Podcasts about national endowment

Gregory Orr has written thirteen poetry collections, a memoir, and several books of criticism, most recently A Primer for Poets and Readers of Poetry. His poetry collections include Concerning the Book that is the Body of the Beloved and The Caged Owl: New & Selected Poems. The recipient of Fellowships from the Guggenheim Foundation and the National Endowment for the Arts, he lives in Charlottesville, Virginia. Find more info here: http://gregoryorr.net/ As always, we'll also include the live Prompt Lines for responses to our weekly prompt. A Zoom link will be provided in the chat window during the show before that segment begins. For links to all the past episodes, visit: https://www.rattle.com/rattlecast/ This Week's Prompt: Write an ekphrastic poem based on a well-known painting that you dislike. Next Week's Prompt: Write a poem in which someone is taken to a surprising school. The Rattlecast livestreams on YouTube, Facebook, and Twitter, then becomes an audio podcast. Find it on iTunes, Spotify, or anywhere else you get your podcasts.

Garrett Hongo joins Kevin Young to read “T'ang Notebook” by Charles Wright, and his own poem “On Emptiness.” Garrett Hongo is the author of several books of poetry and nonfiction, including “Ocean of Clouds” and “The Perfect Sound: A Memoir in Stereo.” He's received fellowships from the Guggenheim Foundation and the National Endowment for the Arts, and he's a distinguished professor at the University of Oregon. Learn about your ad choices: dovetail.prx.org/ad-choices

This week Tyler Anbinder joins in to talk about his experiences advising on Gangs of New York as well as his work tracing the Irish diaspora.About our guest:Tyler Anbinder is a specialist in nineteenth-century America and the history of immigration and ethnicity in American life. His latest book, published in March 2024 by Little, Brown, is entitled Plentiful Country: The Great Potato Famine and the Making of Irish New York. That project's digital history component, created with research assistance from more than two dozen GW students, can be found at http://beyondragstoriches.org. His most recent book before Plentiful Country was City of Dreams (2016), a history of immigrant life in New York City from the early 1600s to the present.  And prior to that, in 2001, he published Five Points, a history of nineteenth-century America's most infamous immigrant neighborhood, focusing in particular on tenement life, inter-ethnic relations, and ethnic politics.  His first book, Nativism and Slavery (1992), analyzed the role of the anti-immigrant, anti-Catholic Know Nothing party in the political crisis that led to the Civil War. Professor Anbinder has won fellowships from the National Endowment for the Humanities and held the Fulbright Thomas Jefferson Chair in American History at the University of Utrecht. He has received awards for his scholarship from the Organization of American Historians, the Columbia University School of Journalism, and the journal Civil War History. He also served as a historical consultant to Martin Scorsese for the making of The Gangs of New York.

Award-winning poets and founding editors of the groundbreaking journal, New American Writing, Maxine Chernoff and Paul Hoover talk with Roxi Power about their most recent books from MadHat Press and how poetry canreveal then reconstitute the brokenness of the world.  Hoover says of writing poetry, “You have to purposefully break a few dishes along the way. The brokenness and emotional force bring the pieces back together.”   Chernoff, writing under the shadow of Covid, says, “We stand at the margins of this bustling, often cruel but beautiful world and, in a way, the poem writes itself because the world gives us conditions to think about at the same time—the ecology of the world, governments falling apart, etc.  It's happening to all of us.  Part of being a writer is simply noticing the moment you're in, personalizing and capturing it in a way that only your particular words at this particular time can do.” These beloved Bay Area poets collage philosophy, film, history, and—in Hoover's newest work—Old Testament stories and cadences in poems that redesign rather than restore theshattered surfaces of the world in new forms—like poetic wabi-sabi.  Peter Johnson recently called Chernoff the most important contemporary prose poet born during his generation. Marjorie Perloff wrote of Paul Hoover's most recent book, “He's atthe top of his game.”  Tune into this interview with two of the most articulate poets about their own craft.  It's part 1 of a two-part interview.  More to come!   Maxine Chernoff is professor emeritus of creative writing at San Francisco State University. She is the author of 19 books of poetry and six of fiction, including recent collections from MadHat Press:  Light and Clay: New and Selected Poems (2023) and Under the Music: Collected Prose Poems (2019).  She is a recipient of a 2013 National Endowment for the Arts in Poetry and, along with Paul Hoover, the 2009 PEN Translation Award for their translation of The Selected Poems of Friedrich Hölderlin. In 2016 she was a visiting writer at the American Academy in Rome. A former editor of New American Writing, she lives in Mill Valley.  Paul Hoover is the author of over a dozen collections of poetry; his most recent book of poetry is O, and Green: New and Selected Poems (MadHat Press, 2021). He has also published a collection of essays and a novel, and translated or co-translated a few books, including Black Dog, Black Night: Contemporary Vietnamese Poetry.  Founding and current Editor of theliterary annual, New American Writing–now published by MadHat Press–and two editions of the indispensable Postmodern American Poetry: A Norton Anthology, Hooverteaches at San Francisco State University.  He's also won an NEA and numerous awards, including the Carl Sandberg Award in poetry which Chernoff has also won.   

✦ We live in a time where women's rights, visibility, and autonomy are under assault and being eroded daily. Writer Trenton Judson has decided to write a film that challenges and flies in the face of these attacks. Enter, Bad... well, the second word also starts with a B and rhymes with Mitch. So, for the sake of FCC-monitored radio, let's call the film BB. Enter BB, an independent vigilante film with a strong female lead that looks to challenge stereotypes, perceptions, and even your definition of the second B. ✦ "In Their Own Words" is our segment where creatives tell us who they are, what they do, what they love, and a few things you might not see coming. What things? Who knows, there's only one way to find out. Today, poet Deanna Repose Oaks takes the spotlight. ✦ LA star power thrives in Atlanta, as actor Kat Graham can attest. An Atlanta transplant since 2017, Kat starred in TV's megahit series "The Vampire Diaries" throughout its 8 seasons: she's also a dancer, author, musician, and recording artist with four studio albums. Now, the multi-talented performer stars in - and executive produces - the new Lifetime original movie "If I Run." It's based on a novel by Terri Blackstock about a suspenseful murder mystery with Graham's character falsely accused, on the run, and surviving on faith. WABE arts reporter Summer Evans spoke with Graham about this new film. ✦ This Saturday, August 16, the Star Bar in Little Five Points is hosting a benefit for Upbeat, an Atlanta nonprofit that helps musicians in need. City Lights Collective co-host Kim Drobes has more. ✦ There's been a lot of chatter lately about proposed budget cuts to the National Endowment for the Arts and the National Endowment for the Humanities, but what is the actual impact of these cuts on working artists, arts institutions, and the communities they serve? Who are the human beings whose livelihoods are at risk? City Lights Collective member Kelundra Smith recently spoke with Heather Infantry, CEO of The Giving Gap, to find out.See omnystudio.com/listener for privacy information.

