Podcasts about NEA

On this Friday's episode of Joe Oltmann Untamed, Joe is back and diving headfirst into the accelerating 2020 election fallout federal investigators have seized ballots from Fulton County, Georgia, after months of fierce resistance, exposing what many call a massive cover-up. Emerald Robinson dropped a bombshell: massive post-certification alterations to Dominion voting machines, including hundreds of illegal DLL files per machine, invalidating the certification process itself. Joe ties it straight to Eric Coomer, declaring he's headed to jail along with precinct facilitators and the one big cartel protecting the fraud Ruby Freeman's Obama-linked lawyer Michael Gottlieb sued investigators, and Fulton officials spent millions blocking transparency. Why fight so hard? The truth is surfacing, and consequences are coming fast.Joe welcomes election and cyber-security expert Mark Cook to unpack the raid's implications, Patrick Byrne's fresh insights on DLL problems and hard drive needs (with Tulsi Gabbard mentions), and why Fulton Commissioner Bridget Thorne admitted they've burned millions to hide ballots. From Coomer's admissions of foreign contacts to the broader cartel operations, this is the accountability moment we've waited for people must go to prison.Radical left chaos ramps up with ICE Out Friday: a national strike calls for no work, school, or shopping until "ICE terror ends," with Denver metro protests and thousands of students (pawns of NEA radicals) walking out leading Aurora Public Schools to close due to teacher absences. We play Fox's Don Lemon arrest report, expose manufactured disruptions diverting from fraud revelations, and end with a disturbing clip from a liberal influencer explaining why conservatives "need" them. Tune in truth is rising, commies are crying, and justice is rolling!

We started out the week with a powerful personal testimony of how God can rescue any life even one that is seemly deep in darkness and despair. On In The Market with Janet Parshall this week we shared one woman’s amazing story of finding her hope and faith in Jesus and how to navigate our way through the dark nights that face all of us at one time or another. Parents can not count on the schools as they did in past years. More than ever parents have to be watchful over what their kids are being exposed to in the halls of education as dangerous ideologies and those who support them are actively seeking to indoctrinate kids into followers. We had a very revealing conversation with Janet’s daughter who shared the results of a study of 700 school districts across the country, how school are getting money from outside the U.S. to push radical ideologies and why the president of the NEA is joining a “revolution group” and how that could impact what is taught in the classroom. Artificial Intelligence and its advocates continue commandeering more and more aspects of daily life. We turned to our expert on all things tech to put these changes in biblical perspective for us. He talked to us about the rise of A.I. psychosis, how the implementation of A.I. is damaging or destroying our institutional foundations and whether or not ministries should include the use of A.I. chatbots. Our guest sent out a warning call to Christian parents as he exposed how young believers are turning away from their faith as a result of what they are learning and who they are learning it from in college. He encouraged parents to start early building resilience in their kids to face both the subtle and direct challenges to their faith and how to come out this experience with their walk still intact. Janet and Craig once again invite you to join them for another important exploration of the headlines of the week as they expose them to the unflinching sunlight of God’s truth.Become a Parshall Partner: http://moodyradio.org/donateto/inthemarket/partnersSee omnystudio.com/listener for privacy information.

