hammad, or Omar El Akkad. You can check out all the potential rewards and benefits of joining the Between the Covers community, including access to the bonus audio archive, at the show’s Patreon page. Finally here is the BookShop for today.

Catching up with Molly Crabapple about Here Where We Live Is Our Country: The Story of the Jewish Bund, available TODAY!! See also Molly's "My Great Grandfather was a Bundist" in New York Review of Books Support the show / get bonus content at http://patreon.com/thiswreckageSong: New Yiddish Chorale/Workers Circle Chorus feat. Adrienne Cooper - Barikadn (Barricades)

„Das Sein bestimmt das Bewusstsein!” Wer hat's gesagt? Na? Wieder keiner? Der olle Marx war's!Das wussten natürlich alle Lob und Verriss-Leserinnen aber vor hundert Jahren wusste das so ziemlich jeder, denn Karl Marx war noch ein bestimmender Philosoph und keine versubstantivierte Ideologie. Man baute seine politischen Bewegungen um, gegen oder für seine Schriften. Kommunisten, Sozialisten, Sozialdemokraten gegen Nationalisten, Zentrums- und Volksparteien – das waren nur ein Bruchteil der neuen politischen Bewegungen. Das endete in den Auswüchsen der Weimarer Republik mit ihren siebzehn Parteien im Reichstag und der daraus folgenden Lähmung des Parlamentarismus, aber auch die Nachbarländer kamen in den Strudel dieses Chaos, es war die Zeit. Ins polnische Parlament, den Sejm, kamen und gingen über die jahre gar zweiunddreißig Parteien. Politik, so kommt es einem mit dem Blick von heute vor, war Lebenszweck, war Sport, war Theater. Nach der Erstarrung des Lebens in den immergleichen Kreisläufen des Mittelalters, aufgebrochen durch die industrielle Revolution, die den Reichtum nur vom Adel zum Bürgertum verteilte, gab Marx den Habenichtsen Ideen (und Wege, diese zu verwirklichen!) an die Hand, um die Gesellschaft zu ihren Gunsten zu verändern. Der Erste Weltkrieg hatte zudem die Verkrustungen auf nationaler Ebene brutal aufgebrochen, mit dem Nebeneffekt zwei Dutzend Monarchien zu beenden. Neue Länder entstanden, alte vereinigten sich wieder und all diese Staaten brauchten neue Gesellschaftsmodelle.Die Unordnung war aufregend für alle, die nach vorn wollten, (ver-)störend für alle, die wollten, dass sich nichts verändere oder die einfach keine Chance sahen, am großen Rennen in die Zukunft teilzunehmen. Für alle, die gar nicht durchsahen oder durchsehen wollten, gab es natürlich immer die Alternative, auf die Basics zurückzufallen - der gute alte Rassismus: die dort zu braun, der zu blond, dem seine Nase zu platt und die andere zu hakelig. Das erdet und reduziert die Komplexität und die Juden haben eh schon immer gestört. Da können wir Deutsche mitreden, da sind wir Experten. Weshalb wir da eben eher nicht mitreden sollten und im Gegenteil recht dankbar sind, wenn andere die Stories erzählen vom Leben vor der Shoah: vom Überleben, vom Sterben und vom Töten. Über all das ist intensiv, gewalttätig und unendlich faszinierend zu lesen in “Der Boxer”, einem Roman, im Warschau der dreißiger Jahre spielend, in dem der polnische Autor Szczepan Twardoch uns die schwere Arbeit abnimmt, ein Bild von jüdischem Leben zu zeichnen in und außerhalb dessen, was von den Deutschen nur wenige Jahre später zum “Warschauer Ghetto” gemacht wurde – nicht, dass die polnische Mehrheit in der Stadt viel dagegen gehabt hätte. Aber das Buch hat eben nichts mit solchem Schwarz-Weiß-Holzschnitt zu tun, der herauskommen müssen, wenn das Tätervolk vom Opfervolk berichtet.Die Erzählerstimme im Buch ist Mojżesz, ein zur Handlung 1937 siebzehnjähriger Junge, streng jüdisch erzogen, lebend in Warschau, und da es damals nicht “ein” Warschau gab, braucht es die Qualifizierung: “links der Weichsel”, zwischen Nalewki und Zamenhofstraße, in Mirów und Muranów, dort, wo Warschau nicht wie Paris roch, sondern wie der Orient, wie uns Twardoch erzählt. Wir sind nicht wirklich lange im Buch, als wir erfahren, das Mojżesz Halbwaise ist. Sein Vater Naum Bernstein wurde umgebracht, gerade eben erst, zwei Tage vorm Pessachfest, und eigentlich müsste er in den Tempel, und wer bestellt eigentlich das Kaddisch, seine Mutter weint den ganzen Tag, sein Bruder ist zu klein dafür, also eigentlich sein Job, aber er hat Karten bekommen für den Boxkampf in der Stadt, das Team von Legia vs. dem von Makkabi, und wir lernen bald, wenn wir nicht ganz so firm sind in den ethnischen Hintergründen beider Teamnamen, hier kämpfen Polen gegen Juden, hier ist Prestige im Spiel oder sagen wir einfach: Rassismus. Die Eintrittskarte hat er von seinem Helden bekommen, Jakub Shapiro, dem Boxmeister des Viertels, ein schöner Mann, ein starker, ein reicher zudem, Frauen lieben ihn, Männer beneiden ihn und ausgerechnet der hat dem kleinen Mojżesz ein Ticket geschenkt und er darf mit ihm hinterher im Auto fahren, einem roten Chrysler, der aber nicht dem Boxer selbst gehört (der hat “nur” einen Buick), sondern seinem Chef, der unverholen “Der Pate” genannt wird und genau das ist, ein Pate, Chef der jüdischen Unterwelt: Schutzgeld, Prostitution, Drogen, das ganze Programm, der Boss im Viertel, der vor genau zwei Tagen Jakub, dem Boxer, den Auftrag gab, Mojżesz' Vater umzubringen. Und mit den beiden sitzt Mojżesz jetzt im Auto. Oha. Ok. Jesus… Sorry. Falscher Zungenschlag.Das alles weiß in dem Augenblick nur der erzählende Mojżesz, der das als fast Siebzigjähriger aufschreibt. Wir erfahrne das immer wieder in Zwischensätzen, kurz herausgerissen aus der Geschichte vom jungen Mojżesz, wie der alte kurz von der Schreibmaschine aufsteht und auf die Dizengoff Street in Tel Aviv runterschaut, aus seinem Apartment, das er viel zu selten verlässt.Warum schenkt der Mörder dem Sohn des Opfers Tickets zum Boxkampf? Warum, wie es sich entwickelt, nimmt er ihn in seine Obhut, lässt ihn bei sich leben, trainiert mit ihm, macht ihn zu seiner rechten Hand? Schuldgefühle? Scham? Nach einem Jahrzehnt im Dienst des “Paten” eigentlich unwahrscheinlich, wird uns dieses Rätsel bis zum Ende des Romans begleiten, ja, es ist das zentrale Thema des Buches und am Ende ein Baustein für so manche Wendung.Nicht nur mit dem Mord, sondern mit der Art und Weise desselben setzt das Buch den Ton für eine Gangsterstory, einen politischen Thriller, ein Moralitätenstück angesiedelt im Polen zwischen 1918 und 1939. Denn der Mord war brutal, Naum Bernstein wurde nicht einfach umgebracht, weil er seine Schulden nicht bezahlen konnte, er wurde gevierteilt und in die verschiedenen Seen in und um Warschau verteilt, in Teile zerhackt wie der weiße Hahn, den man zu Pessach über dem Kopf schwenkt und dem man hinterher den Kopf abschlägt auf dass man von allen Sünden erlöst sei. Religion, you know.So brutal ging es in der gesamten zweiten polnischen Republik zu, wie sie genannt wurde. Entstanden war sie aus den Wirren des ersten Weltkrieges und der Oktoberrevolution, nach denen Polen die Chance zur Wiedervereinigung ergriff und verspielte. Wie sich Polen mit wem wiedervereinigte? Frag Chat. Wer sich in Polen politisch mit wem stritt, zoffte, intrigierte, putschte: versuch es zu verstehen, überlies es, lies den hervorragenden Anhang des hervorragenden Übersetzers Olaf Kühl zuerst oder: Frag Chat. Es ist endlos kompoliziert.Derart verworrene politische Chaosjahre künstlerisch zu verarbeiten kann enorm abturnend sein, wie ich kürzlich lernen musste, in einem dreistündigen Theaterstück, geschrieben nur ein paar Jahre vorm Handlungszeitraum des “Boxer” vom doch großen Hans Fallada. Das Stück “Bauern, Bonzen und Bomben” wurde gegeben am Dresdner Staatsschauspiel und es wurde einzig durch die Schauspieler und vor allem das Bühnenbild herausgerissen. Denn ob die Sozis, der Bauernpartei oder den Nationalen gerade im Bürgermeisteramt einer holsteinischen Kleinstadt Demonstrationen erlauben oder verbieten, interessierte die Theatergängerin 1931 sicherlich, eventuell, hundert Jahre später aber eher nicht. Denn so etwas spannend zu erzählen braucht es keinen begnadeten und innovativen Autoren der “Neuen Sachlichkeit” wie Hans Fallada, da braucht es einen Punk, einen atemlosen, rücksichtslosen Schreiber wie Szczepan Twardoch der uns die politischen Wirren des Warschau zwischen den Weltkriegen in einer Brutalität, Schmutzigkeit und oft kaum auszuhalten schmerzevoll in einem Stakkato von Szene zu Szene zu Szene um die Ohren haut - wir kommen oft genug nicht hinterher. Nicht nur wegen der real existierenden polnischen Politikernamen, die wir nur anhand der Diakritika an den Buchstaben ausseinanderhalten können, jeder Ausspracheversuch muss scheitern. Der mit P und durchgestrichen I ist Präsident (Ja, war Józef Piłsudski nicht wirklich, it's complicated), der mit L und durchgestrichenem T der Staatsanwalt, wer war nochmal der mit D und dem Schwänzchen unter dem E?Geschrieben ist das Ganze in einem mir sonst eher unangenehmen wilden Herumgespringe in der Zeit, von 1929 nach 1918 nach 1926 nach 1988 und wieder zurück, dazu die vielen Namen, die nur mit hartem Training bei Ellroy oder Pynchon zu durchsteigen (oder zu ignorieren) sind – es ergibt sich ein Vertigo, wie es die Zeitzeugen der Epoche selbst erlebt haben müssen und welches wir Szczepan Twardoch mal als gewolltes Stilmittel unterstellen. Nach ein paar Seiten Eingewöhnung wandelt sich das leicht verwirrte Lesen in manisches Pageturnen – man legt das Buch nicht mehr weg, man will die nächste Episode, die nächste kleine Backstory eines Charakters (oft im Sinne von “was ein Charakter!”) lesen. Ja, das Buch ist lang, aber es ist brillant und unglaublich gut übersetzt.Und so hangelt man sich also durch den politischen Urwald der 2. polnischen Republik und lernt doch viel, wenn man sich drauf einlässt, und es wird nicht einfacher dadurch, dass praktisch alle handelnden Personen permanent Wodka trinken, koksen, Frauen vergewaltigen, politische Gegner misshandeln, einsperren, umbringen – oder sich im allerbesten Fall nur mit ihnen prügeln. Wir sind nach spätestens hundert Seiten so abgestumpft, dass wir erschrocken Mitleid mit Mördern haben, Sympathie für Rechtsradikale entwickeln, Geldeintreiber als wertvolle Ordnungsmacht der Gesellschaft akzeptieren. Nur Vergewaltiger bleiben geradeso außerhalb unseres Verständnishorizontes, aber auch nur, weil Twardoch sich entscheidet, diese am Ende doch eindeutig als Bösewichte zu belassen. Alle anderen bekommen eine schwere Kindheit, ein Kriegstrauma, eine körperliche Missbildung (und was für eine, Herrgott, wurde mir schlecht!) als mildernde Umstände in die Story geschrieben, damit wir uns ja nicht zu sicher sind in unseren Urteilen.Über allem hängt die Fata Morgana eines jüdischen Staates in Palästina. Manche träumen von einem Neuanfang in Eretz Jisra'el andere warnen davor, denn ist das nicht die endgültige Niederlage, die Viertel in die man verbannt wurde freiwillig zu verlassen? Und was ist, wenn das wieder nur ein Ghetto, diesmal von Brittanias Gnaden ist? "Und was ist eigentlich mit den Palästinensern die dort leben?”, fragen besonders Weitsichtige.Das sind sie also, die berühmten Umstände, dieses “Sein”, das das Bewusstsein prägt, welches Menschen in harten Situationen hart werden lässt und in brutalen brutal. In ihren Vierteln lebend seit Jahrhunderten, chancenlos auszubrechen, entwickeln die Warschauer Juden Codes, Verhaltensmuster, “Coping Mechanisms” würde man heute sagen; es bilden sich brutale Machtstrukturen heraus wie in allen zu engen Gesellschaften, Schutz wird geboten und bezahlt und, wenn nicht, entzogen, es entstehen innerhalb der Unterdrückten Unterdrücker und Unterdrückte, innerhalb der Verlierer Verlierer und Gewinner. Druck von außen, in Warschau der fast prähistorische Antisemitismus, erzeugt kaum Gegendruck nach außen, sondern einen inhumanen solchen nach innen.“Der Boxer” ist eine Betrachtung dieser Mechanismen aus mindestens drei Perspektiven: Da ist die Erfolgsgeschichte des Gangsters Jakub Shapiro, dem Boxer, wie er zurückgekehrt aus dem Krieg der Polen gegen die Sowjetunion, bei dem er als Soldat auf der Siegerseite stand (was eher Zufall war), zu etwas bringt: im Sport, im Leben, in der Unterwelt. Bei all seiner Brutalität fiebern wir mit ihm mit und halten zum Schläger, zum Mörder.Da ist die traurige Geschichte von Mojżesz Bernstein, der seinen Vater verliert und einen Vater gewinnt, in Jakub, der Junge, der, hätte man nicht seinen Vater ermordet, wohl nicht das geworden wäre, was er heute ist.Und da ist die Perspektive des alten Mojżesz, unseres Erzählers mit erfüllter Vergangenheit, Brigadegeneral a.D. in Tel Aviv, Ende der 80er.Alle drei haben ein Leben gelebt, das nicht einfach war und Kompromisse erforderte. Jeder der drei stellt sich moralisch nicht frei. Jakub, der Boxer, der Mörder, leistet Buße, indem er Mojżesz annimmt. Dieser, der Junggangster, hat am Ende keine Wahl. Was soll er machen, fragt er sich? Nicht mit seinem Helden mitrennen, zurück in das ärmliche vaterlose Haus? Er lässt seine Mutter und seinen Bruder im Stich, bewusst. Und derselbe Mojżesz, am Ende seines Lebens, der Brigadegeneral in der israelischen Armee war, hatte doch auch keine Wahl, so sagt er sich immer wieder, was soll man machen als Israeli mit Arabern um einen herum? Die Araber nicht erschießen?Wir entwickeln Verständnis und merken genauso zu spät wie unsere Protagonisten, dass man irgendwann auf dem Weg zum Monsterwerden nicht stehen geblieben ist. Nicht “Neyn! Nie! Lo!” gesagt hat und dass man all seine moralistischen Begründungen in die Tonne treten kann, wenn man sich nicht zeitig genug wiederfindet, sich nicht zeitig genug selbst widerspricht, eine Grenze zieht, nicht mehr jedes Mittel zum Zweck erklärt und sich selbst und andere belügt.P.S. Für eine mildere und differenziertere Geschichte aus dieser Zeit sei (ungelesen) dieses nagelneuer Buch empfohlen: “Here Where We Live Is Our Country: The Story of the Jewish Bund” von Molly Crabapple (klingt wirklich vielversprechend) und dieser Klassiker aus dem Jahr 1941 “Who Goes Nazi?” by Dorothy Thompson. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit lobundverriss.substack.com