In May, the National Endowment for the Arts canceled at least $1 million in grants to San Francisco nonprofits alone. But that's just the tip of the iceberg for many artists. San Francisco dance leaders are saying they're more strained now than ever and they're left trying to find their footing.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. On tonight's edition of Obbligato on APEX Express, which focuses on AAPI artists, musicians, and composers in the classical music world, host Isabel Li is joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. Featured Music: Sonatrinas: https://richardan.bandcamp.com/album/sonatrinas i got the electroshock blues: https://rasprecords.bandcamp.com/album/i-got-the-electroshock-blues   RICHARD AN (b.1995) is a performer and composer, born and raised in Los Angeles. Richard plays new music – usually with House on Fire – co-founded the tiny backpack new music series, and has performed with Monday Evening Concerts' Echoi Ensemble, Piano Spheres, The Industry and on Bang on a Can's LOUD Weekend. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard's music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, HOCKET, C3LA, and more. His music has been released on CMNTX Records. Richard has a BM in Composition from USC and an MFA from CalArts. He is on faculty at the Pasadena Waldorf School, Glendale Community College and Harvard-Westlake. He plays taiko and tabla, and makes YouTube videos. Learn more about Richard's work on his website: https://richardanmusic.com/ Richard's social media: https://www.instagram.com/richardanmusic/ If you are in LA and want hear Richard's work, he's playing with House on Fire at the Sierra Madre Playhouse on August 17! https://www.sierramadreplayhouse.org/event/richardan2025   Transcript Opening: [00:00:00] APEX Express. Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express. 00:00:46 Isabel Li Good evening and welcome back to a new episode of Apex Express on KPFA, 94.1 FM. We are bringing you an Asian and Asian American view from the Bay and around the world. I'm your host, Isabel Li, and tonight is a new edition of Obbligato, which explores AAPI identities and classical music. Tonight I'm joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. 00:01:41 Isabel Li Welcome to the show. Welcome to APEX Express, Richard. My first question for you is how do you identify and what communities would you say that you're a part of? 00:01:50 Richard An My name is Richard An I use he/him pronouns and I'm a second generation Korean American. My parents are both Korean. My dad came from Busan, which is a large city in South Korea, and my mom was born in Seoul and then moved to South America and then made her way up to Los Angeles where they met. And as for identity, like, I think Korean American would be the most accurate one. This is and I think an ever evolving part of first of all my identity and the way that it intersects with my practice and also I think that's the case with many Asian American artists, I mean artists from immigrant families, you know, the the matter of your identity, especially if you feel more distanced from it for one reason or another, is like an unsolved question for everyone like there is no one answer. That works for people and that's a thing that me people like myself I think will be exploring for our entire lives. When I introduce myself to people, I say that I'm a classical musician. And at the very core of it, that is true. That's not a lie. And I am, you know, a part of the classical music community in Los Angeles. But as time goes on, I have noticed and realized. That I tend to align myself more with like the avant-garde and experimental contemporary music communities of Los Angeles, which has certainly an overlap with the classical community, both in practice and historically, but yeah, I I would say those are the sort of two biggest ones, classical musicians and experimental avant-garde, contemporary musicians, whatever label you want to use for that. 00:03:47 Isabel Li Yeah. Some of our listeners might not know what avant-garde music entails. Can you — how would you describe avant-garde music to someone who might not be as familiar with this particular movement? 00:03:57 Richard An Yeah. So avant-garde music, a sort of flippant and joking way to to talk about it is ugly music or music. You know, my dad, for example, wouldn't like, but I think. It's music that either interfaces with elements or confronts facets or issues in music that aren't typical of other kinds of music. The music that you might hear that is labeled of on guard might be noisy or dissonant or uncomfortable, or any kind of, you know, adjectives that are synonyms for noisy or ugly, but I have come to love that kind of music, you know 1. Because of the the kind of questions that they might ask about our perceptions of music and two, because I guess one way to put it is that to be a classical musician, you need to be in a practice room for many hours a day for many years and go to what is unfortunately a college, which is usually very expensive and I guess for lack of a better term, paywalled for like you need to have the kind of resources that allow you to attend a four year undergrad and then a two year masters and then a three-year doctorate. But avant-garde music, contemporary music, experimental music doesn't necessitate that kind of thing. Often those musicians do have a background that gives them some amount of, you know, virtuosity or facility in an instrument. But like some of the best experimental musicians. Alive and some of the best ones that I know have no, like extensive training in a particular instrument and some may not have a degree in music at all. And that's one thing that I in like that separates it from classical music is that. 00:05:44 Richard An Classical music can be, unfortunately a little bit exclusionary. I don't think by any one specific design, but the fact that you need so many hours and very specific instructions from a mentor that necessitate that kind of relationship. But experimental music, I think does a little bit better job of diversifying or making it feel more equitable. 00:06:12 Isabel Li That's a great point, actually. One of my questions following up with that was what do you think is possible with this genre, which you kind of mentioned earlier with perhaps how this genre makes classical music a little bit more equitable for those who are interested in this field. In your experience, composing, what do you think makes the genre special, and how do you go about it? 00:06:35 Richard An One thing that I've noticed about being involved in the sort of contemporary experimental avant-garde music sphere is that it makes me a better listener, and I think other people who attend these concerts will agree. Like for example a large part of this kind of music is drone or repetition or, you know, like long spans of unchanging sound. And if the the sound that is being produced at face value is not changing, well then what do you notice about it? What do you grab on to and one of the most, I think, gratifying experiences is listening deeper and realizing that, ohh, even though you know for example this piano playing two notes for 30 minutes might not like the instructions will say to do the same thing for 30 minutes, but your experience as a human being will certainly change over those 30 minutes, even if the the notes are not like you will notice the slight fluctuations in the way that someone is playing, you will notice the beating patterns in the pitches on an instrument that may not be perfectly in tune, you will note other ambient sounds, you will note like you will notice so much more about the world when you are confronted with the kind of music that you know. You can say it forces you to listen to these sounds but also invites you to listen to these things. And I think that's really, really special. That's not to say that that can't happen with other kinds of music. Or even with classical music. Surely you know there are many, many ways to listen to everything. But I've noticed this within myself. When I listen to long, repetitive drone based music that it really opens my ears and makes me a more active participant as a listener. 00:08:30 Isabel Li It's a great point actually. Part of my work– because I studied music, history and theory in college– was how music can engage various listeners to participate. Have you composed anything that perhaps engages the listener in this more of a participatory setting? 00:08:47 Richard An Yeah. So I guess in order the some of the stuff that I've done to engage the audience, I guess both literally, and maybe more figuratively is, I wrote a piece last year for the Dog Star festival, which is a a contemporary and experimental music festival that is actually happening right now, at the time of this recording. It's a multi week long festival that focuses on music of this type that was founded by people in the sort of CalArts music world. But I wrote a piece for that last year for three melodicas, which are these basically toy instruments that look like keyboards, but you blow into them and you blowing air through these makes the sound happen. It's basically like if you cross a harmonica and a piano together. But I I wrote a piece for three of these, playing essentially the same notes. And because these instruments are pretty cheap, and they're often considered toys or, you know, instruments for children, they're not tuned to the exact way that, like a piano or a vibraphone or an expensive instrument might be. But I wanted to use that for my advantage. For example, if I play an F# on one melodica the same F# on another melodica will not be exactly the same and playing those two pitches together will produce what's known as a a beat or beat frequency. Which is, you know, a complicated, you know, mathematic physics thing, but basically 2 notes that are really, really close, but not quite together will create a kind of third rhythm because the the pitches are so close. Like, for example, if if I play an A at 4:40 and another A at 441, you will notice that difference of 1 Hertz inside of your ears. And that's a really cool phenomenon that happens explicitly because you were there listening to the piece. They don't happen necessarily, you know, like in, in recorded formats like, it's a very difficult thing to capture unless you are in the room with these instruments. And the fact that we had this audience of, let's say, 40 people meant that all forty of these people were experiencing these beat frequencies and another really cool factor of this is depending on where you are located in the room. With the way that the beats will sound in your ears are different and purely by the fact of acoustics like a wave bouncing off of the wall over on your left, will feel really different if you are closer or further from that wall. So not only do the audiences ears themselves, you know, invite these this this participation, but the pure physicality of each listener means that they will have a very slightly different experience of what the piece is, and again like this will happen in any concert. If you're at a classical show, if you're at a rock show if, if you're further from the stage, if you're further to the left or right, you will get a slightly different position in the stereo field that the musicians are playing in, but pieces like what I wrote and many others that exist emphasize this kind of like acoustic phenomena. That is really, really fascinating to listen to. 00:12:23 Isabel Li That's fascinating. And to get a sense of Richard's work, we'll be hearing coming up next. The short excerpt from his album Sonatrinas. This is the duo excerpt performed by Wells Leng, Katie Aikam, Kevin Good and composer Richard An himself. [COMP MUSIC: Sonatrinas (Excerpt: Duo)] 00:17:38 Richard An And so the back story for this piece is this was written for one of my recitals at CalArts. I was planning on playing this piece by Michael Gordon called Sonatra, which is a really, really beautiful and difficult piece for solo piano that I gave myself as an assignment, which I was not able to do with the amount of time. And, you know, like I just didn't give myself enough time to do this thing, so I still had this program of several pieces written with the idea of having this Michael Gordon Sonatra in the middle, but now that that sort of middle part was gone, there was a bunch of pieces about a piece that didn't exist. So in order to fill that hole, I wrote this piece called Sonatrinas which is a cheeky nod to the Michael Gordon Sonatra, but also to the fact that each part of this is kind of a diminutive Sonata form. Everything has a sort of ABA– here's some idea. Here's a different idea, and now we go back to that first idea. Every single part of this has a little bit of that in it. 00:18:51 Isabel Li Yeah, that's fascinating. Even the name itself reminds me of Sonata form in classical music, where it's kind of like an ABA section. As you sort of talked about earlier. And it's really cool that you're adapting this in a more avant-garde context. This is a reminder you're listening to Apex Express. Today we are interviewing composer and musician Richard An. 00:19:12 Isabel Li I think the general question that I have next is can you tell me a bit about what drew you to music and how you got your start in music, how you got introduced to it and what things have inspired you over the years? 00:19:24 Richard An Yeah. So a real quick sort of, I guess, history of my involvement with music is that I started piano lessons when I was pretty young, either three or four years old. I continued that until I was 12 or 13. I decided I really wanted to become a musician. I started taking composition lessons with this composer, AJ McCaffrey, who is really responsible for a lot of what I know and my successes, if you can call it that. He got me into a lot of the music that I am into now and set the foundation for what I would study and what I would write he was one of the instructors for this program called the LA Phil Composer Fellowship program, which back when I was a participant from 2011 to 2013, was a program hosted by the Los Angeles Philharmonic that took 4 high school age students every two years. And you know, they they taught us, you know, everything. How a young composer needs to know how instruments work, how to write a score, how to talk to musicians, how to do everything that a that a composer needs to learn how to do and at the end of this program, after the two years the young composers write a piece for the at the LA Philharmonic. So I was extremely lucky that by the age of 17 I was able to write a piece for orchestra and get that played and not just any orchestra, with the Los Angeles Philharmonic, you know, undisputedly one of the best orchestras in the world. Right. And then after that I I went to USC for my undergrad and then went to CalArts for my masters. And then here we are now. And that those are sort of the like, you know if someone writes a biography about me, that's what we'll be, you know, involved in the thing. But I really started to develop my love for music in my freshman and sophomore year. In high school I I started to get into more and more modern composers. I started to get into more and more noisy things and a lot of this coincided actually with the passing of my mother. She died when I was 14 and you know that in any human the death of a parent will cause you to reevaluate and rethink aspects of your life. Things that you thought were certainties will not be there anymore. So for me, I stopped taking piano lessons and I sort of went headfirst into composition and which is why my degrees are specifically in composition and not piano. Had my mother's passing not happened, you know, who knows what I would be doing now? Maybe I'm not a composer at all. Maybe I'm not into avant-garde music at all, but because things happen the way that they did, I suddenly took a quick turn into avant-garde music and my involvement there only grew more and more and more. Until you know where I am today, I'm almost 30 years old, so I've been listening to and a participant of this music for maybe 15 years or so and I'm quite happy. 00:22:43 Isabel Li That's awesome to hear. 00:22:45 Isabel Li And perhaps a testament to Richard one's very versatile compositional style and avant-garde music coming up next are three pieces from his album i got the electroshock blues. There are five pieces in the album in total, but we will be hearing three of them. The first one called “feeling, scared today,” the second one, “pink pill,” and the fifth one, “la la.” [COMP MUSIC: i got the electroshock blues: 1. “feeling, scared today”, 2. “pink pill”, 3. “la la”.] 00:36:41 Richard An Earlier last year, I released a collection of live recordings under the title of I got the Electroshock Blues. Electroshock Blues is a song by the band Eels I encountered at a pivotal moment in my life. This was right around the time that my mother passed and this record and this song is heavily centered in grief. The main musician in the Eels, Mark Oliver Everett, was dealing with the passing of multiple family members and people who were close to him so it hit me in just the right way at just the right time. And because of that, this song specifically has stayed with me for many, many years. I found myself coming back to the contents of this song as I was composing and all the pieces on this album, of which there are 5 heavily take material from this song, whether that's words, chords, the melody. I really, you know, take it apart, dissect it and use those as ingredients in the pieces that I have written here and all of these are live recordings except for the first piece which was recorded in my studio. I just sort of overdubbed the parts myself, and there are credits in the liner notes for this album, but I just want to say that. The first piece which is called “feeling, scared today,” was originally written for the Hockett piano duo, which is a duo comprised of Thomas Kotcheff and Sarah Gibson. Sarah Gibson was a really close friend of mine who passed away last year and now this piece which in some way came out of a feeling of grief now has renewed meaning and another facet or aspect of this piece is centered in grief now. Because this was dedicated to Thomas and Sarah. Yeah. So these pieces are all derived from this one song. 00:38:57 Isabel Li That's a beautiful response. Thank you so much. Kind of following along your background and how you got to where you are. How do you think your identity has informed your work as a composer and musician? And this could be– you can interpret this in any way that you wish. 00:39:11 Richard An Yeah, this is a really interesting question. The question of how my identity interfaces with my music. In my art, particularly because no person's answer is quite the same, and I don't necessarily have this figured out either. So for a little bit of I guess for a little bit of context on me, I'm second generation Korean American, but I've never been to Korea and I never went to Korean school. My parents never really emphasize that part of my education. You could call it assimilation. You can call it whatever, but I think they valued other aspects of my growth than my explicit tie to Koreanness or, you know my specific identity as a Korean or Korean American, and because of that, I've always felt a little bit awkwardly distanced from that part of my identity, which is something that I will never be completely rid of. So in in a world and the field where whiteness is sort of the default part you know, particularly because you know, classical music does come from Europe, you know, for hundreds of years, like all of the development in this particular kind of music did happen in a place where everyone was white. So because of that background of where I come from and where my musical activity comes from, whiteness has been the default and still feels like it is. So me looking the way that I do as, an obvious not white person, as a person of color will always have a little bit of an outsider status to the thing. And with that comes the question of what are you bringing to classical music? What do you bring to the kind of music that you're creating? Like for example, the most I think the most well known East Asian composers are people like Toru Takemitsu or Tan Dun, people who will interface with their Asianness, in many different ways, but that often involves bringing, for example, a Japanese scale into your classical composition, or bringing a Japanese instrument into your classical composition. Those are, you know, examples of of of pieces by Toru Takemitsu, and other, you know, very successful. Asian American composers now may do similarly. Texu Kim is maybe someone who can also give insight into this, but nothing about me feels explicitly Korean, maybe besides the way that I look. And besides, the way that I grew up a little bit like I've never been to Korea. What right does that give me as a Korean, to for example, use a Korean instrument or use a Korean scale? I've never studied that music. I've never studied that culture. I in in some arguments I would be guilty of cultural appropriation, because I, you know, have not done the work to study and to properly represent. And for example, like Pansori, if I were to use that in any of my music. 00:42:46 Richard An But then the the the difficult question is well, then who does have the right? Does being Korean give me all the license that I need to incorporate aspects of my identity? And if I am not Korean, does that, does that bar my access to that kind of music forever? Another way of looking at this is, I've studied North Indian Classical Hindustani music for a while. I've played tabla and and studied that music at CalArts and I really, really love playing tabla. It's it doesn't make its way into my composition so much, but it is certainly a big part of my musicianship and who I am and, like, but am I barred from using ideas or aspects of that music and culture and my music because simply for the fact that I am not Indian? Many musicians would say no. Of course you've done your homework, you've done your research. You're doing due diligence. You're you're representing it properly. And many people who study this music will say music cannot go forward if it's not like the innervated and continued and studied by people like me who are not explicitly South Asian or Indian. That's an example of the flip side of this of me using or representing the music from a culture that I am not a part of, but again, am I really Korean? I've never been there. I wasn't born there. I speak the language conversationally. But this is an extremely long winded way of saying that I feel a tenuous connection to my Korean this my Korean American identity that hasn't been solved, that isn't solved and probably will never be completely solved. But I think that's exciting. I think that's an evolving aspect of my music and will continue to be that way as long as I continue to be involved in music and as as long as I continue to write. 00:45:05 Isabel Li Yeah, absolutely. That's a wonderful response. Actually. I was, as I was studying different types of world music and learning how people kind of borrow from different cultures. There is this always, this kind of question like ohh, like which types of musical elements from which cultures can I incorporate and obviously the aspects of personal identity definitely play into that a little bit. And part of my senior thesis in college was studying AAPI artists in classical music, and specifically that there are a lot of Asian-identifying musicians in the classical music world. But as you kind of mentioned earlier, I think classical music is very much still like grounded in whiteness and has this kind of air of elitism to it just because of its roots. How do you think this kind of identity intersects with the classical music world? And forgive me if you've already kind of talked about it before, but it's an interesting juxtaposition between like, for example, musicians who identify as AAPI or Asian in this kind of genre that is very– it's very associated with whiteness. Could you kind of talk about the dynamics of how these two aspects of like culture kind of interplay with one another? 00:46:26 Richard An Yeah, absolutely. So, you know, there are ways that I personally feel like I intersect with classical music with reference to my identity, and that also plays with the sort of cultural expectations, like there are stereotypes of Asian musicians, of Asian classical musicians. But there are not necessarily the same the same kind of stereotypes with white classical musicians. A very dominant like stereotype that you'll run into is the young Asian prodigy who practices 10 hours a day and may therefore be labeled as mechanical or unfeeling or, you know, are involved in in this a lot. So much so to the fact to the to the point where to excel an Asian American classical musician or as an Asian classical musician, in general, seems to always carry that stereotype. Like you know, Seong-Jin Cho's success as a pianist may not necessarily be attributed to his musicianship or his skill as a pianist. Because he is an Asian person, an Asian guy. Like how much of his success is because of the perceived tiger mom-ness that he might have existed under? How much of it is attributed to the same type of stereotypes that are labeled like that that label the five year old pianist on YouTube that that is clearly better than I am? Like some of these stereotypes help and some of these don't, but the I think it's undeniable that they exist in a way that doesn't in a way that doesn't carry for white people in the classical music sphere. And I think part of that is that classical music is still rooted in its Eurological identity. I think I'm using that correctly. That's an idea from George Lewis. Eurological versus Afrological. The context that I'm using Eurological right now is specifically in reference to George Lewis, who is a composer, trombonist, and musicologist who, I think coined the two terms to differentiate the roots of different styles of music, and you know, I haven't read enough to confidently say, but classical music is Eurological by example and like jazz would be Afrological by an example and the contexts in which they develop and exist and grew up are fundamentally different, which is what makes them different from each other. And again like this needs a little bit more research on my part. 00:49:23 Richard An Yeah, and because the classical music is so rooted in this thing, I don't believe that the stereotypes that exist for Asian classical musicians exist for white people. And I think that is something that will naturally dissipate with time, like after another 100 years of Asians, and, you know, people of color in, you know, every country in the world, with their continued involvement and innova otypes will disappear like this. You know, it may require certain concerted efforts from certain people, but I do believe that after a while these things will not exist. They'll sort of equalize right in the same way. That the divisions that we make between a Russian pianist and a French pianist and a German pianist, though you know people still do study those things like those aren't really dividing lines quite as strong as an Asian composer or an Indian composer might be. 00:50:27 Isabel Li Thank you for that perspective. I think it's, I think these are conversations that people don't kind of bring up as much in the classical music world and it's great that, you know, we're kind of thinking about these and probably possibly like opening some conversations up to our listeners hopefully. And so my next kind of pivot here is as you know with our current administration, Trump has canceled millions of dollars in National Endowment of the Arts grants, and it's been affecting arts organizations all over the nation. And I was kind of wondering, have you been affected by these cuts to arts programs and what kinds of advice would give upcoming musicians or composers in this era? 00:51:07 Richard An Yeah, that's a yeah, that's a big thing. And like, you know, changing day by day, right. So the Trump administration's effects on my life as a musician is simultaneously huge and also not really that much. So in one way these grant cuts have not affected my personal musical life because I haven't ever received a government grant for any of my arts making. So in one way like my life is the same, but in many, many, many other ways it has changed. Like I am involved with and I work with concert series and organizations and nonprofits that do rely on NEA funding and other government arts based funding. And if they have less money to fund their next season, that means certain projects have to be cut. That means certain musicians have to be paid less. That means certain programs have to change, especially if these funding cuts are aimed towards DEI or quote and quote, woke programming like that is, you know this that will by design disproportionately affect people of color in this field, which already you know, like is in a Eurocentric urological tradition like this is already something that people of color don't have a head start in if the funding cuts are aimed at certain types of programming that will disadvantage already disadvantaged groups of people, well then I don't know, that's even–we're starting even later than other people might be, and you know, like, if a musicians, if a person's reaction to this is despair, I think that's reasonable. I think that is an absolutely, like that's an appropriate reaction to what is fundamentally an attack on your voice as an artist. But I I have for as long as I can, you know, I have always worked under the impression that I will have to do the thing myself, and that's in the piece of advice that I give for a lot of people. You shouldn't necessarily wait for this ensemble to come pick you to play or or to to, you know, commission you to write a piece if you want to write the piece, you should do it and figure out how to put it on yourself. If you want to perform you know music by a certain composer, you should do it and then figure out how to do it yourself. That certainly comes from a place of privilege, like I can do this because I have enough work as a musician to be able to pay for the the passion projects it comes from a place of privilege, because I live in Los Angeles and the resources and musicians and other people who I would like to collaborate with live here, so you know, completely acknowledging and understanding that I I do believe that it's better to ask for forgiveness than to ask for permission. I think if you're a young musician and are feeling some despair about these funding cuts and you know the many, many, many other transgressions against humanity by this current administration. 00:54:38 Richard An I recommend you just go out and do it yourself. You find your people, you find your community, you pull favors, you work long nights and you do it and the reward will firstly be the good you're putting out into the world and then the the art you're making. But also this will be paid in kind by the community you're building, the musicians you're working with. And the the connections you make like you know I I have, I am currently conducting this interview from a studio space that I am renting out in Pasadena that I have built over the last two years that I do all of my rehearsals and my performances in, and that I, you know, host rehearsals and performances for other people, and this cannot happen and could not have happened without the goodwill and help and contribution from other people. When I say go out and do it yourself, I'm not saying that you as a human being are alone. I'm saying you don't need to wait for institutional approval or permission to go out and do these things. Get your friends and do them themselves. And my optimistic belief is that the support and the work will follow. 00:55:53 Isabel Li Richard, thank you so much for sharing your perspectives and your voice on this show today. And thank you to our many listeners of KPFA on tonight's episode of Obbligato on Apex Express. Which focuses on the AAPI community of the classical music world. There were some inspirational words on arts and arts making by Richard An musician and composer based in Los Angeles. 00:56:18 Isabel Li Please check our website kpfa.org to find out more about Richard An and his work as well as the state of the arts during this period of funding cuts. 00:56:29 Isabel Li We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world, your voices and your art are important. 00:56:41 Isabel Li APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by Isabel Li. Have a great evening. The post APEX Express – 8.7.25 – Obbligato with Richard An appeared first on KPFA.