Ohio's public schools are safe, welcoming learning environments for students of all backgrounds and abilities. But, only five decades ago, there was no guarantee that they could attend school or receive support to help them reach their full potential. That changed in late-1975 when the law that would become the Individuals with Disabilities Education Act (IDEA) became federal law. In this episode, we take a look at what has changed for students with disabilities over the last 50 years with educators who have dedicated their careers to serving that population of students - including one who was working in Ohio schools before IDEA codified students' rights to a free and appropriate education in the U.S.JOIN OASNP | The Ohio Association of Special Needs Professionals is a department within OEA that supports and advocates for OEA members who work with individuals with special needs. All OEA members are invited to join. Click here to learn more about the benefits of joining OASNP and for a link to add OASNP to your OEA membership.All OEA members are also invited to attend the next OASNP annual conference:April 24-25, 2026Mohican State Park Lodge & ResortClick here to registerLEARN MORE | Click here to read the Ohio Schools magazine story on IDEA's 50th anniversary (Page 14). And, read this piece for more information from NEA: IDEA is 50 Years Old — And at Risk | NEASHARE YOUR THOUGHTS | If you'd like to share your feedback on the Public Education Matters podcast, including your ideas for what you'd like to hear about - or talk about - on future episodes, please email educationmatters@ohea.org. SUBSCRIBE | Click here to subscribe to Public Education Matters on Apple Podcasts or click here to listen on Spotify so you don't miss a thing. You can also find Public Education Matters on many other platforms. Click here for some of those links so you can listen anywhere. And don't forget you can listen to all of the previous episodes anytime on your favorite podcast platform, or by clicking here.Featured Public Education Matters guests: Jené Wilson, OASNP Past Chair and Business Manager Jené Wilson was a Teacher/Behavior Specialist with the Cuyahoga County Board of Developmental Disabilities for 36 years, serving as president, vice president, Corresponding Secretary, and Recording Secretary for her local, the Association of Cuyahoga County Employees for Special Students (ACCESS), as well as holding numerous roles within OEA, NEOEA, and NEA during that time. Since retiring from the Board of DD, she has remained active in all levels of Association work. Wilson currently serves as NEOEA-R Representative to the OEA-R Advisory Council, as a delegate at the NEOEA, OEA, and NEA represenative assemblies, and on the NEOEA Board of Directors, among her other roles. Additionally, she continues to serve as the Business Manager for the Ohio Association of Special Needs Professionals (OASNP), after serving as OASNP chairperson for five years and as OASNP vice-chairperson for 24 years before that. Since retiring in 2009, she taught at Notre Dame College for nine years and is currently supervising student teachers at Cleveland State. Nikki Nadasky, OASNP ChairNikki Nadasky has been a Service and Support Administrator for the Portage County Board of Developmental Disabilities for 14 years, as well as Portage County Education Association for Developmental Disabilities union president and acting Chair of OASNP. Prior to becoming chair, Nadasky was vice chair and also was the group's secretary. She has worked for 23 years in total serving those with developmental disabilities and has met many wonderful people, for whom she has so much respect.  They have shown Nadasky to live life with perseverance.Connect with OEA:Email educationmatters@ohea.org with your feedback or ideas for future Public Education Matters topicsLike OEA on FacebookFollow OEA on TwitterFollow OEA on InstagramGet the latest news and statements from OEA hereLearn more about where OEA stands on the issues Keep up to date on the legislation affecting Ohio public schools and educators with OEA's Legislative WatchAbout us:The Ohio Education Association represents nearly 120,000 teachers, faculty members and support professionals who work in Ohio's schools, colleges, and universities to help improve public education and the lives of Ohio's children. OEA members provide professional services to benefit students, schools, and the public in virtually every position needed to run Ohio's schools.Public Education Matters host Katie Olmsted serves as Media Relations Consultant for the Ohio Education Association. She joined OEA in May 2020, after a ten-year career as an Emmy Award-winning television reporter, anchor, and producer. Katie comes from a family of educators and is passionate about telling educators' stories and advocating for Ohio's students. She lives in Central Ohio with her husband and two young children. This episode was recorded on November 6, 2025.