In 1897, a small group of Jewish Marxists on the outskirts of the Russian empire founded the General Jewish Labour Bund. The Bundists were revolutionary socialists, unapologetic internationalists, champions of the Yiddish language, and implacable foes of nationalism of every stripe, including (especially) Zionism. Bundists helped found the Russian Social Democratic Labour Party, organized militias to defend Jews against pogroms, fought on the frontlines of the 1905 and 1917 revolutions, fought fascists wherever they found them, and helped lead the Warsaw Ghetto uprising.  The history of the Bund is largely forgotten today — in part because Bundists were such early and prescient critics of Zionism. As one of its leader said in 1933, "If Jewish nationalism, as a general rule, is not bloodthirsty, this is only out of necessity, not virtue; if an appropriate opportunity arose, Jewish nationalism would show its sharp teeth and nails no less than the nationalisms of other nations.” Thankfully, Crabapple spent the last seven years rediscovering the Bund's fascinating history for her new book: Here Where We Live Is Our Country: The Story of the Jewish Bund. It was thrilling to have her on to discuss it. “For leftist Jews longing for resources within our own past for combating the Zionist death cult," Crabapple says, "the Bund is a model.” Further Reading: Molly Crabapple, Here Where We Live Is Our Country: The Story of the Jewish Bund, (April 2026) Sam Adler-Bell, "For leftist Jews, the Bund is a model': the radical history behind one of Europe's biggest socialist movements," The Guardian, Apr 7, 2026. Max Strasser, "What Does Judaism Look Like Without Zionism?" NYTimes, Apr 6, 2026.  *BUY TICKETS TO SEE MATT AND SAM AND MIKE DUNCAN IN NEW YORK* ...and don't forget to subscribe to Know Your Enemy on Patreon for access to all of our bonus episodes!

Molly Crabapple is an artist and author from New York. She's the author of the forthcoming book "Here Where We Live is Our Country: The Story of the Jewish Bund". The Bund was a secular, progressive Jewish labour movement that existed in the first half of the 20th century in eastern and central Europe. The Bund, simply meaning organisation in Yiddish, was exactly the opposite of Zionism. They promoted the idea of hereness, which is to say that they did not need to go oppress Palestinians in a far off land to gain their freedom: They would stay and fight and liberate themselves. In the end, of course, the movement was destroyed by Hitler and Stalin. But today the movement serves as a powerful and important counterweight to the traditional Zionist narrative. Jews were not weak! They did not go like lamb to the slaughter! They fought back, and did everything they could to preserve Jewish dignity, Jewish life and Jewish progress, and their memory lives on. To listen to the episode ad-free subscribe to our Patreon at https://www.patreon.com/kalampodcastFollow us on Instagram at https://www.instagram.com/kalampodcast/ Hosted on Acast. See acast.com/privacy for more information.

It's Fun Day Monday on The Majority Report   On today's program:   Donald Trump is bringing the U.S. deep into a quagmire as reports show he is considering sending over thousands of troops on top of the 2-3k soldiers from the 82nd Airborne already on their way.   Trump continues to talk publicly about how he has been advised to not use the world 'war' and instead say 'military operation'. Really defeats the purpose.   The president claims that Iran gifted the U.S. "20 big, big boats filled with oil".   Artist and author, Molly Crabapple joins to discuss her new book: Here Where We Live is Our Country: The Story of the Jewish Bund    In the Fun Half:   Avi Lewis, friend of the show and full-throated leftist, is elected as the new leader of Canada's New Democratic Party   RFK, Jr performs a humiliation ritual at CPAC as speaks about Trump as if he is some mythological genius.   Emma antagonizes three very untalented pundits on CNN by daring to mention the genocide in Gaza.   Dave Rubin, Jillian Michaels and Dr. Drew from the Actual Friends podcast have a deranged conversation that cannot be explained. Just listen for yourselves.   all that and more     To connect and organize with your local ICE rapid response team visit ICERRT.com The Congress switchboard number is (202) 224-3121. You can use this number to connect with either the U.S. Senate or the House of Representatives. Follow us on TikTok here: https://www.tiktok.com/@majorityreportfm Check us out on Twitch here: https://www.twitch.tv/themajorityreport Find our Rumble stream here: https://rumble.com/user/majorityreport Check out our alt YouTube channel here: https://www.youtube.com/majorityreportlive Gift a Majority Report subscription here: https://fans.fm/majority/gift Subscribe to the AMQuickie newsletter here: https://am-quickie.ghost.io/ Join the Majority Report Discord! https://majoritydiscord.com/ Get all your MR merch at our store: https://shop.majorityreportradio.com/ Get the free Majority Report App!: https://majority.fm/app Go to https://JustCoffee.coop and use coupon code majority to get 10% off your purchase Check out today's sponsors: DELETEME: Get 20% off your DeleteMe plan when you go to joindeleteme.com/MAJORITY and use promo code MAJORITY at checkout. FAST GROWING TREES: Get 20% off your first purchase.  FastGrowingTrees.com/majority SMALLS: For a limited time, get 60% off your first order, plus free shipping, when you head to Smalls.com/majority. SUNSET LAKE: From 3/27-3/30 we have a BOGO Use coupon code "Left Is Best" (all one word) for 20% off of your entire order at SunsetLakeCBD.com  Follow the Majority Report crew on Twitter: @SamSeder @EmmaVigeland @MattLech On Instagram: @MrBryanVokey Check out Matt's show, Left Reckoning, on YouTube, and subscribe on Patreon! https://www.patreon.com/leftreckoning Check out Matt Binder's YouTube channel: https://www.youtube.com/mattbinder Subscribe to Brandon's show The Discourse on Patreon! https://www.patreon.com/ExpandTheDiscourse Check out Ava Raiza's music here! https://avaraiza.bandcamp.com

Hello!Today, we have on a guest we're very excited about: Molly Crabapple who has a new book coming out called Here Where We Live is Our Country: The Story of the Jewish Bund. We talk about the years she put into this book, which required her to learn Yiddish and travel the world, the realities of identity, what lessons the Bund has for today, and then we talk about Molly's fight against AI, which has been stealing her illustrations for years. One of the best episodes we've done in a while so I hope you'll take a listen! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit goodbye.substack.com/subscribe

Margaret continues her talk with Molly Crabapple about her book Here Where We Live is Our Country Preorder from Firestorm Co-op here: https://firestorm.coop/products/24295-here-where-we-live-is-our-country.html?referral=killjoySee omnystudio.com/listener for privacy information.