Earl J. Schub has had a distinguished career as an educator and arts administrator. For 12 years he was the dean of the Chicago College of Performing Arts of Roosevelt University.   He had served as Lyric Opera of Chicago's director of public relations and marketing, and executive producer for television, and director of education.  He served as manager of the company's Opera Center for American Artists, and as manager of Western Opera Theater, San Francisco Opera's touring and educational affiliate. Earl has served on the Illinois Arts Council, the Chicago City Arts Council, and the California Arts Commission and he was as an on-site observer for the National Endowment for the Arts. He served on the education committee of the Chicago Symphony Orchestra In addition, he has been on the board of trustees for a number of music organizations, including the Chicago Music Alliance, the Chicago Youth Symphony Orchestra, and the Los Angeles Jewish Symphony.

“Some people might think that honesty boxes are from the past, from a different age, a simpler age, a more honest age, but I would say they're a future thing as well.” – Mark CousinsThroughout the islands and out of way places in Scotland, along the rural roads, at the end of driveways, out on their own with no house nearby, you'll find fresh baked bread, homemade jam, cauliflower, scones, Victoria Sponge Cake, ceramics, you name it. If someone can make it, bake it, grow it or sew it, it may turn up for sale in an “Honesty Box.” Just a wooden or metal box, sometime with a slot, nailed down so it can't be nicked, sometimes an open bowl of money, with a price list of the items and the implicit understanding that if you fancy a shortbread, or a dozen eggs, or a pound of sausages, or a home-knitted hat, you'll leave the money in the Honesty Box. No one is there to watch you. It's a trust thing. An honor thing. In this era when trust and honor are in such short supply in AmericaProduced by The Kitchen Sisters (Davia Nelson & Nikki Silva) with Mark Buell & George Bull in collaboration with Nathan Dalton & Brandi Howell. Mixed by Jim McKee.Special Thanks: In Edinburgh: Mark Cousins | On the Isle of Gigha: John Bannatyne, James, Colin Campbell, Dougie, Annie, Donald, the Guy at the Town Store, Isle of Gigha Golf Club | On The Isle of Arran: Nikki & Pete Brown (Clachaig Farm), Ailsa Currie (Bellevue Farm), Sally & Andy Pollock, Charles Colin Macleod Currie, Hamish Bannatyne, Shiskine Golf Course | In Campbeltown: Ellen Mainwood & Mhairi Hendrie at the Campbeltown Picture House (The Wee Picture House), Ardsheil Hotel, Flora Grant & Marion MacKinnon, Scott Eland | Carradale Golf Club: Mack Ezell | On The Isle of Skye: Catherine MacPhee. More Thanks: Frances McDormand & Joel Coen.Funding for The Kitchen Sisters Present… comes from The National Endowment for the Arts, Every Page Foundation, The Fertel Foundation, The Robert Sillins Family Foundation and Listener Contributions to The Kitchen Sisters Productions.The Kitchen Sisters Present is part of Radiotopia from PRX, a network of independent podcasts that widen your world.

The University of Nebraska was selected to receive a grant to continue its work uncovering and publicizing the journalistic writings of famed poet Walt Whitman. The National Endowment for the Humanities selected the project as one of 97 recipients across the country receiving grants for August 2025. The university will receive $300,000 over the course of three years for its research.

The University of Nebraska was selected to receive a grant to continue its work uncovering and publicizing the journalistic writings of famed poet Walt Whitman. The National Endowment for the Humanities selected the project as one of 97 recipients across the country receiving grants for August 2025. The university will receive $300,000 over the course of three years for its research.