After building products at Microsoft (Xbox, Surface), a gaming startup acquired by Disney, Twilio, and Box, Vanessa Larco joined NEA where she led seed investments in Greenlight (debit card for kids), Majuri (C2C jewelry), and Limitless (acquired by Meta). She served on Robinhood's board for five and a half years through IPO and the GameStop crisis. In this conversation, Vanessa breaks down the specific traits that separate top 1% founders from the rest, why venture capital is experiencing structural chaos from simultaneous mega-fund expansion and generational transition, and why technical founders who deeply understand consumer behavior change represent the next wave of breakout companies. Topics Discussed: How customer-focused decision-making at Robinhood during GameStop contradicted public perception The specific paradox great founders must balance: maniacal focus versus recruiting ability Why venture is simultaneously dealing with fund size chaos and generational leadership transition The decision framework for staying in venture versus returning to operating Why consumer is radically underinvested despite users' demonstrated willingness to pay for "magical" experiences How AI tools create internet-scale behavior change by synthesizing information rather than just accessing it The authentic voice problem in VC personal branding and platform-specific challenges GTM Lessons For B2B Founders: Great founders possess maniacal focus on the right problems, not all problems: Vanessa describes exceptional founders as having an "insatiability" where "they pick the thing and they can focus on the thing and not get distracted by anything else and be maniacal about it." This isn't generic persistence—it's the ability to identify which specific problem deserves obsessive attention while ignoring everything else. Employees often push back ("we have these other fires"), but top founders maintain "one track" focus. The implementation challenge: most founders spread maniacal energy across too many initiatives. The best founders are "obsessive compulsive about how they build" on 1-2 things maximum, then deliberately de-prioritize everything else, even when it feels irresponsible. Incentive structure misalignment creates unwinnable scenarios: During GameStop, Robinhood faced retail traders whose incentives were fundamentally incompatible with traditional market participants. As Vanessa notes, "if your team and your company is bound by a certain set of incentives and you're up against someone with a very different set of incentives, that never really ends well." The Wall Street Bets mantra—"we can stay irrational longer than they can stay solvent"—explicitly weaponized this mismatch. For founders: map not just competitor strategies but their underlying incentive structures. Are they optimizing for growth, profitability, strategic acquirer appeal, or something else? When your incentives conflict with a market participant's (customer, partner, regulator, competitor), you cannot win through superior execution alone—you need structural repositioning. Technical founders who ship faster capture AI-era market position: Vanessa specifically seeks "technical founders with an eye for consumer behavior change" because "speed is really important in this era." This isn't about being first to market—it's about iteration velocity. When foundational models improve every few months and user expectations evolve weekly, the team that can "deliver on it faster than anyone else" compounds advantages. Non-technical founders add product/sales/fundraising cycles between insight and deployment. Technical founders collapse these cycles, testing behavioral hypotheses in days rather than quarters. In markets where "what's possible" changes monthly, this velocity differential determines who owns category definition. Behavior change wedges beat feature superiority: Vanessa looks for founders who understand "how this new technology is changing how people behave and changing what people expect of their tools" and can identify "what need can I fulfill better because I can build this thing that couldn't be built before." The critical insight: users don't adopt based on capability—they adopt when technology enables a behavior they already want but couldn't execute. She emphasizes products that are "radically faster, radically cheaper, radically easier" (not 10% better) and founders who understand "how they'll wedge into behaviors." Implementation framework: don't ask "what can this technology do?" Ask "what behavior is currently blocked by cost/speed/complexity that this technology removes the blocker for?" Category creation happens post-problem-solving, not pre-launch: Discussing Robinhood's positioning, Vanessa reveals how the team "stayed focused" on enabling "people to continue participating in the markets" rather than defending an abstract category. The company focused on structural problems (settlement times, capital requirements) rather than category messaging. For founders: solve the acute problem your customer articulates, even if it seems tactically narrow. Category definition emerges after you've solved related problems for enough customers that the pattern becomes obvious. Premature category creation forces you to defend an abstract positioning rather than deepen specific problem-solving. Personal brand building only works at the intersection of authenticity and utility: Vanessa admits "I can't find my authentic voice on Twitter to save my life" and her successful posts are "when I'm on an airplane and it's delayed by like over an hour and I'm angry." Meanwhile, "video and audio, way more my comfort zone" but requires "discipline that I don't think I yet possess." The lesson for founders: audience building helps ("people then know what you are, what you stand for... it helps establish trust faster, it helps people find you") but forced authenticity backfires. Better to own one channel where your natural communication style works than maintain mediocre presence across all platforms. LinkedIn for thoughtful analysis, Twitter for real-time reaction, podcasts for deep conversation—pick the format that doesn't require you to perform. // Sponsors: Front Lines — We help B2B tech companies launch, manage, and grow podcasts that drive demand, awareness, and thought leadership. www.FrontLines.io The Global Talent Co. — We help tech startups find, vet, hire, pay, and retain amazing marketing talent that costs 50-70% less than the US & Europe. www.GlobalTalent.co // Don't Miss: New Podcast Series — How I Hire Senior GTM leaders share the tactical hiring frameworks they use to build winning revenue teams. Hosted by Andy Mowat, who scaled 4 unicorns from $10M to $100M+ ARR and launched Whispered to help executives find their next role. Subscribe here: https://open.spotify.com/show/53yCHlPfLSMFimtv0riPyM

Marc kicks off the show fired up about the escalating anti-ICE chaos in Minnesota, blasting liberal leaders and media spin while defending law enforcement and Trump's immigration policies. Kim digs into Soros-funded protest groups in “Kim on a Whim,” exposing the activist networks driving unrest. The crew also hits local snow day overreactions, the failures of remote learning, and the NEA's influence in schools. Marc closes the hour with polling that shows broad national support for deportations and a strong defense of Tom Homan's hardline leadership. Hashtags: #ICE #Minnesota #Immigration #Trump #Education #RemoteLearning #GeorgeSoros #TomHoman #LawEnforcement #MarcCoxMorningShow

In this episode of The Holy Grail of Investing Podcast, Christopher Zook and CAZ Partner, Mark Wade, sit down with serial entrepreneur Marc Lore and NEA Co-CEO Tony Florence for a dynamic conversation about reinventing one of the largest industries in the world: food. Together, they explore how Wonder—the vertically integrated food-tech company Marc built after Diapers.com and Jet.com—is transforming the way we cook, eat, and experience convenience. From engineering a kitchen that can run 30 restaurants at once to inventing new cooking processes and delivery models, Wonder represents a complete rethinking of what's possible when technology meets daily life. Marc shares his VCP framework—Vision, Capital, People—and why great founders must constantly challenge the status quo. Tony Florence offers the investor's perspective: what makes elite entrepreneurs different, how NEA evaluates massive markets, and why periods of disruption often create the best opportunities.  This conversation highlights the breakthroughs that occur when innovation, execution, and long-term thinking collide.    Learn more at https://TheHolyGrailofInvesting.com and https://CAZInvestments.com

Host Jason Blitman sits down with author Nina McConigley (How to Commit a Postcolonial Murder) to talk about what she's been reading lately—beyond Eric Carle's The Very Lonely Firefly.Plus: head to the Gays Reading Substack to hear Nina talk about adapting Cowboys and East Indians for the stage, now playing at the Denver Center through March 1, 2026.NINA McCONIGLEY is the author of the story collection Cowboys and East Indians, which was the winner of the PEN/Open Book Award and the High Plains Book Award. She has received grants and fellowships from the NEA, the Radcliffe Institute, Bread Loaf, Vermont Studio Center, and the Sewanee Writers' Conference. She was a recipient of the Wyoming Arts Council's Frank Nelson Doubleday Memorial Writing Award and a finalist for a National Magazine Award for her columns in High Country News. Her work has also appeared in The New York Times, Orion, O: The Oprah Magazine, The Virginia Quarterly Review, Salon, among other outlets. Born in Singapore and raised in Wyoming, she now lives in Colorado.Sign up for the Gays Reading Book Club HERESUBSTACK! MERCH! WATCH! CONTACT! hello@gaysreading.com Hosted on Acast. See acast.com/privacy for more information.