Margaret talks with Molly Crabapple about her book Here Where We Live is Our Country. Preorder from Firestorm Co-op here: https://firestorm.coop/products/24295-here-where-we-live-is-our-country.html?referral=killjoySee omnystudio.com/listener for privacy information.

Molly Crabapple is an artist and writer. She is the co-author of Brothers of the Gun, an illustrated collaboration with Syrian war journalist Marwan Hisham, which was a NY Times Notable Book. Her memoir, Drawing Blood, received global praise and attention. Her animated films have won two Emmys and an Edward R. Murrow Award. Molly's reportage has been published in the New York Times, New York Review of Books, The Paris Review, Vanity Fair, The Guardian, The New Yorker and Rolling Stone. She was the 2019 artist-in-residence at NYU's Hagop Kevorkian Center for Near Eastern Studies in 2019, a New America fellow in 2020, and the winner of the Bernhardt Labor Journalism Award in 2022. In 2023, she was a fellow at the Dorothy and Lewis B. Cullman Center for Scholars and Writers at the New York Public Library.Molly's third book, ⁠Here Where We Live is Our Country: The Story of the Jewish Bund,⁠ will be released by One World/Random House in April 2026. Please PRE-ORDER if you'd like to support her work and artistry!Molly websiteLeah website

Writer and artist Molly Crabapple visited with "The Shmooze" to speak about her forthcoming book, "Here Where We Live Is Our Country", the first popular history of the Bund. Molly re-creates the Bundists' extraordinary world through dramatic portraits of insurgent poets and antireligious rebels, clandestine revolutionaries and lovers on the barricades. In the aftermath of the Holocaust, Sam Rothbort created “memory paintings” with the hope of resurrecting the vanished world of his shtetl childhood. Decades later, his great-granddaughter Molly discovered these paintings, and one stood out: a girl, her dress the color of sky, hurling a rock through a cottage window. It was this painting—"Itka the Bundist, Breaking Windows"—that introduced Molly to the Jewish Labor Bund. Episode 406 March 5, 2026 Amherst, MA

In the dying days of the Russian Empire, tens of thousands of working-class Yiddish-speaking Jews, radicalized by the triple oppression of capitalism, Tsarism and antisemitism, formed an anti-Zionist socialist party called the Jewish Labour Bund. Hugely influential on the worldwide socialist movement and at its height the largest socialist organization in Russia, the Bund remains for many anti-Zionist Jews (and other socialists) an inspiring example of bravery and committed internationalism in the face of impossible odds. In Episode 90, author and artist Molly Crabapple joins Jay to talk about her new book on the Bund, Here Where We Live is Our Country. In the process of researching this fantastic book, Molly taught herself Yiddish and pored through original sources originally belonging to her great-grandfather, himself a Bundist in his youth. We also discuss the state of antisemitism, real and imagined, in the wake of the Gaza genocide.Show NotesHere Where We Live is Our CountryMolly's websiteMolly's InstagramDefiance by Loubna MrieTheodor Herzl on WikipediaThe Pale of Settlement on WikipediaYiddish on WikipediaHistory of Liberia on WikipediaLinksInstagramMerchfuckingcancelled.comclementinemorrigan.comjaylesoleil.comTheme songFucking Cancelled has no ads and is a supported by our listeners. To help us continue our work, consider subscribing. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.fuckingcancelled.com/subscribe

Matt and Daniel are joined by the author of the forthcoming book ‘Here Where We Live Is Our Country,' Molly Crabapple. They talk through the Jewish Labor Bund, its role in anti-zionism, and then finish with a country anthem ably performed by a server array running so hot you could flash sear a New York Strip on the chassis.Please donate to United Palestinian Appeal: https://upaconnect.org/Preorder ‘Here Where We Live Is Our Country,' Available Aprilhttps://www.penguinrandomhouse.com/books/646320/here-where-we-live-is-our-country-by-molly-crabapple/New Bad Hasbara Merch: https://estoymerchandise.com/collections/bad-hasbara-podcastSubscribe to the Patreon https://www.patreon.com/badhasbaraWhat's The Spin playlist: https://open.spotify.com/playlist/50JoIqCvlxL3QSNj2BsdURSkad Skasbarska playlist: http://bit.ly/skadskasbarskaSubscribe/listen to Bad Hasbara wherever you get your podcasts.Spotify https://spoti.fi/3HgpxDmApple Podcasts https://apple.co/4kizajtSupport this podcast at — https://redcircle.com/bad-hasbara/donationsPrivacy & Opt-Out: https://redcircle.com/privacy

Molly Crabapple is an artist and writer who documents the extremes, from nightclubs to war zones. She's also the author of several books, including Drawing Blood and Brothers of the Gun, a memoir of the Syrian War co-written with Marwan Hisham. We sat down with Crabapple to talk about the difference between words and images, making art in the world, and the power of cartoonists to disrupt fascism.You can read a transcript of this episode here. And check out the following links:Check out our booklist with books recommended for this episode.Read Molly Crabapple's Drawing Blood, and you can pre-order her new book about the Jewish Labor Bund.See Molly's drawings and articles about the Dallas Six and the NYC taxi driver strike. You can also read Molly's interview with Art Spiegelman.Art Spiegelman's comic collaboration with Joe Sacco was published in The New York Review of Books earlier this year. You can check out Sacco's Palestine and his more recent War on Gaza from the library.

Art Spiegelman's Maus almost single-handedly elevated comics from throw-away inserts in newspapers to a serious literary art worthy of winning the highest award in book publishing. But it's not an accident that this book is coming back to us now. Maus was swept once again into the public eye three years ago, when the conservative movement to target marginalized stories took aim at the beloved graphic novel. In this episode, we examine how comic book censorship in the 1950s led to the creation of Maus, and eventually shifted the way we tell stories about resistance, memory, and authoritarianism.You can read a transcript of this episode on our website. Further resources:Check out our booklist with books recommended by Art Spiegelman, and more.Read Amy Kurzweil's Flying Couch and Molly Crabapple's Drawing Blood. You can read more about both of them on their websites.Art Spiegelman's comic collaboration with Joe Sacco was published in The New York Review of Books earlier this year. You can check out Sacco's Palestine and his more recent War on Gaza from the library.Learn more about the Comic Book Legal Defense Fund and the history of comic book censorship.Listen to our interviews with Maia Kobabe, author of Gender Queer, and Mike Curato, author of Flamer from our previous series, Borrowed and Banned.Watch Art Spiegelman discuss MetaMaus with Dan Nadel at Brooklyn Public Library.

Writer, editor, and Founder of Pleasure-Seeking.com, and host of the Pleasure Seeking podcast Camille Sojit Pejcha explore Pejcha's recent sex trend forecast how sex has become a new subversion. AboutCamille Sojit Pejcha is a writer, editor, and the creator of Pleasure-Seeking, a bestselling Substack newsletter and podcast featured in The New York Times for its insights on sex, desire, and modern culture. She covers sexuality, culture, nightlife, literature and art for outlets like T Magazine, W, Slate, and more, and is currently a columnist at Elephant Magazine. Previously, she served as Features Director at Document Journal.Candace Bushnell, Alec Emmy, Donald Trump, John Boswell, Molly Crabapple, Sophia Giovannitti, Martin Luther KingTeam Human is proudly sponsored by Everyone's Earth.Learn more about Everyone's Earth: https://everyonesearth.com/Change Diapers: https://changediapers.com/Cobi Dryer Sheets: https://cobidryersheets.com/Use the code “rush10” to receive 10% off of Cobi Dryer sheets: https://cobidryersheets.com/Support Team Human on Patreon: https://www.patreon.com/teamhumanFollow Team Human with Douglas Rushkoff:Instagram: https:/www.instagram.com/douglasrushkoffBluesky: https://bsky.app/profile/rushkoff.comGet bonus content on Patreon: patreon.com/teamhuman Hosted on Acast. See acast.com/privacy for more information. Hosted on Acast. See acast.com/privacy for more information.

 In The Age of Insecurity, Astra Taylor traces the historical roots of capitalism's reliance on fear and debt, arguing that insecurity is not a flaw but a feature of the system. Drawing on history, myth, and activism, she reveals how confronting our vulnerabilities can become a collective source of power.Stay informed and engaged! Don't miss out on our captivating weekly episodes that dive deep into the heart of our economy, culture, and politics from the past to the present. Please hit the podcast subscribe button if you've yet to subscribe.[Original Release Date:  December 18, 2023] Description:  Can we turn our insecurity into power? Consumer debt stands at $17.29 trillion and many Americans are drowning in debt, with the average household owning over $100 thousand. The climate crisis, threats to democracy, and global wars add more worry to our already stressful lives. In her new book out from House of Anansi Press, “The Age of Insecurity: Coming Together as Things Fall Apart”, writer, filmmaker, organizer, and the 2023 Canadian Broadcasting Corporation Massey Lecturer, Astra Taylor uses mythology. psychology and the history of capitalism to break down the different kinds of insecurities we face, and explore how our insecurities help capitalism flourish. Without it, the system would cease to function, she says. In her years of work as Co-Founder of the Debt Collective, which emerged from Occupy Wall Street, Taylor has used debt as a tool for bringing people together and organizing. She is the author of The Age of Insecurity: Coming Together as Things Fall Apart, Democracy May Not Exist But We'll Miss It When It is Gone, and The People's Platform (winner of the American Book Award), and the director of What Is Democracy?, among other books and films. In this wide-ranging discussion, Astra Taylor and Laura Flanders discuss the history of capitalism, the rights of debtors, and what we can do to lessen insecurity and expand security both as individuals and as a society. All that, plus a commentary from Laura about language and disruption..“There is a debate here about motivation and what motivates us, and we are constantly being told that if people are too secure, that society's going to collapse and that we can't afford to invest in other folks. And I really want to challenge that idea.” - Astra Taylor“. . . When you start talking about [debt] with others, you realize you're actually in the same boat and you start coming together to demand change, to demand debt cancellation, to demand the provision of these public goods. Debt actually can become a source of power.” - Astra TaylorGuest:  Astra Taylor, Co-Founder of the Debt Collective & Author, The Age of Insecurity*(*Bookshop is an online bookstore with a mission to financially support local, independent bookstores. The LF Show is an affiliate of bookshop.org and will receive a small commission if you click through and make a purchase.) This show is made possible by you!  To become a sustaining member go to LauraFlanders.org/donate RESOURCES: Related Laura Flanders Show Episodes:  •  Watch this episode•. Listen to the full uncut conversation or search in this podcast feed 'Astra Taylor, Age of Insecurity'•  Naomi Klein & Astra Taylor: Are We Entering “End Times Fascism”?  Episode and/or Full Uncut•  Peter Linebaugh on International Workers' "May Day" Origins. Plus, Commentary: 19th Century Anarchist Lucy Parsons,  REWIND•. Catastrophic Capitalism: Marjorie Kelly & Edgar Villanueva on “Wealth Supremacy”  Watch / Download Podcast  Download Full Conversation•  Stimulus Checks Every Month?  Watch / Download Podcast Research Articles:•  “Your Debt is Someone Else's Asset” with Astra Taylor illustrated by Molly Crabapple, The Intercept, Watch Here•  “Freedom Dreams:  black Women and the Student Debt Crisis by The Intercept with support by the, Economic Hardship Reporting Project,   Watch Here Full Episode Notes are available HERE. Laura Flanders and Friends Crew: Laura Flanders, along with Sabrina Artel, Jeremiah Cothren, Veronica Delgado, Janet Hernandez, Jeannie Hopper, Gina Kim, Sarah Miller, Nat Needham, David Neuman, and Rory O'Conner. FOLLOW Laura Flanders and FriendsInstagram: https://www.instagram.com/lauraflandersandfriends/Blueky: https://bsky.app/profile/lfandfriends.bsky.socialFacebook: https://www.facebook.com/LauraFlandersAndFriends/Tiktok: https://www.tiktok.com/@lauraflandersandfriendsYouTube: https://www.youtube.com/channel/UCFLRxVeYcB1H7DbuYZQG-lgLinkedin: https://www.linkedin.com/company/lauraflandersandfriendsPatreon: https://www.patreon.com/lauraflandersandfriendsACCESSIBILITY - The broadcast edition of this episode is available with closed captioned by clicking here for our YouTube Channel