What if the most important trust-building moments with clients aren't during meetings, but actually in between them? It turns out that your communication between meetings ( texts, emails, calls, etc.) can significantly impact trust, satisfaction, and client retention. In this conversation, Dr. Megan McCoy shares her breakthrough research on the power of between-meeting communication and how Advisors can create a “web of support” plan to help improve trust, satisfaction and client retention. You'll Learn: Ways to personalize communication at scale A framework for “between meeting” communication How to balance task-based and relationship-based outreach Signs your client has financial anxiety (even when they say they're “fine”) Why you need the right message delivered through the right medium *To sign up for Brendan's newsletter packed with resources to master the human side of advice → Click Here *To get the “Affiliation Guide” outlining a business model designed to help build your business ->Click Here Resources: Book: Financial Planning Counseling Skills Book: Facilitating Financial Health: Tools for Financial Planners, Coaches, and Therapists Book: Happy Money: The Science of Happier Spending Connect with Brendan Frazier:  RFG Advisory LinkedIn: Brendan Frazier Connect with Dr. Megan McCoy:  LinkedIn: Dr. Megan McCoy About Our Guest:  Megan McCoy, Ph.D., LMFT, AFC®, CFT-I™, is an Assistant Professor at Kansas State University's Department of Personal Financial Planning. She teaches courses at the undergraduate, graduate, and doctoral levels focused on financial well-being, financial therapy, and couple dynamics regarding finances. Dr. McCoy holds a B.A. in Psychology from The University of North Carolina and an M.A. in Marriage and Family Therapy from Drexel University. Dr. McCoy also attended the University of Georgia, where she earned a Ph.D. in Human Development and Family Science with an emphasis in Marriage and Family Therapy. She is a licensed Marriage and Family Therapist, an Accredited Financial Counselor®, and a Certified Financial Therapist-I™. During her doctoral program, she developed a specialization in financial therapy and client psychology. She had the opportunity to work with clients alongside financial planning students to treat clients' financial well-being together. Observing and learning from financial planners' work with clients enabled Dr. McCoy to gain more insights into the psychology of financial planning. She serves on the Financial Therapy Association's Board of Directors and was the past Associate editor of the Journal of Financial Therapy. She is currently co-editor for the Financial Planning Review. She was also a guest editor on a special issue on finances for Contemporary Family Therapy. Dr. McCoy's research interests focus on financial therapy, financial well-being, and financial communication, as well as diversity, equity, and inclusion issues. She has published over forty articles in top-tier mental health, family science, financial counseling, and financial planning journals. This year, her research has won awards from the National Council of Family Relations and the Financial Therapy Association. Dr. McCoy has been awarded grants from the Financial Planning Association, the National Endowment for Financial Education, and FP Canada to continue research on how to integrate client psychology topics into financial planning to foster trust and commitment with clients. Dr. McCoy has also been featured as a financial well-being expert on the Today Show, NPR, BBC, the Wall Street Journal, and many other media outlets. – Content here is for illustrative purposes and general information only. It is not legal, tax, or individualized financial advice; nor is it a recommendation to buy, sell, or hold any specific security, or engage in any specific trading strategy. Information here may be provided,

Beth Brophy and Justin Peck hop in the new studio to join Matías in a conversation about nerdy, artistic people who also parent a little on the side! LIVE SHOW DETAILS, at a NEW VENUE: Our next live show will be on Saturday, September 6th, 7:00pm, and it will be located at Studio Four, part of the St. Louis County Depot.  The entrance is easy to find at the corner of 5th Avenue West and Michigan Street, and it's nestled between two public parking lots for easy access. The doors open at 6:30pm, the show starts at 7:00, and it is once again completely free! I know change is scary, but there will be concessions on-site, and you'll get to walk past a little culture on the way in from our hosts at the Minnesota Ballet, and our neighbors at the Lake Superior Railroad Museum! --- "Twin Portals" is unofficial Fan Content permitted under the Fan Content Policy. Not approved/endorsed by Wizards. Portions of the materials used are property of Wizards of the Coast. ©Wizards of the Coast LLC. --- The title song, "Avernum," used with permission, and thanks to Leeland Campana of Star Wolf. --- Scott Hebert is a fiscal year 2025 recipient of a Creative Individuals grant from the Minnesota State Arts Board. This activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation by the Minnesota State Legislature; and by a grant from the National Endowment for the Arts. --- Content Inquiries: twinportalsgame@gmail.com Business Inquiries: scootalongproductions@gmail.com

LISTEN and SUBSCRIBE on:Apple Podcasts: https://podcasts.apple.com/us/podcast/watchdog-on-wall-street-with-chris-markowski/id570687608 Spotify: https://open.spotify.com/show/2PtgPvJvqc2gkpGIkNMR5i WATCH and SUBSCRIBE on:https://www.youtube.com/@WatchdogOnWallstreet/featuredIn this episode of Watchdog on Wall Street, we expose the swampy return of neocon cash grabs—this time through restored funding to the National Endowment for Democracy (NED) and its regime-change pals. If you thought Republicans were done funding propaganda and foreign meddling, think again.Here's what you'll hear:How GOP appropriators just handed $300+ million to the NED and other globalist NGOsWhy “conservative” institutions like the International Republican Institute push regime changeThe shocking board member list: Rubio, Romney, Graham, and moreHow these groups smeared JD Vance and Thomas Massie as “foreign agents”And why fake conservatives are fueling the same failed foreign policy over and over againNeoconservatism never died. It just rebranded—and kept the money flowing.

Mariah Rigg speaks to managing editor Emily Everett about her story “Target Island,” which appears in The Common's spring issue. “Target Island” is a story from her short story collection Extinction Capital of the World, out August 5 from Ecco; both focus on the islands of Hawai'i. Mariah talks about the process of writing and revising this story and the collection as a whole, and why reflecting contemporary Hawai'i is important to her work. Mariah also discusses playing with time and narrative flow in her stories, and working on a new project—her first novel. Mariah Rigg is a Samoan-Haole who was born and raised on the island of O‘ahu. She is the author of the short story collection Extinction Capital of the World, which is forthcoming from Ecco/HarperCollins on August 5th. Her chapbook, All Hat, No Cattle was published by Bull City Press in 2023. She has received fellowships from the National Endowment for the Arts, MASS MoCA, Oregon Literary Arts, VCCA, The Mount, and Lambda Literary, among others. She holds an MFA from the University of Oregon and a PhD from the University of Tennessee, Knoxville. In fall 2025, she will be a visiting fellow at Mount Holyoke College. ­­Read Mariah's story “Target Island” in The Common at thecommononline.org/target-island. Order her story collection in all formats from Ecco/Harper Collins. Learn more about Lucas at www.mariahrigg.com. Follow Mariah on Instagram at @riggstah. The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine at thecommononline.org, and follow us on Instagram, Bluesky, and Facebook. Emily Everett is managing editor of the magazine and host of the podcast. Her new debut novel All That Life Can Afford is the Reese's Book Club pick for April 2025. Her writing appears in The New York Times, Kenyon Review, Electric Literature, Tin House Online, and Mississippi Review. She was a 2022 Massachusetts Cultural Council Fellow in Fiction. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Mariah Rigg speaks to managing editor Emily Everett about her story “Target Island,” which appears in The Common's spring issue. “Target Island” is a story from her short story collection Extinction Capital of the World, out August 5 from Ecco; both focus on the islands of Hawai'i. Mariah talks about the process of writing and revising this story and the collection as a whole, and why reflecting contemporary Hawai'i is important to her work. Mariah also discusses playing with time and narrative flow in her stories, and working on a new project—her first novel. Mariah Rigg is a Samoan-Haole who was born and raised on the island of O‘ahu. She is the author of the short story collection Extinction Capital of the World, which is forthcoming from Ecco/HarperCollins on August 5th. Her chapbook, All Hat, No Cattle was published by Bull City Press in 2023. She has received fellowships from the National Endowment for the Arts, MASS MoCA, Oregon Literary Arts, VCCA, The Mount, and Lambda Literary, among others. She holds an MFA from the University of Oregon and a PhD from the University of Tennessee, Knoxville. In fall 2025, she will be a visiting fellow at Mount Holyoke College. ­­Read Mariah's story “Target Island” in The Common at thecommononline.org/target-island. Order her story collection in all formats from Ecco/Harper Collins. Learn more about Lucas at www.mariahrigg.com. Follow Mariah on Instagram at @riggstah. The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine at thecommononline.org, and follow us on Instagram, Bluesky, and Facebook. Emily Everett is managing editor of the magazine and host of the podcast. Her new debut novel All That Life Can Afford is the Reese's Book Club pick for April 2025. Her writing appears in The New York Times, Kenyon Review, Electric Literature, Tin House Online, and Mississippi Review. She was a 2022 Massachusetts Cultural Council Fellow in Fiction. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Mariah Rigg speaks to managing editor Emily Everett about her story “Target Island,” which appears in The Common's spring issue. “Target Island” is a story from her short story collection Extinction Capital of the World, out August 5 from Ecco; both focus on the islands of Hawai'i. Mariah talks about the process of writing and revising this story and the collection as a whole, and why reflecting contemporary Hawai'i is important to her work. Mariah also discusses playing with time and narrative flow in her stories, and working on a new project—her first novel. Mariah Rigg is a Samoan-Haole who was born and raised on the island of O‘ahu. She is the author of the short story collection Extinction Capital of the World, which is forthcoming from Ecco/HarperCollins on August 5th. Her chapbook, All Hat, No Cattle was published by Bull City Press in 2023. She has received fellowships from the National Endowment for the Arts, MASS MoCA, Oregon Literary Arts, VCCA, The Mount, and Lambda Literary, among others. She holds an MFA from the University of Oregon and a PhD from the University of Tennessee, Knoxville. In fall 2025, she will be a visiting fellow at Mount Holyoke College. ­­Read Mariah's story “Target Island” in The Common at thecommononline.org/target-island. Order her story collection in all formats from Ecco/Harper Collins. Learn more about Lucas at www.mariahrigg.com. Follow Mariah on Instagram at @riggstah. The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine at thecommononline.org, and follow us on Instagram, Bluesky, and Facebook. Emily Everett is managing editor of the magazine and host of the podcast. Her new debut novel All That Life Can Afford is the Reese's Book Club pick for April 2025. Her writing appears in The New York Times, Kenyon Review, Electric Literature, Tin House Online, and Mississippi Review. She was a 2022 Massachusetts Cultural Council Fellow in Fiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jill Ciment, author of The Body in Question, was born in Montreal, Canada. She is the author of Small Claims, a collection of short stories, novels, and novellas; The Law of Falling Bodies, Teeth of the Dog, The Tattoo Artist, Heroic Measures, and Act of God, and the memoirs, Half a Life and Consent. She has been the recipient of numerous grants and awards, including the National Endowment for the Arts fellowship, two New York Foundation for the Arts fellowships, the Janet Heidinger Kafka Prize, and a Guggenheim fellowship. Jill Ciment is a professor emeritus at the University of Florida. She lives in Gainesville, Florida, and New York City. Jill joins Barbara DeMarco-Barrett to talk the various aspects of writing, but in particular, Jill's book, The Body in Question. Warning: There will be spoilers. A couple of months ago Barbara let our Patreon supporters know there would be talk in depth about the book and if listeners hate spoilers, read the book first—it's a thin novel—and then listen to the show. “I recently spent two weeks in jury duty on a criminal case,” says Barbara, “and during the first week I reread this book in which a criminal case is the B story. The A story is the affair the narrator has with a fellow juror known only by his number until three-quarters of the way through when the case ends.” Jill was on the show when this book came out around 2020. Barbara says, “I loved the book so much and wanted to bring Jill back to talk about the ending.” For more information on Writers on Writing and to become a supporter, visit our Patreon page. For a one-time donation, visit Ko-fi. You can find hundreds of past interviews on our website. You can help out the show and indie bookstores by buying books at our bookstore on bookshop.org. It's stocked with titles by our guest authors, as well as our personal favorites. And on Spotify, you'll find an album's worth of typewriter music like what you hear on the show. It's perfect for writing. Look for the artist, Just My Type. Email the show at writersonwritingpodcast@gmail.com. We love to hear from our listeners! (Recorded on June 27, 2025) Host: Barbara DeMarco-BarrettHost: Marrie StoneMusic: Travis Barrett (Stream his music on Spotify, Apple Music, Etc.)

This and all episodes at: https://aiandyou.net/ . It's more important than ever to define just what we mean by words like intelligence, consciousness, and thinking. Here to help us is Kate Hayles, Distinguished Research Professor at UCLA and the James B. Duke Professor Emerita from Duke University. Her research focuses on the relations of literature, science and technology, and her books include Postprint: Books and Becoming Computational, Unthought: The Power of the Cognitive Nonconscious, and How We Think: Digital Media and Contemporary Technogenesis. She has fellowships from the National Endowment for the Humanities, the Guggenheim, a Rockefeller Residential Fellowship at Bellagio, and two University of California Presidential Research Fellowships, and she is a member of the American Academy of Arts and Sciences. We are focusing on her new book, Bacteria to AI:  Human Futures with our Nonhuman Symbionts, where she lays out a new theory of mind—what she calls an integrated cognitive framework—that includes the meaning-making practices of lifeforms from bacteria to plants, animals, humans, and some forms of artificial intelligence. In part 2, we talk about where meaning resides, for instance in poetry and literature, and how students' attention span has changed and shortened as a result of multitasking or multiple information streams and how educational models need to change, how our cognitive symbiosis with AI might evolve, and markers of whether AI has consciousness, sentience, or deserves any individual rights. All this plus our usual look at today's AI headlines. Transcript and URLs referenced at HumanCusp Blog.        