In this episode of Tank Talks, Matt Cohen sits down with Timothy Chen, the sole General Partner at Essence VC. Tim shares his remarkable journey from being a “nerdy, geeky kid” who hacked open-source projects to becoming one of the most respected early-stage infrastructure investors, backing breakout companies like Tabular (acquired by Databricks for $2.2 billion). A former engineer at Microsoft and VMware, co-founder of Hyperpilot (acquired by Cloudera), and now a solo GP who quietly raised over $41 million for his latest fund, Tim offers a unique, no-BS perspective on spotting technical founders, navigating the idea maze, and rethinking sales and traction in the world of AI and infrastructure.We dive deep into his unconventional path into VC, rejected by traditional Sand Hill Road firms, only to build a powerhouse reputation through sheer technical credibility and founder empathy. Tim reveals the patterns behind disruptive infra companies, why most VCs can't help with product-market fit, and how he leverages his engineering background to win competitive deals.Whether you're a founder building the next foundational layer or an investor trying to understand the infra and AI boom, this conversation is packed with hard-won insights.The Open Source Resume (00:03:44)* How contributing to Apache projects (Drill, Cloud Foundry) built his career when a CS degree couldn't.* The moment he realized open source was a path to industry influence, not just a hobby.* Why the open source model is more “vertical than horizontal”, allowing deep contribution without corporate red tape.From Engineer to Founder: The Hyperpilot Journey (00:13:24)* Leaving Docker to start Hyperpilot and raising seed funding from NEA and Bessemer.* The harsh reality of founder responsibility: “It's not about the effort hard, it's about all the other things that has to go right.”* Learning from being “way too early to market” and the acquisition by Cloudera.The Unlikely Path into Venture Capital (00:26:07)* Rejected by top-tier VC firms for a job, then prompted to start his own fund via AngelList.* Starting with a $1M “Tim Chen Angel Fund” focused solely on infrastructure.* How Bain Capital's small anchor investment gave him the initial credibility.Building a Brand Through Focus & Reputation (00:30:42)* Why focusing exclusively on infrastructure was his “best blessing” creating a standout identity in a sparse field.* The reputation flywheel: Founders praising his help led to introductions from top-tier GPs and LPs.* StepStone reaching out for a commitment before he even had fund documents ready.The Essence VC Investment Philosophy (00:44:34)* Pattern Recognition: What he learned from witnessing the early days of Confluent, Databricks, and Docker.* Seeking Disruptors, Not Incrementalists: Backing founders who have a “non-common belief” that leads to a 10x better product (e.g., Modal Labs, Cursor, Warp).* Rethinking Sales & Traction: Why revenue-first playbooks don't apply in early-stage infra; comfort comes from technical co-building and roadmap planning.* The “Superpower”: Using his engineering background to pressure-test technical assumptions and timelines with founders.The Future of Infra & AI (00:52:09)* Infrastructure as an “enabler” for new application paradigms (real-time video, multimodal apps).* The coming democratization of building complex systems (the “next Netflix” built by smaller teams).* The shift from generalist backend engineers to specialists, enabled by new stacks and AI.Solo GP Life & Staying Relevant (00:54:55)* Why being a solo GP doesn't mean being a lone wolf; 20-30% of his time is spent syncing with other investors to learn.* The importance of continuous learning and adaptation in a fast-moving tech landscape.* His toolkit: Using portfolio company Clerky (a CRM) to manage workflow.About Timothy ChenFounder and Sole General Partner, Essence VCTimothy Chen is the Sole General Partner at Essence VC, a fund focused on early-stage infrastructure, AI, and open-source innovation. A three-time founder with an exit, his journey from Microsoft engineer to sought-after investor is a masterclass in building credibility through technical depth and founder-centric support. He has backed companies like Tabular, Iteratively, and Warp, and his insights are shaped by hundreds of conversations at the bleeding edge of infrastructure.Connect with Timothy Chen on LinkedIn: linkedin.com/in/timchenVisit the Essence VC Website: https://www.essencevc.fund/Connect with Matt Cohen on LinkedIn: https://ca.linkedin.com/in/matt-cohen1Visit the Ripple Ventures website: https://www.rippleventures.com/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit tanktalks.substack.com