For episode 189 of The Fire These Times, Elia Ayoub is joined by friend of the pod Molly Crabapple to talk about the Jewish Labor Bund and how their concept of Doikayt (‘Hereness') can help us build a better world than the hellscape being proposed by techno-dystopianism and end-time fascism. Molly's upcoming book is called “here where we live is our country: the story of the jewish labor bund.” Speaking of end-time fascism, Naomi Klein and Astra Taylor will be joining Elia and Dana El Kurd on TFTT to talk about their essay “The rise of end times fascism.” To get early access to that episode as well as other perks (monthly hangout, movie club, exclusive content and so on) you can join our patreon on Patreon.com/fromtheperiphery The Fire These Times is a proud member of⁠ ⁠From The Periphery (FTP) Media Collective⁠⁠. Check out other projects in our media ecosystem: From The Periphery Podcast, The Mutual Aid Podcast⁠, ⁠Politically Depressed⁠, ⁠Obscuristan⁠, and ⁠Antidote Zine⁠.For more:Elia Ayoub is on ⁠⁠Bluesky⁠⁠, ⁠Mastodon⁠, ⁠⁠Instagram⁠⁠ and blogs at ⁠Hauntologies.net⁠ Molly has a website and newsletterThe Fire These Times is on Bluesky,⁠ IG⁠ and⁠ YouTube⁠ and has a⁠ ⁠website⁠⁠ ⁠⁠⁠From The Periphery is on⁠ ⁠Patreon⁠⁠, ⁠Bluesky⁠, ⁠⁠YouTube⁠⁠,⁠ Instagram⁠, and has a⁠ website⁠⁠Transcriptions: Transcriptions are done by⁠ Antidote Zine⁠ and will be published on⁠ The Fire These Times' transcript archive⁠.Credits:Elia Ayoub (host, producer, sound editor, episode design), ⁠⁠Rap and Revenge⁠⁠⁠⁠⁠⁠ (Music), ⁠⁠Wenyi Geng⁠⁠⁠⁠⁠⁠ (TFTT theme design), ⁠⁠Hisham Rifai⁠⁠⁠⁠ (FTP theme design) and ⁠⁠Molly Crabapple⁠⁠⁠⁠⁠⁠⁠ (FTP team profile pics). Molly's portrait on the cover photo is also done by her.

Artist and writer Molly Crabapple helps us retrieve the purpose of the artist - particularly in hard times.About Molly Crabapple:Molly Crabapple is an artist and writer whose inspirations include Toulouse Lautrec, Diego Rivera and Goya's ‘The Disasters of War.' She is the co-author of Brothers of the Gun, an illustrated collaboration with Syrian war journalist Marwan Hisham, which was a NY Times Notable Book and long-listed for the 2018 National Book Award. Her memoir, Drawing Blood, received global praise and attention. Her animated films have been nominated for three Emmys and won an Edward R. Murrow Award.Team Human is made possible thanks to the generous support of our listeners on Patreon. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Artist/writer/general badass Molly Crabapple (@MollyCrabapple) joins the program to talk Luigi, generative AI, and the place of art and beauty in radical movements. Plus: how Jamie and Molly's shared background in the naked girl business helped them along on their political journeys. Check out Molly's many projects and buy her art at MollyCrabapple.com Sign up as a supporter at Patreon.com/partygirls to get access to our Discord, a shout out on the pod, and all bonus content. Follow us on ALL the Socials: Instagram: @party.girls.pod YouTube: @partygirlspod TikTok: @party.girls.pod Leave us a nice review on Apple podcasts if you feel so inclined :)

Not many people today know about the radical history of the Jewish Labor Bund, the Jewish socialist party founded within the Russian Empire in 1897—but they should. Understanding the Bund is essential for understanding the long and critically relevant tradition of Jewish anti-Zionism. “From the Bund's very earliest days,” artist and author Molly Crabapple says, members “saw that if there was an attempt to create a Jewish ethno-state in Palestine, it would mean a state of eternal war with both the neighboring countries [and] the Palestinians… inside that country.”In this episode of The Marc Steiner Show, Marc speaks with Crabapple about what the history of the Bund can teach us today in the midst of Israel's genocidal war on Palestine, and about how anti-Zionist Jews, including Crabapple herself, continue to fight for a socialist alternative to Zionism.Studio Production: David HebdenAudio Post-Production: Alina NehlichHelp us continue producing radically independent news and in-depth analysis by following us and becoming a monthly sustainer.Sign up for our newsletterLike us on FacebookFollow us on TwitterDonate to support this podcast

Not many people today know about the radical history of the Jewish Labor Bund, the Jewish socialist party founded within the Russian Empire in 1897—but they should. Understanding the Bund is essential for understanding the long and critically relevant tradition of Jewish anti-Zionism. “From the Bund's very earliest days,” artist and author Molly Crabapple says, members “saw that if there was an attempt to create a Jewish ethno-state in Palestine, it would mean a state of eternal war with both the neighboring countries [and] the Palestinians… inside that country.”In this episode of The Marc Steiner Show, Marc speaks with Crabapple about what the history of the Bund can teach us today in the midst of Israel's genocidal war on Palestine, and about how anti-Zionist Jews, including Crabapple herself, continue to fight for a socialist alternative to Zionism.Studio Production: David HebdenAudio Post-Production: Alina NehlichHelp us continue producing radically independent news and in-depth analysis by following us and becoming a monthly sustainer.Sign up for our newsletterLike us on FacebookFollow us on TwitterDonate to support this podcast

Margaret finishes telling Molly Crabapple a story about the legends and reality of pirate utopia in Madagascar.See omnystudio.com/listener for privacy information.

Margaret tells Molly Crabapple a story about the legends and reality of pirate utopia in MadagascarSee omnystudio.com/listener for privacy information.

En este tredécimo episodio del ¡Bipartidismo Strikes Back! (una producción del #PodcastLaTrinchera), Christian Sobrino y Luis Balbino discuten sus carreras prestigiosas y poder nivel Mago de Oz, la vista argumentativa en el Tribunal Supremo del caso de las descalificaciones del MVC, el lanzamiento y los detalles del "Programa para Garantizar el Derecho Fundamental a la Salud" publicado por Juan Dalmau y el PIP y el impacto sobre el MVC de las acusaciones de acoso laboral en el SPT.Este episodio de La Trinchera es presentado a ustedes por La Tigre,  el primer destino en Puerto Rico para encontrar una progresiva selección de moda Italiana, orientada a una nueva generación de profesionales que reconocen que una imagen bien curada puede aportar a nuestro progreso profesional. Detrás de La Tigre, se encuentra un selecto grupo de expertos en moda y estilo personal, que te ayudarán a elaborar una imagen con opciones de ropa a la medida y al detal de origen Italiano para él, y colecciones europeas para ella. Visiten la boutique de La Tigre ubicada en Ciudadela en Santurce o síganlos en Instagram en @shoplatigre.Por favor suscribirse a La Trinchera con Christian Sobrino en su plataforma favorita de podcasts y compartan este episodio con sus amistades.Para contactar a Christian Sobrino y #PodcastLaTrinchera, nada mejor que mediante las siguientes plataformas:Facebook: @PodcastLaTrincheraTwitter: @zobrinovichInstagram: zobrinovichThreads: @zobrinovichBluesky Social: zobrinovich.bsky.socialYouTube: @PodcastLaTrinchera

En este undécimo episodio del ¡Bipartidismo Strikes Back! (una producción del #PodcastLaTrinchera), Christian Sobrino y Luis Balbino discuten la llegada de Molly Crabapple al Tribunal Supremo en el caso de las descalificaciones del MVC, de las comparecencias en el foro económico de la Cámara de Comercio para los candidatos a la gobernación, de la batalla de los jefes de agencia versus la Comisionada Residente, de la liberación de Hermes Ávila y del intento de usar a la Secretaria de Corrección como chivo expiatorio.Este episodio de La Trinchera es presentado a ustedes por La Tigre,  el primer destino en Puerto Rico para encontrar una progresiva selección de moda Italiana, orientada a una nueva generación de profesionales que reconocen que una imagen bien curada puede aportar a nuestro progreso profesional. Detrás de La Tigre, se encuentra un selecto grupo de expertos en moda y estilo personal, que te ayudarán a elaborar una imagen con opciones de ropa a la medida y al detal de origen Italiano para él, y colecciones europeas para ella. Visiten la boutique de La Tigre ubicada en Ciudadela en Santurce o síganlos en Instagram en @shoplatigre.Por favor suscribirse a La Trinchera con Christian Sobrino en su plataforma favorita de podcasts y compartan este episodio con sus amistades.Para contactar a Christian Sobrino y #PodcastLaTrinchera, nada mejor que mediante las siguientes plataformas:Facebook: @PodcastLaTrincheraTwitter: @zobrinovichInstagram: zobrinovichThreads: @zobrinovichBluesky Social: zobrinovich.bsky.socialYouTube: @PodcastLaTrinchera

En este décimo episodio del ¡Bipartidismo Strikes Back! (una producción del #PodcastLaTrinchera), Christian Sobrino y Luis Balbino discuten el fallo del Tribunal Apelativo a favor del Movimiento Victoria Ciudadana en el caso de las descalificaciones (la venganza de Molly Crabapple), la columna del Dr. Edwin Irizarry Mora titulada "El impuesto mínimo global y la propuesta de Dalmau", los anuncios de primaria del Gobernador y la Comisionada Residente, el debate primarista del PPD en Telemundo y lo último del Ruben-Sánchez-gate y la ola de protestas universitarias en Estados Unidos por el conflicto de Israel / Hamas / Gaza.Este episodio de La Trinchera es presentado a ustedes por:- Vitola Caribe, auspiciadora del movimiento #ViernesGuayabera y donde pueden comprar guayaberas finas y elegante hechas con telas de alta calidad. Las guayaberas de Vitola Caribe son perfectas para portar el estandarte de la elegancia y potencia caribeña.- La Tigre,  el primer destino en Puerto Rico para encontrar una progresiva selección de moda Italiana, orientada a una nueva generación de profesionales que reconocen el buen gusto y la calidad y que disfruta de vivir experiencias genuinas y únicas. Recientemente, La Tigre inauguró su primera colección para mujeres llamada Ciao Bella!  Visiten la boutique de La Tigre ubicada en Ciudadela en Santurce o síganlos en Instagram en @shoplatigre.Por favor suscribirse a La Trinchera con Christian Sobrino en su plataforma favorita de podcasts y compartan este episodio con sus amistades.Para contactar a Christian Sobrino y #PodcastLaTrinchera, nada mejor que mediante las siguientes plataformas:Facebook: @PodcastLaTrincheraTwitter: @zobrinovichInstagram: zobrinovichThreads: @zobrinovichBluesky Social: zobrinovich.bsky.socialYouTube: @PodcastLaTrinchera