In this episode we discuss disability, culture and identity from the perspective of disability communities themselves.   Seattle based activist Dorian Taylor talks about the specific challenges disabled people face while accessing public transportation and Professor Sara Acevedo discusses the powerful ways that common language and terminology can shape our perceptions of disability, and why even today we are seeing further exclusion of disabled people. This program originally aired in 2019. Featuring: Dorian Taylor, Sara Acevedo. Episode Credits Special thanks to CIIS, the California Institute of Integral Studies and the CIIS Public Programs Podcast for use of the Sara Acevedo talk. To learn more about the CIIS Public Programs Podcast log onto https://www.ciispod.com/. The story of Dorian Taylor was produced by Yuko Kodama and Mona Yeh in partnership with KBCS and Finding America, a national initiative produced by AIR, the Association of Independents in Radio Incorporated. Financial support was provided by the Corporation for Public Broadcasting, the Wincote Foundation, The John D and Catherine T MacArthur Foundation and the National Endowment for the Arts. Making Contact Team Host: Anita Johnson Executive Director: Jina Chung Engineer: Jeff Emtman Digital Media Marketing: Lissa Deonarain   Learn More:  CIISPod | Sara Acevedo | Hampshire-Dorian Taylor | Krip Hop Nation | Fixed The Movie Making Contact is an award-winning, nationally syndicated radio show and podcast featuring narrative storytelling and thought-provoking interviews. We cover the most urgent issues of our time and the people on the ground building a more just world.

Far more art is produced in a place like Seattle that is seen by the general public, in venues like galleries, museums, and art fairs. Who decides which art goes on display, and which work remains in the maker's studio? A panel of art world experts discussed the often behind-the-scenes process that selects certain artists while sidelining others, and whether the current structure encourages or suppresses diversity, and where there is room for improvement. Elisheba Johnson is a conceptual artist and curator for Wa Na Wari. She was previously a public art manager for Seattle's Office of Arts and Culture and the owner of Faire Gallery Cafe. In 2018, Elisheba started a public art practice with her collaborator Kristen Ramirez. She is currently a member of the Americans for the Arts Emerging Leaders Network advisory council and has won four Americans for the Arts Public Art Year in Review Awards for her work. Judith Rinehart launched J. Rinehart Gallery in 2019 after more than a decade of working in Seattle galleries. As an arts advocate, she served for three years as treasurer of the Seattle Art Dealers Association, was the curator and panelist at the Seattle Emerging Arts Fair in 2018 and was the lead organizer of the Seattle Deconstructed Art Fair in 2020 & 2021. She is also one of the founders of Art + Culture Week, an initiative to celebrate Seattle's visual arts, performing arts, and cultural communities. Rock Hushka is the former Deputy Director and Chief Curator at Tacoma Art Museum, curating more than 50 exhibitions and 25 publications. While at TAM, Hushka received two National Endowment for the Arts Access to Artistic Excellence grants, an Andy Warhol Foundation for the Arts Curatorial Fellowship, and a Getty Leadership Institute Fellowship. He recently transitioned careers, seeking to bridge the experiential learning of museum exhibitions to graphic design and educational technology. Presented by Town Hall Seattle and Gage Academy of Art.

Willie Nelson and Dallas-born actress Robin Wright, along with some wild and extraordinary tellers, take us across Texas and share some of their Hidden Kitchen stories. Gas station tacos, ice houses, Chili Queens, Stubb's BBQ, cowboy kitchens, car wash kitchens, space food. With special guests Jimmie Dale Gilmore, Kinky Friedman, Joe Nick Patoski,  and so many more.Produced by The Kitchen Sisters with support from the National Endowment for the Humanities, the National Endowment for the Arts, Corporation for Public Broadcasting, Texas Humanities, KUT, NPR and contributors to The Kitchen Sisters Productions.

In this episode of PhotoWork with Sasha Wolf, photographer and educator Sage Sohier joins Sasha to discuss a lifetime of extraordinary work, including her recently published books Passing Time and Americans Seen (Nazraeli Press), featuring photographs made primarily in the 1980s. They also delve into Witness to Beauty (Kehrer Verlag), an intimate and moving portrait of Sohier's mother alongside her two daughters—a project that embraces aging and the passage of time. Throughout the conversation, Sage shares her enthusiasm and thoughtful insights on staying open to new ideas and equipment, as well as the value of revisiting older work with fresh eyes. https://sagesohier.com https://www.instagram.com/sagesohier/ Sage Sohier (b. 1954, Washington, D.C.) grew up in Virginia and received her BA from Harvard University in 1975. She is a Boston-based photographer who has published eight monographs, including “Americans Seen,” (Nazraeli Press 2017 and 2024), “Passing Time,” (2023), and “Witness to Beauty” (Kehrer 2017). She is the recipient of Guggenheim and National Endowment for the Arts fellowships. Sohier's work has been included in group shows at the Museum of Modern Art, NY, the International Center of Photography, the Art Institute of Chicago, and in solo shows at Joseph Bellows Gallery, Robert Klein Gallery, Foley Gallery, Blue Sky Gallery, and The Museum of Contemporary Photography in Chicago. Her work is in numerous collections including the Museum of Modern Art, NY, the Museum of Fine Arts, Boston, the San Francisco Museum of Modern Art, and the Nelson-Atkins Museum of Art. She has taught photography at Harvard University and Wellesley College, and has done commissioned work for the George Gund Foundation in Cleveland, the Robert Rauschenberg Residency program in Captiva, FL, as well as editorial work for numerous publications

Even casual observers of the military will notice the unique ways that service members use language. With all of the acronyms and jargon, some even argue that membership in the military requires learning a whole language. But rather than treat military-specific language as a cultural difference of the institution or a technical requirement for the job, Dr. Janet McIntosh examines how military language works to enable its members to both kill and imagine themselves as killable. In her book Kill Talk: Language and Military Necropolitics (Oxford UP, 2025), Dr. McIntosh explores how language is used first in military training to "toughen up" recruits; during combat overseas as a way to cope with death and killing; and then how this language is unlearned and repackaged by antiwar veterans as part of their own personal demilitarization. Janet McIntosh is a linguistic and sociocultural anthropologist and Professor of Anthropology at Brandeis University. She has received numerous awards of her previous work, including the Clifford Geertz Prize in the anthropology of religion, Honorable Mention in the Victor Turner Prize in Ethnographic Writing, and an Honorable Mention in the American Ethnological Society Book Prize. Her current work has been supported through grants from the American Council of Learned Societies and the National Endowment for the Humanities. In this episode we mentioned the NBN interview with Ben Schrader about his book Fight to Live, Live to Fight. You can find a transcript of the interview here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Send us a textThe tension between creative expression and rigid reporting requirements creates a disconnect that undermines both funders and grantees. What if there's a better way forward?Kelly Feltault and Hannah Jacobson Blumenfeld join us to unpack how traditional accountability frameworks often miss the mark when applied to arts organizations. Drawing from their work with Creative Forces—an innovative collaboration between the National Endowment for the Arts, Department of Defense, and VA—they share how military veterans and their families experienced profound transformation through arts programming, yet organizations struggled to "prove" these outcomes to health-focused funders.The problem isn't a lack of impact. Arts organizations witness life-changing outcomes daily—increased resilience, social connection, identity formation, and emotional well-being. The challenge lies in translation. When funders expect clinical-style measurement from community-based organizations without providing capacity-building support, they create what Kelly calls an "unfunded mandate" that burdens nonprofits and obscures their true value.Their solution begins with honoring what organizations already know. Rather than imposing external frameworks, Kelly and Hannah help nonprofits articulate their outcomes in language funders recognize. This process of translation empowered Creative Forces organizations to secure new funding partnerships and influence systems change in ways they hadn't previously imagined.For nonprofit leaders struggling with resource constraints, evaluation can become a strategic tool rather than just another burden. As Hannah reflects from her executive director experience: "Although this process takes time and intention, it ended up taking something off their plate instead of adding something on" by providing clarity amid the daily "paradox of choice."Whether you're a funder seeking to support innovation or a nonprofit trying to communicate your impact, this conversation offers practical wisdom for building trust-based relationships that honor both accountability and creativity. As Kelly reminds us, "Evaluation is really just about being curious and strategic and brave—not about becoming a statistician."Visit communityevaluationsolutions.com for free and low-cost resources including a nonprofit mission statement template, logic model template, coalition self-assessment, and the course "Powerful Evidence: Evaluation for Non-Evaluators."Like what you heard? Please like and share wherever you get your podcasts! Connect with Ann: Community Evaluation Solutions How Ann can help: · Support the evaluation capacity of your coalition or community-based organization. · Help you create a strategic plan that doesn't stress you and your group out, doesn't take all year to design, and is actionable. · Engage your group in equitable discussions about difficult conversations. · Facilitate a workshop to plan for action and get your group moving. · Create a workshop that energizes and excites your group for action. · Speak at your conference or event. Have a question or want to know more? Book a call with Ann .Be sure and check out our updated resource page! Let us know what was helpful. Music by Zach Price: Zachpricet@gmail.com

Even casual observers of the military will notice the unique ways that service members use language. With all of the acronyms and jargon, some even argue that membership in the military requires learning a whole language. But rather than treat military-specific language as a cultural difference of the institution or a technical requirement for the job, Dr. Janet McIntosh examines how military language works to enable its members to both kill and imagine themselves as killable. In her book Kill Talk: Language and Military Necropolitics (Oxford UP, 2025), Dr. McIntosh explores how language is used first in military training to "toughen up" recruits; during combat overseas as a way to cope with death and killing; and then how this language is unlearned and repackaged by antiwar veterans as part of their own personal demilitarization. Janet McIntosh is a linguistic and sociocultural anthropologist and Professor of Anthropology at Brandeis University. She has received numerous awards of her previous work, including the Clifford Geertz Prize in the anthropology of religion, Honorable Mention in the Victor Turner Prize in Ethnographic Writing, and an Honorable Mention in the American Ethnological Society Book Prize. Her current work has been supported through grants from the American Council of Learned Societies and the National Endowment for the Humanities. In this episode we mentioned the NBN interview with Ben Schrader about his book Fight to Live, Live to Fight. You can find a transcript of the interview here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

Roadside Theater is a professional ensemble of storytellers and theater makers hailing from the mountains of central Appalachia. In its decades since its founding in 1975, the ensemble has taken on the task of people's theater, engaging social issues and abandoning the ‘fourth wall' concept in order to bring audiences into the process of cultural production. Roadside Theater reflects Appalachian culture, but it has also worked over decades to build theater in solidarity with social struggles across social constructs, including in close connection with the Student Nonviolent Coordinating Committee and their associated theater troupes, Free Southern Theater and Junebug Productions. On today's show, we're joined by editors and contributors to a new book that documents that history, called Art In A Democracy. We're joined by the book's editor, Ben Fink, who worked with Roadside Theater from 2015 until 2020, and co-founded the East Kentucky–Western Massachusetts cross-partisan dialogue project Hands Across the Hills. We're also joined by Donna Porterfield, the Managing Director of Roadside Theater from 1979 to 2019, with oversight responsibility for all of the theater's personnel and financial matters; as well as AB Spellman, a poet and essayist as well as a jazz critic and enthusiast, and a figure in the Black Arts Movement who worked for about 30 years at the National Endowment of the Arts. Learn more about Roadside Theater and Art in a Democracy: https://www.artinademocracy.org/ —- Subscribe to this podcast: https://plinkhq.com/i/1637968343?to=page Get in touch: lawanddisorder@kpfa.org Follow us on socials @LawAndDis: https://twitter.com/LawAndDis; https://www.instagram.com/lawanddis/ The post Appalachian Roadside Theater Tackles Democracy Without a ‘Fourth Wall' appeared first on KPFA.