When unchecked power rewrites the story of America, who gets to live, who gets to speak, and who quietly disappears?In this episode of ART IS CHANGE, Bill Cleveland shares next chapter in the continuing Weather Report, (now called the Arts Freedom Weather Report) Rather than chasing single headlines or isolated outrages, this episode steps back to examine the cultural climate shaping 2026: how small policy shifts stack up, how institutions quietly recalibrate under authoritarian pressure, and how artists and cultural organizations are responding in real time.In this show, we explore three critical dynamics shaping the arts and democracy right now:How culture is being strategically targeted and weaponized — through funding shifts, legal pressure, and narrative control.What's actually happening on the ground at the NEA, in public media, museums, universities, and courts.How artists and organizers are responding with preparation, creativity, and discipline, treating resistance as a learned practice rather than a spontaneous reaction.Listen in as we establish a cultural baseline for 2026 — one we'll return to again and again — and map the early warning signs, fault lines, and sources of strength shaping the struggle for artistic freedom and democratic life.NOTABLE MENTIONSPeopleBill ClevelandHost of ART IS CHANGE and founder of the Center for the Study of Art & Community.Renee Nicole GoodeMinneapolis poet, mother, and community member whose work and life are honored at the close of the episode. (Minnesota Public Radio)Sonia De Los SantosSinger-songwriter and educator who stepped away from a Kennedy Center performance, citing concerns that the space no longer felt welcoming.Stephen SchwartzComposer of Wicked who withdrew from a Kennedy Center gala in protest of politicization.Béla FleckBanjo innovator who canceled Kennedy Center appearances rather than participate in a politicized cultural space.Chuck ReddJazz vibraphonist and bandleader who canceled his long-running Kennedy Center Christmas Eve jam.The CookersJazz ensemble that canceled its New Year's Eve engagement at the Kennedy Center.Wayne TuckerTrumpeter and composer who withdrew from Kennedy Center programming.Doug...

Welcome to an Encore Presentation of one of my favorite episodes ever of Revolutions Per Movie, where I got to discuss the documentary Desolation Center with the creators of these legendary events (who else would put the Minutemen on a barge or Einsturzende Neubauten in the desert). Plus, I love it whenever I get to surprise my guests with more guests to create the whole picture from the inside out. Enjoy!(Episode 33 originally aired on April 25th, 2024).The original show notes:This week, we talk to Stuart Swezey & Bruce Licher, who produced and worked on the Desolation Center series of shows that took bands like minutemen, Swans, Redd Kross, Meat Puppets, Sonic Youth, and Einsturzende Neubauten and put them in locations such as the Mojave Desert as a reaction to the omnipresent police violence against punk rock kids. We talked about the Desolation Center documentary that Swezey directed, the iconic visuals that Licher created for the events, having the legendary artist Chris Burden as your teacher, the healing power of Throbbing Gristle, how to source school buses to take punk rockers to the desert, fake ids, Savage Republic, Glenn Branca and the No New York LP, Redd Kross getting lost in the desert, violence coming from rednecks, the notion of selling out and not repeating oneself, the impact of D. Boon on the scene, Survival Research Laboratories, Lydia Lunch, being naive, Action News, the eventual change in the 80s music underground, psychedelics, early punk clubs like The Masque and Brave Dog, NEA grants for industrial noise music events, and we're also joined by surprise guests, ML Compton and Skip King who are featured in the documentary and describe what it was like being a passenger into the unknown.So party with me punker, as we head into the desert at night on this week's Revolutions Per Movie.DESOLATION CENTER:www.desolationcenter.com/STUART SWEZEY:www.amokbooks.com/SAVAGE REPUBLIC: www.independentprojectrecords.com/savage-republicREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.Revolutions Per Movie releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!PATREON:The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods. It helps the show to keep going and is greatly appreciated!TIP JAR:ko-fi.com/revolutionspermovieSOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

In fewer than two dozen lines, Cyrus Cassells's poem “Jasmine” offers readers a multisensory, cinematic immersion into late spring life in Rome. Not only is the “sweet, steady broadcast” of jasmine ever-present amid “the joyous braiding of sun and rain”, but there's also Daria, a “crone-glorious” neighbor, with a story about her romance with the gallant Galliano. It's la dolce vita, without overindulgence or artifice. We invite you to subscribe to Pádraig's weekly Poetry Unbound Substack, read the Poetry Unbound books and his newest work, Kitchen Hymns, or listen to all our Poetry Unbound episodes.  Cyrus Cassells, former poet laureate of Texas, is the author of 11 books of poetry, including Is There Room for Another Horse on Your Horse Ranch? (2024), The World That the Shooter Left Us (2022), and More Than Watchmen at Daybreak (2020). Cassells's honors include the 2025 Jackson Poetry Prize from Poets & Writers, a Guggenheim fellowship, a Lambda Literary Award, a Lannan Literary Award, an NAACP Image Award nomination, a National Poetry Series selection, two NEA grants, two Pushcart Prizes, and the Poetry Society of America's William Carlos Williams Award. He is a Regents' and University Distinguished Professor of English at Texas State University.Find the transcript for this show at onbeing.org. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