Episode Summary This week on Live Like the World is Dying, Margaret and Dean continue to talk about the ways that mutual aid helps communities prepare for disasters that are already here and disasters that have yet to come. They talk about what things like hope and success can look like even as the world crumbles around us. Guest Info Dean Spade is an American lawyer, writer, trans activist, and associate professor of law at Seattle University School of Law. You can find Dean's work at Deanspade.net, and you can read the article that Margaret and Dean talk about, "Climate Disaster is Here--And the State Will Never Save Us" on inthesetimes.com. You can also find Dean on Twitter @deanspade or on IG @spade.dean. Host Info Margaret (she/they) can be found on twitter @magpiekilljoy or instagram at @margaretkilljoy. Publisher Info This show is published by Strangers in A Tangled Wilderness. We can be found at www.tangledwilderness.org, or on Twitter @TangledWild and Instagram @Tangled_Wilderness. You can support the show on Patreon at www.patreon.com/strangersinatangledwilderness. Transcript Live Like the World is Dying: Dean Spade on Mutual Aid as Preparedness pt. II **Margaret ** 00:15 Hello, and welcome to Live Like the World is Dying, your podcast for what feels like the end times. I'm your host, Margaret Killjoy, and this is part two of a conversation with Dean Spade. So I should probably listen to part one, but I'm not your boss. This podcast is a proud member of the Channel Zero Network of anarchist podcasts, and here's a jingle from another show on the network. **Margaret ** 00:42 Okay, I have a kind of final-ish question, I think. And it can be "ish" on the final part. But at the beginning of this, you said that your politics have been moving towards anti-statism, or, you know, possibly anarchism, or whatever. And I'm wondering if you want to talk about that. In some ways, I feel like you've implied a lot of maybe what has drawn you more towards those politics, but I'm really curious about the kind of route you took--not like where you've landed, and what labels you want to throw on things--but what has led you towards those politics? **Dean ** 01:56 I just talked with somebody yesterday who I know from the anti-Zionist Jewish world who was talking about the. . . about how he feels like people haven't thought. . . that he hasn't thought a lot about anti-State or anarchist politics, and he was like, "Why do you think some people haven't and some people haven't?" and I was like, "Oh, I think people just come to our politics. Like, we just kind of stumble into them." It's like, if somebody stumbled into a punk scene in 1999, they probably found anarchism sooner than me. I stumbled into all this queer, anti-police stuff, and we were doing a lot of identity-based work, and people weren't talking about political tendencies in the same way--in part also, because it had been really divisive, at certain points, in our movements where people had gotten so obsessed with their ideology that they'd been able to work together and got really insular. So there was a lot of, I think, push away for some people from that. I think, also, we have lived in times for the last, at least 100 years, that are so deeply reactive anti-anarchist, in particular, because of the history of anarchism in the US and elsewhere. There's a really great piece by William C. Anderson that came out a while--like not that long ago--after the Atlanta indictment about how policing in the United States itself developed through policing anarchism, that I highly recommend. But anyway, I think a lot of us also just haven't gotten. . . Like, it's like you were told, "Anarchists are just people who want chaos and who are dirty white people," or whatever. There's a lot of things that erase the contributions of anti-colonial anarchists and anarchists who aren't white in all these things. Anyway, Or, anti-State tendencies that aren't anarchism in the European sense. But for me, I think what happened is that I've been in movements that have been benefiting from a range of genealogies, including women of color feminism--specifically Black feminism--and other political knowledges and methods that have been anti-institutional, in really great ways have had critiques of the borders and the cops and the military have also had a focus on practices of collectivity and horizontality with us, you know, inside our movements, which are very. . . You know, that really parallel with a lot of anarchist methodologies like "Let's not have a boss in this group," you know? And so all of those things really dovetail with anarchism, but I wasn't ever studying anarchism itself. Some people who were in groups I was in maybe identified as anarchists, but it didn't seem like an essential thing for me to study for a number of years. And I didn't think a lot about whether or not that was my position, because also I just had the same caricatures in my mind that other people did. And I also was like, "Do anarchists think that people shouldn't get welfare?" I don't know. I had some of my own, you know. As somebody who grew up on welfare, I had some questions about that, that I didn't have resolutions to. And then over time, especially doing abolitionist work, it just was so clear to me more and more not only that everything I was already doing dovetailed with anarchism: my interest in mutual aid, my interest in horizontal tactics inside our groups, and building group culture where we learned how to share with each other, and not boss each other around, and all that stuff. But also, the ways in which, I think, abolitionist frameworks are just. . . like, they're so deeply anti-State. It's like, 'Yeah, don't build a better cop. Don't build a better jail. Don't build a better prison. Don't build a better social services framework that's actually still a cop," or you know. And, that you can't have a country without cops, borders, and military. That's what a country is made of, you know? You can't have a Capitalist economy without a boot on everybody's neck making us participate in it. So I just came to realize like, I'm not only--I always knew I was against the United States settler colonial slavery project--but I was like, "Oh, my God, I'm against countries. I'm against that." And then I did start actually reading about this stuff and I was like, "Oh, my God, they're a recent invention. They don't need to be able to organize themselves. That's not how people have always organized themselves." And I also started to see how it actually makes a difference in our tactics about what we're going to do today, if we know this about ourselves, right? Like how we're going to get basically co-opted by projects of "Oh, let's let's do a let's do a million local elections and try to take over a city council 'thing.'" A lot of that work steals the oxygen out of local movements really intensely. And I'm not gonna say it should never ever be done, but I just feel like so much of it actually has a lack of a conversation about what can happen in those spaces behind it and then is incredibly resource intensive and doesn't lead to the things I think people hope it will lead to, like, "Oh, we're gonna have an abolitionist prosecutor and abolitionist city council person or mayor and it's gonna change everything," right? And then not seeing that happen. I think we've seen that it's played out. Or the, you know, I think this is even sharpened for me with the period of the "Defund [the police]" work--which I care a lot about, trying to defund the police--and seeing the fights inside city councils and how deeply impenetrable--like even when you supposedly, in 2020, get the whole city council saying we want to defund the police and there's so much effort on that side--it's like our cities are run by real estate developers, chambers of commerce, and police departments. And the entire apparatus of the city councils--which is in some ways more accessible than any other level of government, of course--is still unmovable. Like you can't. . . you can be right all day long. You can do every kind of research. You can show you can turn up with all the people every single time. And as soon as they can turn around and reestablish their nonstop march to constantly increase the police budget, that's what they'll do. And that is what they have done since 2020 after all this amazing work by so many people. So I think I'm just continually evaluating "Wow, where are there still parts of my own approach to politics that are assuming we can convince governments of things?"--even while I want to get rid of those kinds of governments--and why do I ever think they will voluntarily put down their weapons? And why do I think about getting any different people inside there, inside that machine? I don't believe that about the military. I'm not like, "Well, maybe if Margaret Killjoy was the general, it would all be fine." I know, that's not true. So why do I, and where have I still. . . And I, you know, I forgive myself and all of us. We're all just trying shit our whole lives. And there's so many things I've been involved in that I think were not that generative, but you know, we couldn't have known that. Or, where there was a backlash so that the thing that was generative for a while stopped or, you know, was turned on us in a way that undermined our hopes. But I think that for me it's just an ongoing deepening with different anti-State frameworks, an ongoing deepening of reading history, and understanding why different revolutionary projects that then took on State forms became authoritarian, trying to understand what this kind of insight--which is very hard, because it's about letting go of a lot of hope and a lot of tactics that people are putting a lot of effort into--like, what it directs us to do to most immediately support people's well being, and take down the apparatuses that are hurting us that are, honestly, just like continuing to grow. Like they're all. . . Like the level of surveillance we are under right now compared to five years ago. Like, the capacity for political repression that the State has right now compared to five years ago. I don't know if you saw this, but like-- maybe it was this week--Georgia is going to outlaw bail funds, is going to criminalize bail funds. Tennessee's trying to do the same thing. Like, tiny things we have in our movements to try to support people facing repression, even those they are directly going after. So, yeah, it's really hard to face these conditions. And also, I see a lot of people working really hard on the ground blaming themselves for the effects of the conditions like "Oh, why can't we? Why can't we do a better job stopping these homeless sweeps in our city?" It's like it's not because you're not doing a really good job trying to. There are a lot of really bad conditions. And I think that it goes back to this humility, like, "Okay, wow, things are so dire. What if I let myself know this so that I could talk with my friends about what's possible--given how things actually are--and let go of some of the fantasies?" I think I talked to you briefly before we started the podcast but I recently rewatched those two videos that Naomi Klein and Molly Crabapple--both of whom I really, really respect--made a few years back. They're both videos about what the world could be like after the Green New Deal and after many wonderful uprisings. And they feel so, so misleading to me, watching them right now. Like they imagine a world in which people just protest a lot. And then everyone has things that are better. And also, we still have countries and jobs. It very weirdly doesn't get rid of Capitalism or the nation state. But it's like, there's a kind of like. . . I think that it's very dangerous, those fantasies, that we can do certain kinds of tactics and our opponents will just turn over. And I think those are inside a lot of people's--a lot of very wise people's--messages. And I just increasingly, when I encounter them, feel much more concerned about what they teach us and how they mislead us. **Margaret ** 11:00 I just think that we have to always look clear-headedly at what our actual threats are, at what's actually happening, and then make our decisions based on how to actually address that, rather than being like, "I want to become just like this person I read about in history, so I'm going to do whatever they did." And this could be true of, "I want to be a principled pacifist and get arrested just like Gandhi," or whatever, right? You know, it could also be, "I want to be just like the following anarchist in the 1880s who decided it was time to start shooting people," you know? We just need to actually look at what's happening and make our decisions based on that. And it's hard, because what we're facing is different from what anyone else has ever faced in history. Not necessarily worse--although the overall ecosystem is worse than anything minus whenever all the. . . you know, before humans evolved, and various other mass die offs that have happened or whatever. But it's different and it's bad. And we just need to look at it and then come up with solutions. Or even some of this is, "How do we solve this problem?" And some of it is like, "How do we live with this?" Not accept it but accept that it's going to have consequences on us and that fighting it isn't going to be easy and we might not win. But what are the best tools by which we can fight it, and/or what are the best tools that we can use to live meaningful lives in the process? You know, so that when we inevitably die, at 103 or 33, we can be proud of who we were. You know, and obviously, there's theological or metaphysical considerations into exactly what that process looks like that'll be different for different people. But, you know, I think that that's what to do. **Dean ** 13:06 It's also about not trying to feel better. I think there's just something so intense about how people are like, you know, "If you talk about collapse, it makes me feel bad." And there's an assumption that that will demobilize me. And it's like, actually, Capitalism is like, either feel bad or feel good, you know? And that's not how life is. Life is like, fuck. . . For example, you have a terrible loss and you live with grief. And you also still enjoy this beautiful meal. And you're still grieving. And you're in pain. And being willing. . . or--I see a lot of my students--they're like, "Oh, my God, the things I'm learning in your class, I'm so worried about these terrible things in the world that I didn't know we're going on. This is so awful." And they want to instantly know what to do to feel better. And I'm like, I can't make. . . I don't want you to do things feel better. I want you to do things to try to be part of something and you'll never know if they worked or not. Because that's the nature of it. You don't know what our opposition's next countermove is or whether we'll regret some parts of it, but it's the trying stuff, it's the listening to feedback about what didn't go well or how it hurts somebody else. The goal is connection and belonging with each other and experimentation. And, you know, it doesn't always feel good to receive negative feedback, but often it's like incredibly growthful. It's like feeling good can't be the goal. Feeling, Yes. And sometimes feeling good. And pursuing pleasure, absolutely. But not like, "I want to have a pat" happiness where I don't have to worry or be concerned or be critical. Like of course nobody who sees themselves as radical should be wanting that, but I still think that craving--when it comes to conversations about collapse--where it's like I want the one thing that will make me feel better. Or, people feel that about Gaza. Like, "Oh my God, I just found about about this horrible genocide that's happening. I've not known about this before. I want to be able to go to one action and feel I did something and to then be better and post it on Instagram. And it's like, A) love them for waking up to what's happening in Gaza. I love, love any moment where people become more interested in the wellbeing of all people and stopping violence, and we have to be willing to take in how overwhelming this is, how unmovable the war machine feels, and still take action against it, but not because we're guaranteed that what we did today works, or something. You know what I mean? Like that feels--that simplicity--really cheats us of the really complex position we're actually in, that if we can let ourselves be in it, might allow discernment towards better action, hopefully, you know? **Margaret ** 15:30 No, and I like how you tie that to the way that capitalism makes us think that happiness is the goal. Like, I like happiness. But my goal in life is not specifically to lead a happy life; it's to have a meaningful life and to have as complete of a life as--I mean, every life is complete. And, you know, when you look at. . . Anyone who's ever known a child who's died has had to come to terms with the fact that every life is complete, you know, is a thing that I've been dealing with because of some stuff. And, you know. . . Yeah, the idea that you're just supposed to be happy is some fucking McDonald's shit. You know? And don't get me wrong, seek happiness. Do it. It's great. You know? But yeah, sometimes you just need to accept. . . Like, I want to live a beautiful life and I think that is a different thing, you know? And maybe because I'm like a goth, or whatever, I find a lot of different things beautiful than some other people. But. . . No, I. . . I like that. And it does. It helps get people beyond the like, "Oh, good, I can sleep at night because I went to one protest," you know? And instead, like learning to sit with the discomfort of all these things happening and understanding where we do and don't have agency and. . . Imean, don't get me wrong, people should be going to these protests. You know, if nothing else that are good ways to find the other people who care. **Dean ** 17:04 Yeah, meet other people and try stuff. I mean, I want to live in reality. I want to know that. . . I want to. . . If I've been working on a strategy for 10 years and it has actually not been helping, it's been hurting people, I want to know. I don't want to keep doing it just because my ego is attached to it, or my paycheck. I've seen that a lot in the dilemmas with the [uninterpretable] movements, you know, where I want to. . . Yeah, absolutely, I'm like, be promiscuous about the stuff you try. Go to all the protests. Go to anything. Try anything. But it's that willingness to keep open the possibility that I'm going to get feedback or learn that. . . learn the impacts, or learn my position on the world, or learn how the clothes I'm wearing impact people who made them, or what. . . I just like, I just want to be in reality, and that includes the reality of how unbearably beautiful being alive is, how the entire... how my entire body was structured to receive pleasure from this incredible landscape. That reality too, which is Capitalism also shuts down and tells me to only be entertained by video games and chips, or whatever. You know, I want to live fully in the reality of how beautiful and abundant and gorgeous this life is and how heartbreaking and devastating these systems are, and how little control I have over them. And then, the moments when I do feel a connection, or am of service to something in my community, like how that is--like all of that, you know? But not through the filter of liberalism, that's just like, "I need to find out that I'm a good person. TM [trademarked]," you know? **Dean ** 17:04 Okay, so in that vein, to bring it back to kind of some of the preparedness stuff that you've been writing more about and engaging with more, I was wondering if you want to talk about, like, what do you what is preparedness looking like for you right now? Or, you know, how is it affecting you as much as you feel like talking about anything personal? Like, how is it affecting the kind of decisions that you're making about how you want to live or how you prepare? **Dean ** 18:55 That's such a good question. I mean, in general, my study of collapse is affecting a lot of things for me. I'm thinking a lot about the ethics of the fact that I travel on planes and how to reduce that or eliminate it. And also I don't want to get stuck somewhere really far away from my people when things are bad. So I've been thinking a lot about shifting and changes around that. I've been thinking a lot about how much I want to work a job. What are the other options here? You know what I mean? Just like when will I know that I don't want to do that? Or whatever. I've been writing a book for 10 years that's kind of like a relationships self-help book for radicals, you know, kind of thing, because I've spent so much time in our movements watching people, you know, tear each other in our groups apart with our own unexamined relational patterns that are very, you know, the pattern across the culture. So, I've been writing a book about that. And part of me is like, "At this point, I just need to recognize I'm writing this for pleasure. Like, I don't know that there's time for this to be of any use to anyone," you know what I mean? That's an interesting move to shift from thinking the, you know, probably totally ridiculous fantasy any of us have when we write anything, that people will read this and it will help them do something, and be like, "Or not?" Or I'm just really working on a book for 10 years, just for me...because that's what I did with those 10 years of my life. Okay. Like, that's an interesting move to let go of outcomes even more than ever. And I don't think I ever thought that I would have been terribly impacted by even the little hope of that. **Dean ** 18:55 Yeah, I think just to. . .just to gas you up really quick. I've seen your cultural impact for years now, and it's always been positive. So I appreciate it. But please continue. **Dean ** 20:44 I mean, I think about whether I want to live in the country, whether the cities will be the hardest places to be. And I have friends who have moved to rural places and like really cultivated deep relationships with people, even across political differences in the places they're living. And I'm like, "Huh." And then I think about some really, some really, you know, detailed specific things. Like, if I'm going to live in the country, in the Pacific Northwest where I live, how can I live less near all of the scariest...you know, right-wing neo-Nazis and closer instead to some of the rural people who are a little more like fruits and nuts, you know? So I asked myself that question. I think about what that would look like, you know, off grid? You know, I'm not somebody who can like buy a vacation house or something. So like what kind of off-grid small sort of thing can I do with anybody I know who already has a land project. I think about that. I think about. . .I think I've been thinking a lot about--I think maybe I mentioned this to you--of thinking a lot about doing something like go bag parties even in subcultural scenes in my own town. Like doing things to get more people to talk about disaster and collapse, you know? And if they want to think about it as an earthquake go bag, awesome. That's a danger in Seattle for sure. If they want to think about it like that. You know, like, having people just, I was thinking about, like, how do you make those parties fun? Like, you know, having there be giveaways, having there be like. . . having people bring. . . You know, is it also a clothing exchange? Like, is it a sex toy exchange? Like, I've been just imagining different, you know, what would that look like for my queer-er friends versus what will it look like for people on my block, versus what would it look like with my students? Like, just kind of what would be different. . . what would help different people try it and then also think they could put one on, you know? Like, just how to really--especially because I feel like this podcast is very user-friendly in that way, so I've been really inspired by some of your episodes to think about what are the ways I could take what I love about mutual aid organizing, how I love meeting people, and I love making an event happen, making it welcoming, having people make new friends, and how can that be oriented towards people thinking about preparedness? And how much--some of the questions I've asked myself are--how much would there be any talking and programming at such an event or how much would it just be like, "come and grab this stuff. And here's some printouts of things you could have in your go bag. And here's a pile of bags. And there's a pile of, you know, emergency blankets. And here's a pile of whatever," right? So I've had those kinds of questions about how to do. . . I think that's what's next for me is to actually try on some of that organizing with some people that are actually interested in that. **Margaret ** 23:10 When you do that, can you come back on and talk about how it went? I feel like people will learn from that a lot. **Dean ** 23:15 Yeah, and I'd love to, if other people have tried it--I'm curious--please reach out to me. Curious to hear their experiences. **Margaret ** 23:21 Me and one of my friends who does this kind of work too, we put on a day of preparedness. We did a, you know, where you get. . . There were a bunch of different talks by different people who lived in that area who came and they talked about the projects they're working on. There was someone who was like, "Oh, I'm really into mesh networks." And someone else is like, "Oh, I'm doing things like water collection and rainwater and things like that." And there were multiple. . . There were, I think, a total of maybe about six events at. . . So you could pick between two at any given point, like the way that conferences work, or whatever. And it was, you know, a local food. . . a local food distro did lunch that was free for everyone. But then dinner was a giant potluck. And I've actually never seen a giant potluck work so well as the one that I went to. It was cool. And then there was a big talk that was everyone and it was more in the evening. Some people only came for that. And it was, you know, we used me as sort of a keynote-ish person but then it was. . . Immediately from there. It was a facilitated roundtable of the people who live in that town talking about their needs and how to meet them. And I'm now thinking maybe I talked about this before on the show. I have no idea. And then at the very end, we made a long term food bucket. You know, a mylar bag, rice, and beans thing, which is way easier to do if you buy it all in bulk. And then it was kind of fun. And it was. . . My favorite part about it was that theoretically I was organizing it. And I know how to make the bucket. But I don't know how to necessarily make the 15 people figure out how to make sure that all the food goes evenly to these different buckets or whatever. And people were like, "How do we do that?" and I was like, "Figure it out. I don't know." And then everyone's self organized it and it worked perfectly fine. And then like everyone felt more invested, because they were...everyone was in charge and figuring things out together. And it was like a nice little microcosm of those, those nice moments in so many ways. And, you know, and then it was. . . I would say a good third of the people didn't have any money--and so didn't pay for their buckets--and a good third of the people were like, "I can easily pay twice as much as what this bucket cost," you know, because those buckets, if you make your own are only like 20 bucks. If you buy them at a prepper store--if you buy them at a reasonable prepper store, they're 50 bucks--if you buy them from Alex Jones and all that shit, then they're not very good and they're way more than that. And so that worked, that model works really well. And we're hoping to replicate it. And so, but I really like the way that you're talking about it. I really like the idea of like, yeah, how would it be different? How would the go bag party be different for your block versus your students versus your queer friend group, but I'm fascinated. I want to hear how it goes. **Dean ** 26:07 Yeah, I love what you said about people having to figure things out. I noticed this a lot when we had that police free zone in Seattle during the 2020 uprising, how many people who showed up who'd never done anything political in their life. they've never, ever, ever, and they like to come to it. Like they're coming to the movement. And they arrived at the field, at Cal Anderson Park, and they wanted something to do, you know? They wanted to do part of an art build, or they. . . Like people don't want to just sit and watch, you know? And then once you are a part of doing something, you're helping move a barricade--whatever--then you're like, it's like a transformative. Like, "I was there and I was part of it. And I was important to it." It lets you have it be your...it's your identity, instead of "I went and watched the movement," you know? Whatever it is, I just thought that moment, when you said--"agency" is the word you use earlier--I feel like that you can. . . that can happen anywhere. But part of the way it happens is not like overly babying, you know, everybody. You know, yes, making things accessible and trying to make it really welcoming, but also putting people to work if they're up for it helping coordinate, you know? **Margaret ** 27:11 This actually goes full circle to something we were talking about at the beginning. We were talking about how we talk about disasters with people, right? And the note, the words that I wrote down in my notes that I take while I'm interviewing people, is I wrote down "disaster fatigue," because that's the. . . like the way that I think about it, you know, the. . . The way that I. . . A long time ago, I did forest defense and I would go sit in trees and fight against clearcutting and stuff like that. But I, I actually avoided going to West Virginia and fighting mountaintop removal for a long time, even though I knew it was happening, because it was too much of a problem. A clearcut is something that is a horrible crisis. And you can wrap your head around it even as people kill ancient trees. The Appalachians are like older than air, or something. I don't even know. They're old as shit. They are some of the oldest mountains in the world, right? And, the fact that people were clearcutting the mountain, like blowing up the mountain, was just too much. I couldn't wrap my head around it. And so I just didn't think about it. And I think that overall, that's what people do with climate change. There's big, major things that are happening, that are really big. And I'm not trying to say that other crises that are happening aren't really big. Climate change is the mother of all crises. You know? It is the most existential threat to all life on Earth that has existed since there was sentient life. And I'm not just including humans in that, you know? And, so people don't want to think about it. And I think that makes sense. And I think that the people who put in the work to be like, "Hey, come to Mountain Justice Summer Camp, or Spring Break Camp or whatever, and made these spaces where people could show up and learn about what was happening and get engaged. I think that maybe climate change. . . Yeah, it's the. . . Have people show up and give them something to do or tell them that work needs doing and that they can figure out what to do, you know? But we kind of, as a movement, a little bit too much are like, "I don't know, just figure it out." Because then the current people who like making. . . There's actually some people doing amazing work. There's a lot of people fighting pipelines and there's people fighting extraction. And I'm not even like mad at the people who like throw food at paintings or whatever, but it's not something that invites a lot of people in--from my perspective. I'm not. . . Honestly, I try not to talk shit on tactics. I try to be like...I try to do the "more stuff" model of critique where instead of talking shit on their tactic, I should do a different tactic. And what am I doing? I mean, whenever. I'm running around trying to help people get prepared. I actually think I'm doing a lot. But anyway. I just got excited about what you were saying. **Dean ** 30:11 Yeah, that thing. I mean, it's like. . . I think a lot about how the Young Lords said--you know, who are. . . they're fighting Puerto Rican liberation in the 1970s and modeled themselves after the Black Panthers. And they said in their early texts, you know, that they believed that their own people seeing their people fight in the streets with the cops would radicalize people. So that like having escalated tactics--and this is similar to the Ireland story you told--escalated tactics, confrontational tactics, liberals will tell us we're going to alienate people. . . What did you say? **Margaret ** 30:44 Setting fire to trash on the streets. I really like the Young Lords. **Dean ** 30:47 Yeah, like, escalated tactics don't alienate people, they bring a lot of people in. And the people who think they're alienated from them might feel scared of them and stuff, but the cultural shift and change that they produce still brings people along. In the end, they're like, "Oh, no, no, I'm not racist," or whatever, you know? It's like it moves everyone. It moves the needle. And so I think we need escalated tactics and we need invitations and inroads. And for a long time, I've said I think mutual aid is one of the best on ramps, and historically has been one the best onramps for movements. **Margaret ** 31:16 Absolutely. **Dean ** 31:17 Most people get involved in movements through trying to immediately help somebody, you know, because that's what. . . when you're fired up, that's what you want, or because they got help through a mutual aid project of some kind and that's what politicized them. They're like, "Who are these people who are giving away this thing that I need that I can't get anywhere else," you know, "Who are not mean to me and who tell me it's not my fault, and that, actually, the system's fucked, huh? What are they saying? And they're right," you know? So that, I believe deeply in the mutual aid onramp. And I also think that moments like riots and stuff can be an onramp when people are like, "I'm joining in. And now I'm burning a cop car," and that feeling that kind of power. And then, "I want to learn more about who these people were, who I met in the streets," or whatever. And for some people, the on ramp is that they first encounter. . . I mean, I have a friend who's a really incredible anarchist organizer who does really massive mutual aid projects, and is just so brilliant, and told me that they're. . . they first were like. . . they joined the Bernie campaign. And then we're really involved in the Bernie Sanders campaign and then we're like, "Wait, I don't know if this is really working," you know? But like, everyone comes in somehow, you know? And so part of it too, is that we should be in all those places trying to encourage people to learn more about movement history or horizontal tactics or bold tactics that are. . . I just went to an amazing event at an anarchist space in Seattle called Pipsqueak. The event was surrounding. . . they had collected all these accounts of kind of sabotage and vandalisms and shut-down types of actions related to opposing the genocide in Gaza. So many stories I hadn't heard, you know? They collected this huge amount. They had this really wonderful hour of like, you could come and read this zine they'd printed out with all this stuff and think it through, and then a really, really well facilitated discussion for an hour and a half. And I was like, that's like. . . Like, making sure people can find out about the rad stuff that's happening, that's not going to be reported in the news. That's so cool. And also then people got to discuss all their dilemmas about tactics. Like, "Oh, my gosh, I've been going to all these kind of more, you know, media spectacle events about Gaza. I thought these things about that. What's it like to learn about these other things people are doing?" You know, people get to have those juicy conversations about what they think about the tactics they're using. **Margaret ** 33:28 I love it. And we talked about twice as long as we thought we were going to and now this is two episodes. So you all listening had to wait an extra week to hear the other half of the conversation. Do you have any kind of last thoughts on preparedness, mutual aid, how your thinking has shifted, all the topics that we've been talking about today? **Dean ** 33:50 Well, the thing that's spurred us having this conversation was that I wrote that piece for In These Times that was about my experience of reading two sci-fi--cli-fi novels--one is "Ministry of the Future," and one was "The Deluge." And I encourage people to read that piece if you want to hear my thoughts on those books. But one of the things that happened from reading those books and then writing about what I thought was a failure of different aspects of those books was how now--I did think about this because you are an amazing fiction writer--like how part of what happens to me now when I read almost any speculative book, any book, that's fiction that takes place somewhat in the future, is I am like, it feels instantly conservative because it never includes collapse, right? Because inevitably they've got us 50 years ahead and there's some AI. Or there's been some disruption from climate stuff. Like, it's never as bad as it actually is. And that is fascinating to me, you know? And they always have all this intense tech development in such books in ways that I like--I really recommend people actually listen to Kelly Hayes podcast episodes about AI. Really useful for me in trying to understand the hubris of the tech sector, and the way they talk about AI and the way they're making people afraid of or hopeful about AI, and how off base it is, and kind of what the deal really is. But anyway, I just want to say that I have historically found speculative fiction to be a vital place for trying to help myself think about crisis and collapse and also now I feel so strongly because I--I think I may have mentioned this to you, once--I've been very moved by this person Jem Bendell, who's like this. . . in many ways, he does not share all of our values. And it's coming from a very different place. But he's this academic kind of whistleblower about how bad climate stuff really is. And he. . . I find myself often like, I find myself going into my own denial about what's happening and retreating from what I know and then I listened to the introduction to his book, "Breaking Together," again to remind myself about the stakes of what I'm living through. And I feel like in some ways I used to use--and I still somewhat use speculative fiction in that way--but I'm just increasingly like. . . even most speculative fiction is telling us the wrong message about how long the systems we live under are going to last and how much they're going to flourish with the technologies that I just don't think is real. **Margaret ** 36:12 You know, what's funny, some of this--a little bit of it--is baked into a problem of writing fiction where if you. . . I've actually gotten--not in trouble with--but I've had editors take out dates in my writing before, right? Because I'll write a short story about a sort of collapse-y world or whatever and I'll be like, "After 2022, when the. . ." because I wrote this in like 2018, or whatever, because I was trying to write on a realistic timeline where I was like, "Oh, the world's not gonna be the same in 2022." And I feel like I was pretty accurate about that, right? But they have to future proof their magazine, right? And so, you know, you don't want to make certain types of claims about the next three years because you want your story to be...to have a shelf life of that long. And so some of it is baked in as a problem in publishing and in science fiction writing. And that said, I think most people. . . Did you ever read that book "Desert," the green nihilist book. . . **Dean ** 37:12 Yeah, I've read like half of it. **Margaret ** 37:15 I haven't read it in a long time. I remember reading it and being like, "Well, this is naively optimistic." [Laughing] **Dean ** 37:23 That's the one where they're like, "7/8ths of people are gonna die." **Margaret ** 37:27 Yeah, I can't even remember exactly. **Margaret ** 37:28 But yeah, it was like climate change isn't going to be stopped, and we have to re-address how things work on a fundamental level. And because where I've been at. . . I don' t know. I guess what I'm trying to say is I'm with you on. . . like, when I read stuff about the future, where it's like, "And then it'll all work." I actually still really like "Ministry for the Future," and maybe actually should have you on just specifically to talk about "Ministry of the Future" at a different point. But it. . . you know, because it's a complicated. . . It's a caveated, "I like this book," you know? **Dean ** 37:28 It's intense. **Dean ** 38:02 That's how I feel about "The Deluge." It's like, I like "Deluge" even though I think it also has the same problem. **Margaret ** 38:06 I haven't read "Deluge" yet. **Margaret ** 38:08 Oh, there's no character development in "Ministry." **Dean ** 38:08 I think it's really worth reading. I think it's way better character development than "Ministry." It's way better. **Dean ** 38:14 Oh god, yeah. "Ministry" is so dry. **Margaret ** 38:17 Kim Stanley Robinson does not write people. Kim Stanley Robinson writes ecosystems. **Dean ** 38:21 Yeah, and "Deluge" really ropes in a lot more of rise in fascism with climate crisis and has characters that are more different class, race, gender than "Ministry" and is just like. . . it's way more compelling, unfolding, even though in the end it still imagined that states will turn around and like fix things. **Margaret ** 38:47 Well, I think there's plenty more we could talk about. And I hope we get to talk about it soon at some point. But in the meantime, how can people find you or your work? Or what would you like people to. . . or if you want to shout out any specific projects that you want to draw attention towards whether they're yours or other people's. **Dean ** 39:07 Mostly everything I do I put on--I mean, I'm kind of bad at it--but I'll put a lot of things at deanspade.net, which is my website where I collect the things I write and the videos and the many things. So that's a pretty good source for the backlog. **Margaret ** 39:23 If people want to read the specific article that we've been talking about, if you just. . . it's called "Climate Disaster is Here and the State Will Never Save Us." But also if you type in--the way I found it just now while we're...when I was trying to come up with the title--I just typed in "Dean Spade, Kim Stanley Robinson," personally, and it came up, you know. But, okay. Anything else? **Dean ** 39:47 Thanks for having me. **Margaret ** 39:48 Thank you. **Margaret ** 39:54 Thank you so much for listening. If you enjoyed this episode, then you should run around screaming that the sky is. . . No, don't do that. You should make bug out bags for your friends or do whatever you want. You should think about. . . Whatever we already told you what we think. But you can also support this show. And if you want to support the show, you can do so by telling people about it. And you can support the show by supporting us financially on Patreon. Do not feel obliged to do it. This is a free show. However, we're incredibly grateful because people's donations are how we manage to pay our transcriptionist, which is very important to us the show is transcribed, and then also our audio engineer. And one day--I keep promising this but we don't know when this day will come--one day, it'll pay the hosts or the guests. But for now it doesn't. And that's okay because, you know, the world works the way it works. You can support us on Patreon by supporting our publisher, which is Strangers in a Tangled Wilderness at patreon.com/strangersinatangledwilderness. And in particular, we would like to thank Ephemeral. Oh, there's new names on here. That's really exciting. Ephemeral. Appalachian Liberal Liberation Library. And they wanted to specifically point--I would never make this--but they specifically pointed out it's Appalachian [App-a-latch-un], not Appalachian [App-a-lay-shun]. That's in the description of how we're going to read this. Portland's Hedron Hackerspace. Boldfield, E, Patoli, Eric, Buck, Julia, Catgut, Marm, Carson, Lord Harken, Trixter, Princess Miranda, BenBen, Anonymous, Funder, Janice & O'dell, Aly, paparouna, Milica, Boise Mutual Aid, theo, Hunter, S. J., Paige, Nicole, David, Dana, Chelsea Staro, Jenipher, Kirk, Chris, Mic Aiah, and, as always, the immortal, Hoss the dog. And when you support Strangers in a Tangled Wilderness, you're supporting this show and you're also supporting a show called The Spectacle. We renamed Anarcho Geek Power Hour to The Spectacle. And you're also supporting the podcast called Strangers in a Tangled Wilderness and a whole bunch of other projects. So that's that thing where I do the outro and I hope you all are doing as well as you can, and we'll talk to you soon. Find out more at https://live-like-the-world-is-dying.pinecast.co