Even casual observers of the military will notice the unique ways that service members use language. With all of the acronyms and jargon, some even argue that membership in the military requires learning a whole language. But rather than treat military-specific language as a cultural difference of the institution or a technical requirement for the job, Dr. Janet McIntosh examines how military language works to enable its members to both kill and imagine themselves as killable. In her book Kill Talk: Language and Military Necropolitics (Oxford UP, 2025), Dr. McIntosh explores how language is used first in military training to "toughen up" recruits; during combat overseas as a way to cope with death and killing; and then how this language is unlearned and repackaged by antiwar veterans as part of their own personal demilitarization. Janet McIntosh is a linguistic and sociocultural anthropologist and Professor of Anthropology at Brandeis University. She has received numerous awards of her previous work, including the Clifford Geertz Prize in the anthropology of religion, Honorable Mention in the Victor Turner Prize in Ethnographic Writing, and an Honorable Mention in the American Ethnological Society Book Prize. Her current work has been supported through grants from the American Council of Learned Societies and the National Endowment for the Humanities. In this episode we mentioned the NBN interview with Ben Schrader about his book Fight to Live, Live to Fight. You can find a transcript of the interview here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Even casual observers of the military will notice the unique ways that service members use language. With all of the acronyms and jargon, some even argue that membership in the military requires learning a whole language. But rather than treat military-specific language as a cultural difference of the institution or a technical requirement for the job, Dr. Janet McIntosh examines how military language works to enable its members to both kill and imagine themselves as killable. In her book Kill Talk: Language and Military Necropolitics (Oxford UP, 2025), Dr. McIntosh explores how language is used first in military training to "toughen up" recruits; during combat overseas as a way to cope with death and killing; and then how this language is unlearned and repackaged by antiwar veterans as part of their own personal demilitarization. Janet McIntosh is a linguistic and sociocultural anthropologist and Professor of Anthropology at Brandeis University. She has received numerous awards of her previous work, including the Clifford Geertz Prize in the anthropology of religion, Honorable Mention in the Victor Turner Prize in Ethnographic Writing, and an Honorable Mention in the American Ethnological Society Book Prize. Her current work has been supported through grants from the American Council of Learned Societies and the National Endowment for the Humanities. In this episode we mentioned the NBN interview with Ben Schrader about his book Fight to Live, Live to Fight. You can find a transcript of the interview here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/language

Natalia Mehlman Petrzela is a historian of contemporary American politics and culture. She is the author of CLASSROOM WARS: Language, Sex, and the Making of Modern Political Culture (Oxford University Press, 2015), and FIT NATION: The Gains and Pains of America's Exercise Obsession (University of Chicago Press, 2023). She is Executive Producer and host of the podcast EXTREME (BBC/Novel) and host of WELCOME TO YOUR FANTASY ( Pineapple Street Studios/Gimlet). She is a columnist for MSNBC, a frequent media guest expert, public speaker, and contributor to outlets including the New York Times, Wall Street Journal, Washington Post, and Atlantic.Natalia is a Carnegie Corporation Fellow and a recipient of a National Endowment for the Humanities Public Scholars Grant. She is currently working on two new books, a short history of the school culture wars, and a history of the Hamptons, with historian Neil J. Young. She is executive producer of a documentary series based on FIT NATION, in development with TIME Studios. Natalia began her career as a public school teacher, and she is currently Lead Historian on the Jewish American Hidden Voices curriculum for the New York City Department of Education, forthcoming in 2025.Natalia is Professor of History at The New School, co-founder of the wellness education program Healthclass 2.0, and a Premiere Leader of the mind-body practice intenSati. Her work has been supported by the Spencer, Whiting, Rockefeller, and Mellon Foundations, the Carnegie Corporation, and the National Endowment for the Humanities. She holds a B.A. from Columbia and a Ph.D. from Stanford and lives in New York City.Want a Better Relationship With Your Teen Children? Exercise With Them. -WSJNatalia's WebsiteNatalia's InstagramSupport the show

The first literary biography of Tim O'Brien, the preeminent American writer of the war in Vietnam and one of the best writers of his generation, drawing on never-before-seen materials and original interviews. "Vietnam made me a writer." —Tim O'Brien Featuring over one hundred interviews with family, friends, peers, and others—not to mention countless exchanges with Tim O'Brien himself—Peace is a Shy Thing: The Life and Art of Tim O'Brien (St. Martin's Press, 2025) provides a nearly day-by-day, gripping account of O'Brien's thirteen months as an infantryman in Vietnam and gives equal diligence to reconstructing O'Brien's writing process. This meticulously researched biography explores the life and journey that turned O'Brien into a literary icon and a household name. It includes an unpublished short story about O'Brien from a college girlfriend, documentation of his comical involvement with the Washington Post's coverage of Watergate, and a 1989 attic exchange between American and Vietnamese writers on the eve of the publication of O'Brien's most beloved book, The Things They Carried, years before the two countries normalized relations. Peace is a Shy Thing is as much a history of the era as it is a story of O'Brien's life, from his small-town midwestern mid-century childhood, to winning the National Book Award and his status as literary elder statesman. A story which Vernon, a combat veteran of the Persian Gulf War and a literary scholar trained by officers and professors of the Vietnam era, is uniquely suited to tell. Guest: Alex Vernon (he/him) graduated from the U.S. Military Academy at West Point (the only literature major in his class of over a thousand), served in combat as a tank platoon leader in the Persian Gulf War, and earned a Ph.D. from the University of North Carolina-Chapel Hill. The recipient of an Army Historical Foundation Distinguished Book Award and a National Endowment of the Humanities Fellowship, he is the M.E. & Ima Graves Peace Distinguished Professor of English at Hendrix College in Conway, Arkansas. Host: Jenna Pittman (she/her), a Ph.D. student in the Department of History at Duke University. She studies modern European history, political economy, and Germany from 1945-1990. Scholars@Duke: https://scholars.duke.edu/pers... Linktree: https://linktr.ee/jennapittman Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The first literary biography of Tim O'Brien, the preeminent American writer of the war in Vietnam and one of the best writers of his generation, drawing on never-before-seen materials and original interviews. "Vietnam made me a writer." —Tim O'Brien Featuring over one hundred interviews with family, friends, peers, and others—not to mention countless exchanges with Tim O'Brien himself—Peace is a Shy Thing: The Life and Art of Tim O'Brien (St. Martin's Press, 2025) provides a nearly day-by-day, gripping account of O'Brien's thirteen months as an infantryman in Vietnam and gives equal diligence to reconstructing O'Brien's writing process. This meticulously researched biography explores the life and journey that turned O'Brien into a literary icon and a household name. It includes an unpublished short story about O'Brien from a college girlfriend, documentation of his comical involvement with the Washington Post's coverage of Watergate, and a 1989 attic exchange between American and Vietnamese writers on the eve of the publication of O'Brien's most beloved book, The Things They Carried, years before the two countries normalized relations. Peace is a Shy Thing is as much a history of the era as it is a story of O'Brien's life, from his small-town midwestern mid-century childhood, to winning the National Book Award and his status as literary elder statesman. A story which Vernon, a combat veteran of the Persian Gulf War and a literary scholar trained by officers and professors of the Vietnam era, is uniquely suited to tell. Guest: Alex Vernon (he/him) graduated from the U.S. Military Academy at West Point (the only literature major in his class of over a thousand), served in combat as a tank platoon leader in the Persian Gulf War, and earned a Ph.D. from the University of North Carolina-Chapel Hill. The recipient of an Army Historical Foundation Distinguished Book Award and a National Endowment of the Humanities Fellowship, he is the M.E. & Ima Graves Peace Distinguished Professor of English at Hendrix College in Conway, Arkansas. Host: Jenna Pittman (she/her), a Ph.D. student in the Department of History at Duke University. She studies modern European history, political economy, and Germany from 1945-1990. Scholars@Duke: https://scholars.duke.edu/pers... Linktree: https://linktr.ee/jennapittman Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The first literary biography of Tim O'Brien, the preeminent American writer of the war in Vietnam and one of the best writers of his generation, drawing on never-before-seen materials and original interviews. "Vietnam made me a writer." —Tim O'Brien Featuring over one hundred interviews with family, friends, peers, and others—not to mention countless exchanges with Tim O'Brien himself—Peace is a Shy Thing: The Life and Art of Tim O'Brien (St. Martin's Press, 2025) provides a nearly day-by-day, gripping account of O'Brien's thirteen months as an infantryman in Vietnam and gives equal diligence to reconstructing O'Brien's writing process. This meticulously researched biography explores the life and journey that turned O'Brien into a literary icon and a household name. It includes an unpublished short story about O'Brien from a college girlfriend, documentation of his comical involvement with the Washington Post's coverage of Watergate, and a 1989 attic exchange between American and Vietnamese writers on the eve of the publication of O'Brien's most beloved book, The Things They Carried, years before the two countries normalized relations. Peace is a Shy Thing is as much a history of the era as it is a story of O'Brien's life, from his small-town midwestern mid-century childhood, to winning the National Book Award and his status as literary elder statesman. A story which Vernon, a combat veteran of the Persian Gulf War and a literary scholar trained by officers and professors of the Vietnam era, is uniquely suited to tell. Guest: Alex Vernon (he/him) graduated from the U.S. Military Academy at West Point (the only literature major in his class of over a thousand), served in combat as a tank platoon leader in the Persian Gulf War, and earned a Ph.D. from the University of North Carolina-Chapel Hill. The recipient of an Army Historical Foundation Distinguished Book Award and a National Endowment of the Humanities Fellowship, he is the M.E. & Ima Graves Peace Distinguished Professor of English at Hendrix College in Conway, Arkansas. Host: Jenna Pittman (she/her), a Ph.D. student in the Department of History at Duke University. She studies modern European history, political economy, and Germany from 1945-1990. Scholars@Duke: https://scholars.duke.edu/pers... Linktree: https://linktr.ee/jennapittman Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

The first literary biography of Tim O'Brien, the preeminent American writer of the war in Vietnam and one of the best writers of his generation, drawing on never-before-seen materials and original interviews. "Vietnam made me a writer." —Tim O'Brien Featuring over one hundred interviews with family, friends, peers, and others—not to mention countless exchanges with Tim O'Brien himself—Peace is a Shy Thing: The Life and Art of Tim O'Brien (St. Martin's Press, 2025) provides a nearly day-by-day, gripping account of O'Brien's thirteen months as an infantryman in Vietnam and gives equal diligence to reconstructing O'Brien's writing process. This meticulously researched biography explores the life and journey that turned O'Brien into a literary icon and a household name. It includes an unpublished short story about O'Brien from a college girlfriend, documentation of his comical involvement with the Washington Post's coverage of Watergate, and a 1989 attic exchange between American and Vietnamese writers on the eve of the publication of O'Brien's most beloved book, The Things They Carried, years before the two countries normalized relations. Peace is a Shy Thing is as much a history of the era as it is a story of O'Brien's life, from his small-town midwestern mid-century childhood, to winning the National Book Award and his status as literary elder statesman. A story which Vernon, a combat veteran of the Persian Gulf War and a literary scholar trained by officers and professors of the Vietnam era, is uniquely suited to tell. Guest: Alex Vernon (he/him) graduated from the U.S. Military Academy at West Point (the only literature major in his class of over a thousand), served in combat as a tank platoon leader in the Persian Gulf War, and earned a Ph.D. from the University of North Carolina-Chapel Hill. The recipient of an Army Historical Foundation Distinguished Book Award and a National Endowment of the Humanities Fellowship, he is the M.E. & Ima Graves Peace Distinguished Professor of English at Hendrix College in Conway, Arkansas. Host: Jenna Pittman (she/her), a Ph.D. student in the Department of History at Duke University. She studies modern European history, political economy, and Germany from 1945-1990. Scholars@Duke: https://scholars.duke.edu/pers... Linktree: https://linktr.ee/jennapittman Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The first literary biography of Tim O'Brien, the preeminent American writer of the war in Vietnam and one of the best writers of his generation, drawing on never-before-seen materials and original interviews. "Vietnam made me a writer." —Tim O'Brien Featuring over one hundred interviews with family, friends, peers, and others—not to mention countless exchanges with Tim O'Brien himself—Peace is a Shy Thing: The Life and Art of Tim O'Brien (St. Martin's Press, 2025) provides a nearly day-by-day, gripping account of O'Brien's thirteen months as an infantryman in Vietnam and gives equal diligence to reconstructing O'Brien's writing process. This meticulously researched biography explores the life and journey that turned O'Brien into a literary icon and a household name. It includes an unpublished short story about O'Brien from a college girlfriend, documentation of his comical involvement with the Washington Post's coverage of Watergate, and a 1989 attic exchange between American and Vietnamese writers on the eve of the publication of O'Brien's most beloved book, The Things They Carried, years before the two countries normalized relations. Peace is a Shy Thing is as much a history of the era as it is a story of O'Brien's life, from his small-town midwestern mid-century childhood, to winning the National Book Award and his status as literary elder statesman. A story which Vernon, a combat veteran of the Persian Gulf War and a literary scholar trained by officers and professors of the Vietnam era, is uniquely suited to tell. Guest: Alex Vernon (he/him) graduated from the U.S. Military Academy at West Point (the only literature major in his class of over a thousand), served in combat as a tank platoon leader in the Persian Gulf War, and earned a Ph.D. from the University of North Carolina-Chapel Hill. The recipient of an Army Historical Foundation Distinguished Book Award and a National Endowment of the Humanities Fellowship, he is the M.E. & Ima Graves Peace Distinguished Professor of English at Hendrix College in Conway, Arkansas. Host: Jenna Pittman (she/her), a Ph.D. student in the Department of History at Duke University. She studies modern European history, political economy, and Germany from 1945-1990. Scholars@Duke: https://scholars.duke.edu/pers... Linktree: https://linktr.ee/jennapittman Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