We spreak with  Marissa Streit, CEO of PragerU   about education, civics, and parenting in a time of cultural chaos. Marissa shares the moment that inspired her to "enlist" through education, explains why activism can show up even in math and literacy, and calls on parents to stop outsourcing values to institutions. Our discussion also explores he crisis facing young women today—marriage, meaning, dignity, and femininity—and why Marissa believes a new "revolution" is needed. Plus: practical ways to use PragerU at home in just 5–20 minutes a day. https://www.prageru.com Timestamps & Key Moments 00:04 — Intro + Who is Marissa Streit / What is PragerU Polina introduces Marissa, PragerU's mission, and why parents must take a more active role in teaching civics/history. 02:14 — "Enlisting" through education We reflect on the idea of serving the country through education. 04:36 — The conversation begins (education + what parents can do) Marissa lays out her core claim: education didn't just reflect today's problems—it helped create them. 06:28 — Marissa's origin story: Yad Vashem + the lesson of "fight before it's too late" A formative moment at 13 shapes her worldview about personal responsibility and courage. 08:55 — America "under attack" through ideas, not tanks Marissa argues civics and American values are not being taught—and that creates vulnerability. 11:14 — Parents as "the enemy" + the COVID wake-up call She describes how many parents only saw curriculum issues during lockdowns. 15:41 — Teacher training: minimal math instruction + "generative" activism in class Marissa claims teacher credential programs under-train basic instruction and over-emphasize DEI/activism. 17:59 — "Fruit salad" vs. melting pot + division as a goal She argues schools incentivize identity and class division rather than unity. 20:16 — Literacy example: books that embed social agendas Marissa cites specific book examples and argues parents must review all subjects, not just "sex ed." 22:32 — Paulo Freire + teachers as "agents of change" Discussion of how activist pedagogy shows up in teacher training. 24:55 — NEA agenda + what shocked her most (2022) Marissa claims the #1 issue of business was the Israeli–Palestinian conflict, and questions why. 29:45 — Money + bureaucracy + unions + political incentives A broader critique of the Department of Education, unions, and the "cycle" of funding and influence. 32:01 — "Are we being gaslit?" + PRISM training (California) Marissa argues parents should read the materials directly and not accept reassurances at face value. 38:32 — Civics collapse: how do kids defend what they don't understand? Marissa argues love of country requires understanding its history and founding ideals. 40:53 — The parent solution: rituals, debates, voting, family civic life + PragerU board game She emphasizes bottom-up responsibility and teaching at home regardless of school quality. 45:20 — Young women, feminism, marriage, and meaning Marissa argues cultural messaging has created confusion and loneliness; she shares her desire to write a book to help young women. 50:01 — Family as her proudest accomplishment Marissa describes motherhood and marriage as central—not secondary—to a fulfilled life. 54:43 — Europe as a warning Marissa talks about cultural fracture, immigration, and the need for shared civic identity. 57:02 — Cultural literacy: "We all spoke American" She argues a shared framework is necessary for cohesion—and that education must restore it. 59:23 — How to use PragerU as a parent Marissa offers a simple daily habit: 5–20 minutes, watch a short video, and have kids explain it back. 01:01:22 — Closing + call for feedback Marissa invites listeners to message her with thoughts, especially on her women-focused project. Key Quotes "Education got us into this mess. Education is going to get us out of this mess." (≈ 04:36) "Most people rely on others to do the fighting for them… and they don't begin to fight until it's absolutely too late." (≈ 06:28) "America… is being taken down through ideas, through the erosion of what it is to be an American." (≈ 08:55) "Civics education is reduced to just activism… How do you defend a country that you don't understand and don't love?" (≈ 38:32)

[@ 4 min] Alright, this week…In addition to everything else that's happening in the world, there's a War On Opera! We go Inside the Huddle with librettist (and war correspondent) Caitlin Vincent, author of 'Opera Wars: Inside the World of Opera and the Battle for its Future.' [@ 39 min] Then, in Listener Mailbag, an OBS fan asks us if Caleb Williams is the Pavarotti of football? Glad Ashlee is here to help us answer that one. [@ 44 min] Plus, in the ‘Two Minute Drill'…WNO has officially abandoned the sinking ship that is the Kennedy Center, and a Heritage Foundation flunkie is set to lead the NEA. GET YOUR VOICE HEARD Stream new episodes every Saturday at 10 AM CT on amplisoundsradio.com operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social

We're kicking off 2026 with artist William Powhida, whose 2017 work After the Contemporary predicted the future of art with unsettling accuracy. From the NEA closure to resource wars to Miami flooding, his satirical timeline keeps proving prescient. We discuss what he got right, what he missed (AI, influencers), and his predictions for 2026—including the rise of the "haute garde," the gambling-ification of culture, and why flexible pricing models might finally give artists more agency.   Relevant links: William Powhida's After the Contemporary at the Aldrich Museum (2017) Zero Art Fair New Visions Report 2025 The Art Angle Podcast - Ben Davis interviews Nadia Asparouhova on Antimemetics