In this special collab episode between Obscuristan and The Fire These Times, Karena Avedissian and Anna are joined by Daniel Voskoboynik to discuss the life of Russian opposition leader Alexei Navalny and what his death means for those of us not quite at the heart of the Russian empire. Plus, Anna and Karena announce that they're joining the wider TFTT collective!  Obscuristan is available wherever you listen to podcasts. About: Join political scientist Karena and total civilian Anna on a trip to Obscuristan. Each week, Karena and Anna dive into a truly bizarre story from Eurasia in its full political, social, and imperialist context. Join us, and you'll find out why Obscuristan isn't so strange at all when you consider the sh*t it's been through. The best way to support The Fire These Times is to: ⁠⁠⁠⁠⁠Become a member of our Patreon at Patreon.com/firethesetimes⁠⁠. With a monthly or yearly subscription, you get perks including early access, exclusive videos, monthly hangouts, access to the video and book clubs, merch and more. Leave a review wherever you listen to podcasts. This allows us to show up on these platforms in the first place. Tell your friends and enemies about it. Episode Credits: Hosts: Karena Avedissian and Anna Producer: Anna Guest: Daniel Voskoboynik Music: ⁠Sarven Yapar⁠ Sound editor: Anna Episode designer: Elia J. Ayoub Team profile pics: Molly Crabapple