What happens when your art, your activism or your organization's mission makes you a political target?If you're an artist, nonprofit leader, cultural organizer, or anyone working at the intersection of creativity and social change, you already know the landscape is shifting—and not in your favor. From sudden grant revocations to legal threats and public media cuts, values-driven arts organizations are facing mounting political and financial pressure. In an environment where inclusion and cultural storytelling are under attack, understanding how to protect your work is no longer optional—it's essential.Discover how new federal policies and funding shifts are undermining equity-focused arts initiatives—and what that means for your organization's future.Learn the difference between the “Ironman” and “Atomic Blonde” survival strategies for nonprofits navigating politically hostile environments, and how to align your approach with your mission.Gain actionable tools for crisis communication, narrative layering, and coalition building to defend your mission and your community when the pressure is on.Listen now to learn how to safeguard your creative work and stay resilient in the face of rising political and legal threats to activist artists, cultural organizers and community cultural organizations.Notable Mentions1. PeopleMatthew Charles Davis – Public relations and crisis communications expert featured in the Grantmakers in the Arts webinar “Navigating Today's Funder Challenges.” Former investigative journalist known for handling high‑profile media crises .2. EventsNavigating Today's Funder Challenges: A Live, Expert Discussion – A Grantmakers in the Arts webinar held June 3, 2025, featuring experts (including Matthew Charles Davis) discussing legal, PR, and narrative strategies for nonprofit arts funding Grantmakers in the Arts 2025 Webinar Series – A continuing series of webinars for arts funders and nonprofit leaders organized by Grantmakers in the Arts ().3. OrganizationsGrantmakers in the Arts – National service organization offering resources, webinars, and research to support arts funders and grantees National Endowment for the Arts (NEA) – Federal agency providing funding and support for U.S. arts projects; mentioned regarding grant revocations.Office of Management and Budget (OMB) – Executive office responsible for federal budget oversight; cited for budget freezes on grant approvals.Corporation for Public Broadcasting (CPB) – Federal agency funding public broadcasters like PBS and NPR, currently facing funding threats.PBS – Public Broadcasting Service, funded partly through CPB; its federal support has been targeted.NPR – National Public Radio, similarly reliant on CPB and under political scrutiny.Kennedy Center – Leading performing arts center in...

In this episode, Hayley and Amy discuss funding shifts in the arts in 2025. We get ourselves up to date on what's been happening with the National Endowment for the Arts, chat about alternative funding visions for theatre and the arts, and share action steps you can take to support the arts in your own community. Click here for a transcript of the episode!Episode NotesHosts: Hayley Goldenberg and Amy AndrewsMusic: Chloe GellerEpisode Resources:National Endowment for the Arts websitePittsburgh Arts Council - Trump's Impact on the Arts: A Running List of UpdatesBroadway World - The NEA Grant Terminations and What it Means for the Future of American Theatre by Cara Joy DavidAmerican Theatre - NEA Abruptly Pulls Arts Grants on a Massive ScaleBroadway League - Broadway's 2024– 2025 Season Wraps with 14.7 Million Attendances and Grosses Of $1.89 BillionOregon Arts RisingWomen & Theatre Podcast S4E9: Danielle DeMatteo5 Calls appThanks for listening!Who do you want to hear from next on the Women & Theatre Podcast? Nominate someone here.The Women & Theatre Podcast is created and produced by Hayley Goldenberg and Amy Andrews. Please like, comment, subscribe, follow us on Instagram and Facebook, and consider making a donation to support our work. Thank you for listening!

British Americans' unquenchable thirst for tea and a looming financial disaster for the East India Company leads to a new crisis in North America when seven tea-laden ships are sent to the colonies in 1773, inspiring Bostonians to dump much of the cargo in Boston Harbor.  Featuring: Benjamin Carp, James Fichter, Deepthi Murali, and Mary Beth Norton. Voice Actors: Craig Gallagher, Margaret Hughes, Grace Mallon, Norman Rodger, Annabelle Spencer, and John Turner. Narrated by Dr. Jim Ambuske. Music by Artlist.io This episode was made possible with support from a 2024 grant from the National Endowment of the Humanities.  Help other listeners find the show by leaving a 5-Star Rating and Review on Apple, Spotify, Podchaser, or our website. Follow the series on Facebook or Instagram. Worlds Turned Upside Down is a production of R2 Studios at the Roy Rosenzweig Center for History and New Media at George Mason University.

Matías is part of a successful Kickstarter campaign, and I've written myself into a seven-year long term of service with the residents of Minnesota. We get into the financial weeds a little bit, discussing a few different ways to get funding for small projects.  More Twin Portals video content (including this episode) will be up on YouTube very shortly! --- "Twin Portals" is unofficial Fan Content permitted under the Fan Content Policy. Not approved/endorsed by Wizards. Portions of the materials used are property of Wizards of the Coast. ©Wizards of the Coast LLC. --- The title song, "Avernum," used with permission, and thanks to Leeland Campana of Star Wolf. --- Join the SWOJ crew on Discord here! --- Scott Hebert is a fiscal year 2025 recipient of a Creative Individuals grant from the Minnesota State Arts Board. This activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation by the Minnesota State Legislature; and by a grant from the National Endowment for the Arts. --- Content Inquiries: twinportalsgame@gmail.com Business Inquiries: scootalongproductions@gmail.com From Scott:  D&D and Politics with Brennan Lee Mulligan - The 90 minute conversation we reference at the start. Arrowhead Regional Arts Council | Artist and Arts Organization Grants - The arts council serving northeast Minnesota. Minnesota State Arts Board - The arts board serving all of Minnesota. Springboard For The Arts - A Minnesota non-profit dedicated to improving the lives of artists. ExcaliburCon 2025 - August 16th-17th ---  From Matías: here it is, in the form of a large-ish text dump: Resources for people interested in crowdfunding: Kicktraq - https://kicktraq.com/ - Look up every crowdfunding campaign ever and its stats/progress: The Crowdfunding Nerds podcast: https://crowdfundingnerds.com/episodes/ The Game Design Roundtable podcast: https://thegamedesignroundtable.com/ The Think Like a Game Designer podcast: https://www.thinklikeagamedesigner.com/podcast Reddit! Some subreddits in particular: r/DestroyMyGame r/gameassets r/gamedev r/INAT r/IndieDev Many social media groups, small and large, across all of the platform, dedicated to networking and sharing your work. Free and inexpensive/useful tools: Canva, GIMP, Free Stock/Creative Commons image websites, DaVinci Resolve, OBS, Tabletop Simulator Outsourcing for small tasks: Fiverr, Upwork, r/INAT Free assets and resource packs for creators: Lots of them on itch.io. OpenGameArt.org. DMs Guild. The Custom Commands discord bot, for supplementing a community server - easy and flexible scripting. Essentially, identify where your target backers might hang out, and announce your project in any acceptable forum where those people would hang out. Leading up to and during a crowdfunding campaign, look for other upcoming/active campaigns with a similar vibe or audience, and contact their people directly to see if they're interested in cross-promotion. We met many friendly fellow developers this way. Build up an email mailing list as soon as possible, along with your community server.

In our weekly politics episode, we discuss how with major funding sources like the National Endowment for the Arts and Humanities facing cuts, many cultural organizations around the region are feeling the strain. City Council recently approved $5 million for the Philadelphia Cultural Fund in the 2026 fiscal year budget – a big win for the arts and cultural sector. In Harrisburg, Pennsylvania state lawmakers are going through budget negotiations; will they support our region's creative community? Host Trenae Nuri speaks with Patricia Wilson Aden, president and CEO of the Greater Philadelphia Cultural Alliance, about this funding. Get Philly news & events in your inbox with our newsletter: Hey Philly Call or text us: 215-259-8170 We're also on Instagram: @citycastphilly Learn more about the sponsors of this episode: Fitler Club Eastern State Penitentiary Jeff D'Ambrosio Auto Group Philadelphia Canoe Club  Advertise on the podcast or in the newsletter: citycast.fm/advertise Learn more about your ad choices. Visit megaphone.fm/adchoices

Day 18: Rose Zinnia reads her poem, “I'm Like If Mary Oliver Had Attention Deficit Hyperactivity Disorder.” This poem was originally published in Poetry (April 2025).  Rose Zinnia is a poet, novelist, essayist, teaching artist, editor, and designer. Born in Akron, Ohio, she is the author of Togethering (Ledge Mule Press, 2024), a chapbook of poetry & lyric essay. A 2025 National Endowment for the Arts Creative Writing Fellow, Zinnia's honors also include fellowships and residencies from Vermont Studio Center, Banff Centre for Arts and Creativity, and the Kinsey Institute. Her writing appears or is forthcoming in The Offing, Poetry, CV2, Black Warrior Review, Poem-A-Day, The Journal, Gulf Coast, and West Branch, among others. She holds an MFA from Indiana University, works at the LGBTQ+ journal and press Foglifter, and lives in Cleveland, Ohio. Text of today's poem and more details about our program can be found at: deerfieldlibrary.org/queerpoemaday/ Find books from participating poets in our library's catalog.  Queer Poem-a-Day is a program from the Adult Services Department at the Library and may include adult language.  Queer Poem-a-Day is founded and co-directed by poet and professor Lisa Hiton and Dylan Zavagno, Adult Services Coordinator at the Library and host of the Deerfield Public Library Podcast. Music for this fifth year of our series is “L'Ange Verrier” from Le Rossignol Éperdu by Reynaldo Hahn, performed by pianist Daniel Baer. Queer Poem-a-Day is supported by generous donations from the Friends of the Deerfield Public Library and the Deerfield Fine Arts Commission.  