We’re closing out this strange year with a “big-picture” episode: editor & critic Dan Hartland is on to talk about trends and directions—or lack thereof—in recent speculative fiction. We talk about the interesting spread of books & awards this year, do some armchair speculating about genre shifts & their accompanying arguments, and have some very insider-baseball discussion of what gets reviewed (or not) and why. And, of course, Dan and Casella talk about their favorite reads from 2025. Podcasts, reviews, interviews, essays, and more at the Ancillary Review of Books. Please consider supporting ARB’s Patreon! Guest: Dan Hartland Host:Jake Casella Brookins Music byGiselle Gabrielle Garcia Artwork byRob Patterson Opening poem by Bhartṛhari, translated by John Brough Transcribers: Kate Dollarhyde and John WM Thompson References: Critical Friends podcast Gautam Bhatia's The Sentence Vajra Chandrasekera's Rakesfall Award spread this year- see for instance SFADB Article on UK romantasy sales numbers Romantasy, LitRPG, Progression Fantasy, Baen Books Locus SFT= Speculative Fiction in Translation Strange Horizons issue on the NEA cuts and SFT Richard K. Morgan Orbus by Neal Asher Jenny Hamilton’s work at Reactor AO3= Archive Of Our Own When There Are Wolves Again by E.J. Swift Metal from Heaven by August Clarke Niall Harrison’s review of Swift William Gibson's Sprawl trilogy Hugboxing vs Scab-Picking H.G. Wells Sylvia Park's Luminous Eva Meijer’s Sea Now, tr. Anne Thompson Melo The Booker Prize “Prestige TV in the Time of Climate Change” by Sarah Miller The Sopranos & Breaking Bad The Book of Records by Madeleine Thien Hannah Arendt & Baruch Spinoza John Wyndham & J.G. Ballard The Unworthy by Agustina Bazterrica, tr. Sarah Moses Becky Chambers Colourfields by Paul Kincaid Margaret Killjoy's A Country of Ghosts The Expansion Project by Ben Pester The Goldsmiths Prize Olga Ravn's The Employees Jeff VanderMeer's Area X Ned Beauman BSFA short SF in translation award Translated Hugo Initiative Dengue Boy by Michel Nieva, tr. Rahul Berry Isaac Fellman's Notes from a Regicide Vajra Chandrasekera’s The Saint of Bright Doors Christopher Priest Debbie Urbanski's Portalmania Thomas Ha's Uncertain Sons Ted Chiang's Stories of Your Life and Others Leyna Krow's Sinkhole and Other Inexplicable Voids Ed Park's An Oral History of Atlantis Kelly Link, George Saunders, T.C. Boyle, Nana Kwame Adjei-Brenyah, Elwin Cotman Deep Dream: Science Fiction Exploring the Future of Art, edited by Indrapramit Das Countess by Suzan Palumbo Annie Bot by Sierra Grier Erika Swyler's We Lived On The Horizon Adrian Tchaikovsky, Premee Mohamed Lincoln Michel's Metallic Realms Ed Park’s Same Bed Different Dreams

We’re closing out this strange year with a “big-picture” episode: editor & critic Dan Hartland is on to talk about trends and directions—or lack thereof—in recent speculative fiction. We talk about the interesting spread of books & awards this year, do some armchair speculating about genre shifts & their accompanying arguments, and have some very insider-baseball discussion of what gets reviewed (or not) and why. And, of course, Dan and Casella talk about their favorite reads from 2025. Podcasts, reviews, interviews, essays, and more at the Ancillary Review of Books. Please consider supporting ARB’s Patreon! Guest: Dan Hartland Host:Jake Casella Brookins Music byGiselle Gabrielle Garcia Artwork byRob Patterson Opening poem by Bhartṛhari, translated by John Brough Transcribers: Kate Dollarhyde and John WM Thompson References: Critical Friends podcast Gautam Bhatia's The Sentence Vajra Chandrasekera's Rakesfall Award spread this year- see for instance SFADB Article on UK romantasy sales numbers Romantasy, LitRPG, Progression Fantasy, Baen Books Locus SFT= Speculative Fiction in Translation Strange Horizons issue on the NEA cuts and SFT Richard K. Morgan Orbus by Neal Asher Jenny Hamilton’s work at Reactor AO3= Archive Of Our Own When There Are Wolves Again by E.J. Swift Metal from Heaven by August Clarke Niall Harrison’s review of Swift William Gibson's Sprawl trilogy Hugboxing vs Scab-Picking H.G. Wells Sylvia Park's Luminous Eva Meijer’s Sea Now, tr. Anne Thompson Melo The Booker Prize “Prestige TV in the Time of Climate Change” by Sarah Miller The Sopranos & Breaking Bad The Book of Records by Madeleine Thien Hannah Arendt & Baruch Spinoza John Wyndham & J.G. Ballard The Unworthy by Agustina Bazterrica, tr. Sarah Moses Becky Chambers Colourfields by Paul Kincaid Margaret Killjoy's A Country of Ghosts The Expansion Project by Ben Pester The Goldsmiths Prize Olga Ravn's The Employees Jeff VanderMeer's Area X Ned Beauman BSFA short SF in translation award Translated Hugo Initiative Dengue Boy by Michel Nieva, tr. Rahul Berry Isaac Fellman's Notes from a Regicide Vajra Chandrasekera’s The Saint of Bright Doors Christopher Priest Debbie Urbanski's Portalmania Thomas Ha's Uncertain Sons Ted Chiang's Stories of Your Life and Others Leyna Krow's Sinkhole and Other Inexplicable Voids Ed Park's An Oral History of Atlantis Kelly Link, George Saunders, T.C. Boyle, Nana Kwame Adjei-Brenyah, Elwin Cotman Deep Dream: Science Fiction Exploring the Future of Art, edited by Indrapramit Das Countess by Suzan Palumbo Annie Bot by Sierra Grier Erika Swyler's We Lived On The Horizon Adrian Tchaikovsky, Premee Mohamed Lincoln Michel's Metallic Realms Ed Park’s Same Bed Different Dreams