It can write emails, essays and even songs. It has created award-winning pieces of art, and it can take simple text prompts and generate eerily life-like videos. That's right—we're talking about artificial intelligence. Generative AI programs such as ChatGPT, Sora and Midjourney are getting smarter and more powerful by the day—just this week, Nvidia, one of the world's leading AI companies, announced a powerful new chip that could supercharge AI's already rapid growth. This technology is already worrying artists of all kinds about the future of art. Is AI coming for artists' jobs and livelihood, or is it a helpful tool pushing art to a new horizon? Jason Allen used generative AI to create his work “Théâtre d'Opéra Spatial,” which won the Colorado State Fair's annual fine art competition in 2022, making news headlines. He says artists should be excited and more open to working with AI as a new artistic medium that can help break down barriers and democratize art for everyone. On the other side, Molly Crabapple, award-winning artist and writer, says artists—and everyone—should be concerned about generative AI, arguing that these programs are not only stealing from, but “sucking the lifeblood,” from living artists. Additionally, she contends that the limited creativity of AI art programs will ultimately impoverish human culture. Listen to Doha Debates Podcast as our guests debate the controversy surrounding AI art, the economics of artificial intelligence and the future of art around the world. Doha Debates Podcast is a production of Doha Debates and FP Studios. This episode is hosted by Joshua Johnson. Thoughts on this conversation? Let us know! Follow us everywhere @DohaDebates and join the post-episode discussion in our YouTube comments.