It is common to refer to philosophy as "a series of footnotes to Plato." But in the original quote, Alfred North Whitehead was more careful: he limited his characterization to "the European philosophical tradition." There are other traditions, both ancient and ongoing: Chinese philosophy, Indian philosophy, Africana philosophy, and various indigenous philosophies. For the most part, these do not get nearly as much attention in European and American schools as the European tradition does. Bryan Van Norden argues for expanding philosophy's geographical scope, to the benefit of philosophy in general.Blog post with transcript: https://www.preposterousuniverse.com/podcast/2025/06/23/319-bryan-van-norden-on-philosophy-from-the-rest-of-the-world/Support Mindscape on Patreon.Bryan Van Norden received his Ph.D. in philosophy from Stanford University. He is currently James Monroe Taylor Chair in Philosophy at Vassar College and Chair Professor in the School of Philosophy at Wuhan University. Among his books are Introduction to Classical Chinese Philosophy and Taking Back Philosophy: A Multicultural Manifesto. He is a recipient of Fulbright, National Endowment for the Humanities, and Mellon fellowships.Web siteVassar web pagePhilPeople profileWikipediaAmazon author pageSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Author Events Series presents Caro De Robertis | So Many Stars REGISTER In Conversation with Dr. Michelle Taylor So Many Stars knits together the voices of trans, nonbinary, genderqueer, and two-spirit elders of color as they share authentic, intimate accounts of how they created space for themselves and their communities in the world. This singular project collects the testimonies of twenty elders, each a glimmering thread in a luminous tapestry, preserving their words for future generations--who can more fully exist in the world today because of these very trailblazers. De Robertis creates a collective coming-of-age story based on hundreds of hours of interviews, offering rare snapshots of ordinary life: kids growing up, navigating family issues and finding community, coming out and changing how they identify over the years, building movements and weathering the AIDS crisis, and sharing wisdom for future generations. Often narrating experiences that took place before they had the array of language that exists today to self-identify beyond the gender binary, this generation lived through remarkable changes in American culture, shaped American culture, and yet rarely takes center stage in the history books. Their stories feel particularly urgent in the current political moment, but also remind readers that their experiences are not new, and that young trans and nonbinary people today belong to a long lineage. The anecdotes in these pages are riveting, joyful, heartbreaking, full of personality and wisdom, and artfully woven together into one immersive narrative. In De Robertis's words, So Many Stars shares "behind-the-scenes tales of what it meant--and still means--to create an authentic life, against the odds." A writer of Uruguayan origins, Caro De Robertis is the author of six novels, including The Palace of Eros, Cantoras, and more. Their books have been translated into seventeen languages and have received numerous honors, including two Stonewall Book Awards, a National Endowment for the Arts Fellowship, and the John Dos Passos Prize for Literature, which they were the first openly nonbinary writer to receive. De Robertis is also an award-winning literary translator and a professor at San Francisco State University. They live in Oakland, California with their two children. Dr. Michelle Taylor holds a Ph.D. in Africology & African American Studies from Temple University and is an educator, writer, and activist. She also earned an M.S.W. from CUNY-Hunter College and served her community as a social worker for eighteen years prior to entering academia. Dr. Taylor is the author of Reclaiming Our Space: How Black Feminists Are Changing the World from the Tweets to the Streets and her work focuses on African American women, mass media, and social justice. Dr. Taylor founded Sankofa Summer School, a  ritual Afrocentric academy that educates students about topics relevant to people of the African Diaspora.  The 2024/25 Author Events Series is presented by Comcast. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. Books will be available for purchase at the library on event night! All tickets are non-refundable. (recorded 6/2/2025)

  Aaron is joined by Ben Thomason. Ben recently earned his doctorate in American Cultural Studies from Bowling Green State University. His dissertation is entitled, Making Democracy Safe for Empire: A History and Political Economy of the National Endowment for Democracy, United States Agency for International Development, and Twenty-First Century Media Imperialism. In this episode, we discuss two of Ben's latest articles for CovertAction Magazine, both of which deal with the US dirty war on Syria. The first article is “The U.S.A.'s Longest ‘Democracy' Project in Syria Has Resulted in the Empowerment of Al-Qaeda.” The second article, soon to be published, is “Western Soft Power Agencies Established a Support Front for Armed Insurrection in Syria led by al-Qaeda-Linked Rebels.” Special thanks to: Dana Chavarria, production Casey Moore, graphics Michelle Boley, animated intro Mock Orange, music

Major Jackson is a poet, author, and professor who is the recipient of fellowships from Guggenheim Foundation, National Endowment for the Arts, Academy of American Poets, Fine Arts works Center in Provincetown, and the Radcliffe Institute for Advanced Study at Harvard, he has been honored by the Pew Fellowship in the Arts, and the Witter Bynner foundation in conjunction with the Library of Congress, awarded the Pushcart Prize, has been published in American Poetry Review, the New Yorker, Paris Review, Orion Magazine, is an elected member of the American Academy of Arts and Sciences and serves as the Poetry Editor of The Harvard Review, and is the Gertrude Conaway Vanderbilt Chair in the Humanities and Director of Creative Writing at Vanderbilt University. We touch on stewardship, curiosity being emblematic of being human, art in a time of upheaval, human expression, AI, art monsters, and a whole lot more.Get more access and support this show by subscribing to our Patreon, right here.Links:Major JacksonEp 96 - Maggie SmithParnassusPeabody InstituteRobert FrostPhiladelphia Museum of ArtMarcel Duchamp“A Love Supreme”Ezra Klein & Rebecca Winthrop - ‘Rethinking Education'Humanities TennesseeMichaela Anne - “Is This What Mama Meant?”Hunter S ThompsonMichael RuhlmanClick here to watch this conversation on YouTube.Social Media:The Other 22 Hours InstagramThe Other 22 Hours TikTokMichaela Anne InstagramAaron Shafer-Haiss InstagramAll music written, performed, and produced by Aaron Shafer-Haiss. Become a subscribing member on our Patreon to gain more inside access including exclusive content, workshops, the chance to have your questions answered by our upcoming guests, and more.

This episode is a dream come true. I sit down with bestselling author and poet Maggie Smith, whose viral poem Good Bones captured hearts around the world. We talk about navigating creative life with honesty and resilience—from managing unsupportive friends to staying grounded when the world starts watching. We also dive into her newest book, Dear Writer, and how artists can protect their joy, set boundaries, and thrive in the AI era by getting weird, staying real, and honoring their process. If you're a writer, artist, or creative soul trying to stay true to your work in a noisy world—this one's for you. In this episode, we talk about: What happened when Good Bones went viral (14:40) Why you don't need to monetize everything you make (18:25) Dealing with unsupportive family and friends (30:00) How to write personal stories safely and honestly (42:10) Maggie's approach to creative rhythm vs. consistency (52:30) Why imperfection, eccentricity, and “making it weirder” matter now more than ever (1:02:00) Guest Bio: Maggie Smith is the author of You Could Make This Place Beautiful, Good Bones, Goldenrod, and Keep Moving. Her poems and essays have appeared in The New York Times, The New Yorker, The Paris Review, and Best American Poetry. A recipient of fellowships from the National Endowment for the Arts and Ohio Arts Council, her next book Dear Writer: Pep Talks & Practical Advice for the Creative Life will be released in April 2025. Connect with Maggie Smith: Website: maggiesmithpoet.com Instagram: @maggiesmithpoet Substack: For Dear Life Presented by Create! Magazine Submit to our open calls or subscribe to the digital edition at createmagazine.co Let's connect: Instagram: @createmagazine Host: @katerinaspopova

Maureen Stanton joins Let's Talk Memoir for a conversation about her writing beginnings in fiction and using the scenic and immersive to move readers, falling in love with creative nonfiction, revisiting and recreating a love story, discovering the question behind her book, facing the blank page, bad first drafts, writing an illness narrative, placing an essay in Modern Love, authenticity on the page, the long winding path to publishing, not thinking your book will ever get published, working on multiple projects while querying, how love evolves, and her new memoir The Murmur of Everything Moving.   Also in this episode: -the fog of grief -killing our darlings -submitting to writing contests   Books mentioned in this episode: -Bird by Bird by Anne Lamott -Angela's Ashes by Frank McCourt -The Liar's Club by Mary Karr -This Boys Life by Tobias Wolff  -Argonauts by Maggie Nelson -Barbarian Days by William Finnegan   Maureen Stanton is the author of The Murmur of Everything Moving: A Memoir, winner of the Donald L. Jordan Prize for Literary Excellence; Body Leaping Backward: Memoir of a Delinquent Girlhood, winner of the Maine Literary Award for memoir and a People Magazine "Best Books Pick"; and Killer Stuff and Tons of Money: An Insider's Look at the World of Flea Markets, Antiques, and Collecting, winner of the Massachusetts Book Award in nonfiction and a Parade Magazine "12 Great Summer Books" selection. Her nonfiction has been widely published, including in The New York Times, Fourth Genre, Creative Nonfiction, Longreads, New England Review, Florida Review, River Teeth, The Sun and many others. Her essays have received the Iowa Review prize, The Sewanee Review prize, Pushcart Prizes, the American Literary Review award, and the Thomas J. Hruska award from Passages North. She's been awarded fellowships from the National Endowment for the Arts, the Maine Arts Commission, the MacDowell Colony, and the Virginia Center for Creative Arts. She teaches creative writing at the University of Massachusetts Lowell and lives in Maine.    Connect with Maureen: Website: https://www.maureenstantonwriter.com LinkTree: https://linktr.ee/maureenstanton41 Instagram: https://www.instagram.com/maureenstanton41 Threads: https://www.threads.com/@maureenstanton41 LinkedIn linkedin.com/in/maureen-stanton-6693ab11  Facebook: https://www.facebook.com/maureen.p.stanton Bluesky: https://bsky.app/profile/maureenstanton.bsky.social   – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book. More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

David Wojahn grew up in St. Paul, Minnesota. He studied at the University of Minnesota and the University of Arizona. Ever since his first collection, Icehouse Lights, was chosen for the Yale Series of Younger Poets award in 1981, Wojahn has been one of American poetry's most thoughtful examiners of culture and memory. His work often investigates how history plays out in the lives of individuals, and poet Tom Sleigh says that his poems “meld the political and personal in a way that is unparalleled by any living American poet.”Wojahn's book World Tree (2011) received the Lenore Marshall Poetry Prize from the Academy of American Poets. His collection Interrogation Palace: New and Selected Poems 1982–2004 (2006), which Peter Campion called “superb” and “panoramic” in a review for Poetry, showcases Wojahn's formal range, the scope of his personal narratives, and his intense, imaginative monologues and character sketches, such as his sonnets on pop culture icons and rock-and-roll musicians in Mystery Train (1990). He is also celebrated for the emotional resonance of his poetry—the ability to, in the words of poet Jean Valentine, “follow … tragedy to its grave depths, with dignity and unsparingness, and egolessness.”In addition to his books of poetry, Wojahn is the author of From the Valley of Making: Essays on the Craft of Poetry (2015) and Strange Good Fortune (2001), a collection of essays on contemporary poetry. He coedited A Profile of Twentieth Century American Poetry (1991), and edited a posthumous collection of his wife Lynda Hull's poetry, The Only World (1995).Wojahn has received fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the Fine Arts Work Center in Provincetown, the Illinois Arts Council, and the Indiana Arts Commission. He teaches poetry at Virginia Commonwealth University and in the low residency MFA in Writing program at the Vermont College of Fine Arts.-bio via Poetry Foundation This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit dailypoempod.substack.com/subscribe

On May 3, the National Endowment for the Arts sent emails to hundreds of arts organizations around the country terminating their grants. The abrupt loss of federal support has organizations scrambling to make up for budget shortfalls. Jeffrey Brown reports for our series, Art in Action, and our arts and culture coverage, CANVAS. PBS News is supported by - https://www.pbs.org/newshour/about/funders

John Solomon and Michael Chamberlain discuss the National Endowment for Democracy (NED) and its funding of the Global Disinformation Index (GDI) to suppress conservative voices and Trump's message. The grant, which started in July 2020 and was supposed to end in September 2022, was canceled due to publicity. GDI's reports boasted of diverting $100 million in ad revenue from conservative sites on their dynamic exclusion list. The work, initially framed as academic research, was actually about demonetizing and de-amplifying dissenting voices. The Freedom of Information Act (FOIA) documents revealed GDI's impact on American politics and media. Later, esteemed legal expert Dr. John Eastman analyzes the implications of the recent Supreme Court decisions, particularly those affecting President Trump's immigration policies and the contentious issue of birthright citizenship. Dr. Eastman shares his insights on the evolving dynamics within the judiciary and the potential constitutional crises looming on the horizon. Finally, Shannon Davis, CEO of American Alternative Assets, discusses the economy and how precious metals can help you plan for your financial future.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.