In episode 74 of the Podcast for Social Research, BISR faculty Ajay Singh Chaudhary sits down with writer and artist Molly Crabapple to discuss his new book, The Exhausted of the Earth: Politics in a Burning World (Repeater). Live-recorded at P&T Knitwear in New York City, the conversation encompasses, among other things: the ubiquity of exhaustion (and how feelings of exhaustion might form the basis for new international solidarities); right-wing approaches to climate mitigation (and why, in the realm of climate policy, the Right has a "leg up"); "growth," "degrowth," and how the status quo actually thwarts abundance; the limits (or, illusions) of climate technocracy (and the kinds of climate technologies that can work); and international social movement responses climate catastrophe—and the lessons they might provide for U.S. activists.

It can write emails, essays and even songs. It has created award-winning pieces of art, and it's one reason that Hollywood is on strike. That's right—today's podcast episode is about artificial intelligence. Generative AI programs such as ChatGPT, DALL-E and Midjourney are worrying artists of all kinds about the future of art. Is AI coming for artists' jobs and livelihood, or is it a helpful tool pushing art to a new horizon? Jason Allen used generative AI to create his work “Théâtre d'Opéra Spatial,” which won the Colorado State Fair's annual fine art competition in 2022, making news headlines. He says artists should be excited and more open to working with AI as a new artistic medium that can help break down barriers and democratize art for everyone. On the other side, Molly Crabapple, award-winning artist and writer, says artists—and everyone—should be concerned about generative AI, arguing that these programs are not only stealing from, but “sucking the lifeblood,” from living artists. Additionally, she contends that the limited creativity of AI art programs will ultimately impoverish human culture. Listen to the Doha Debates Podcast as our guests debate the controversy surrounding AI art, the economics of artificial intelligence and the future of art around the world. Doha Debates Podcast is a production of Doha Debates and FP Studios. This episode is hosted by Joshua Johnson. Thoughts on this conversation? Let us know! Follow us everywhere @DohaDebates and join the post-episode discussion in our YouTube comments.

Paris Marx is joined by Molly Crabapple to discuss why AI image generation tools are a threat to illustrators and why we need to refuse the idea that Silicon Valley's visions of technology are inevitable. Molly Crabapple is an artist and writer based in New York. She is the author of two books, Drawing Blood and Brothers of the Gun with Marwan Hisham. Follow Molly on Twitter at @mollycrabapple.Tech Won't Save Us offers a critical perspective on tech, its worldview, and wider society with the goal of inspiring people to demand better tech and a better world. Follow the podcast (@techwontsaveus) and host Paris Marx (@parismarx) on Twitter, and support the show on Patreon.The podcast is produced by Eric Wickham and part of the Harbinger Media Network.Also mentioned in this episode:Molly wrote an op-ed for the LA Times about the threat of AI-generated tools for artists, and co-wrote an open letter about restricting AI illustration for the Center for Artistic Inquiry and Reporting.Karla Ortiz wrote about how teaching an AI to copy an artist's style isn't democratization; it's theft.Corridor Digital claimed they were “democratizing” animation by using AI trained on Vampire Hunter D to generate their own animated video.Rest of World reported on how AI was being used to take video game illustrators' jobs in China.AI is already being used to justify laying off journalists.In February, Creative Commons published an article arguing that using copyrighted works to train generative AI should be considered fair use.Stable Diffusion and Midjourney were hit with a copyright lawsuit, and Getty Images launched its own suit against Stable Diffusion.The US Copyright Office says AI generated images are not eligible for copyright protection.Support the show

Publishers of books, magazines and their digital incarnations have long hired artists to contribute unique visuals to their storytelling. It’s the kind of work Molly Crabapple cut her teeth on. Her illustrated journalism has been published by outlets like Vice, Rolling Stone and The New York Times. But she fears the format faces an existential threat from artificial intelligence image generators like DALL-E and Stable Diffusion. Crabapple recently wrote an open letter about her concerns in collaboration with the Center for Artistic Inquiry and Reporting. She talked about it with host Meghan McCarty Carino.

Publishers of books, magazines and their digital incarnations have long hired artists to contribute unique visuals to their storytelling. It’s the kind of work Molly Crabapple cut her teeth on. Her illustrated journalism has been published by outlets like Vice, Rolling Stone and The New York Times. But she fears the format faces an existential threat from artificial intelligence image generators like DALL-E and Stable Diffusion. Crabapple recently wrote an open letter about her concerns in collaboration with the Center for Artistic Inquiry and Reporting. She talked about it with host Meghan McCarty Carino.

"My Brother's A Basehead” is a true story. Posdnous from De La Soul had an older brother who had a crack addiction and it was very damaging for the whole family. For Pos and his parents, crack was literally in the house just as it was in many houses and many families during the crack era. Crack decimated many families and De La Soul made one of the most powerful songs about all that. In this episode we talk about how crack destroyed families and what went into the making of "My Brother's A Basehead.” We talk to Prince Paul, De La Soul's producer who's sometimes called the 4th member of the group. We also talk about a very different song about crack users, Public Enemy's Night of the Living Baseheads, which looked down on people who used crack while one of the members of PE was a crack addict. PE's producer Hank Shocklee joins us for that.     Guests: Prince Paul, Producer - De La Soul is Dead Hank Shocklee, Producer - Public Enemy Credits: De La Soul - My Brothers a Basehead Writer: Posdnuos, Trugoy the Dove, Prince Paul, Maseo, Clint Ballard Jr. & Robby Krieger Label: Tommy Boy Records Publisher: Tee Girl Music, MCA Music, Shapiro Bernstein & Doors Music Co. Grandmaster Flash and the Furious 5 - The Message  Writer: Clifton ‘'Jiggs'' Chase, Sylvia Robinson, Duke Bootee & Grandmaster Melle Mel Label: Sugar Hill Records Publisher: Sugar Hill Records   De La Soul - Me Myself and I Writer: Posdnuos, Trugoy the Dove, Prince Paul, Maseo, George Clinton & Philippe Wynne  Label: Tommy Boy Records Publisher: Birdsong Edwin Music Pub, Bridgeport Music Inc, Daisy Age Music, Warner-Tamerlane Publishing Co   De La Soul - Potholes on My Lawn Writer: P. Huston, K. Mercer, D. Jolicoeur, V. Mason Label: Tommy Boy Records Publisher: Tommy Boy Music   Public Enemy - Night of the Living Baseheads Writer: Chuck D, Eric Sadler & Hank Shocklee Label: Def Jam Recordings Publisher: Def American Songs Inc, Reach Global Songs, Shocklee Music, Songs Of Reach Music, Terrordome Music Publishing Llc, Your Mother S Music Inc Crack User in the 80's epic interview, EurointheCut What is the Drug War? With Jay-Z & Molly Crabapple, Drug Policy Alliance Lawn Order, 99 Percent Invisible Toure: Why I Quit, Touré Speaking Freely: Chuck D, Freedom Forum Malcolm X's Fiery Speech Addressing Police Brutality, Smithsonian Channel  See omnystudio.com/listener for privacy information.