Hanna och Nea besvarar lyssnarnas frågor om relationer, men misstänker att de själva skrivit frågorna, eller att Anton och Johan gjort det; så jävla träffade blir de. Hanna är för övrigt så marinerad i terapi att hon kommer ut som en fjullfjädrad parterapeut.

You're listening to American Ground Radio with Stephen Parr and Louis R. Avallone. This is the full show for December 17, 2025. 0:30 Breaking news out of Washington: FBI Deputy Director Dan Bongino is set to leave the Bureau early next year — and while this isn’t a scandal, it is a moment worth watching. Bongino’s short tenure at the FBI raises real questions about leadership, culture, and whether outspoken media figures can thrive inside a process-heavy federal agency. We dive into why Bongino may be better suited for influence behind a microphone than inside the bureaucracy, what his exit signals for FBI Director Kash Patel and Attorney General Pam Bondi, and how recent FBI wins and missteps factor into the bigger picture. 9:00 Plus, we cover the Top 3 Things You Need to Know. President Trump has ordered a Naval blockade of Venezuela. Four Republican broke from their party to force a house vote on extending Democrat designed subsidies for the Democrat designed Affordable Care Act. Republican Congressman Dan Newhouse is not seeking reelection to Congress next year. 11:30 Get Prodovite Plus from Victory Nutrition International for 20% off. Go to vni.life/agr and use the promo code AGR20. 12:00 A new YouGov poll exposes a sharp political divide on immigration — and the numbers are hard to ignore. Only 17 percent of Democrats say legal immigration should be reduced, compared to 66 percent of Republicans who want it cut back or ended altogether. We dig into what those numbers really mean, the difference between legal and illegal immigration, and why border enforcement has become a breaking point even for many Democrats after the Biden administration’s failures. 15:00 American Mamas Teri Netterville and Kimberly Burleson take on the controversy surrounding Trump Chief of Staff Susie Wiles and her decision to sit down with Vanity Fair — and why many conservatives see it as a major miscalculation. We break down how a year-long interview turned into headline-grabbing quotes about Trump, JD Vance, and the White House inner circle, how off-the-record trust was allegedly weaponized, and why legacy media outlets are viewed as hostile territory for Republicans. The Mamas also unpack media bias, selective framing, and the broader lesson about walking into the “lion’s den” of left-leaning press — even when you think you’re being careful. If you'd like to ask our American Mamas a question, go to our website, AmericanGroundRadio.com/mamas and click on the Ask the Mamas button. 22:00 We dive into reports of new plaques placed beneath presidential portraits in the White House — and the controversy they’ve sparked. Do these bronze plaques represent historical record or political trolling? And where the line is between blunt truth-telling and misuse of taxpayer dollars? We discuss President Trump’s unapologetic style, the difference between opinion and history, and whether America’s obsession with politeness has replaced honest evaluation of past presidents. 25:30 We Dig Deep into the nation’s largest teachers union after reports that the NEA is promoting so-called “neo-pronouns” and “zeo-pronouns” in teacher training sessions. This isn’t education reform — it’s ideological activism replacing basic grammar, clarity, and classroom priorities. We question why unions are focusing on made-up language and identity politics instead of improving student outcomes, and warning that redefining words isn’t about communication but control. 31:00 Get TrimROX from Victory Nutrition International for 20% off. Go to vni.life/agr and use the promo code AGR20. 31:30 We break down President Trump's prime-time address, and it's a deliberate moment of leadership where he plans to highlight his administration’s accomplishments and preview what he calls America’s “golden age.” Speaking directly to the nation on major networks still matters, even in an era dominated by social media. 34:00 And we have a Bright Spot from Florida, where the state can now enforce a ban on sexually explicit drag performances in front of minors. It's a long-overdue correction, and should never have been treated as protected speech when children were involved. We break down court battle that led to the decision, the narrow exception that still exists, and the broader cultural fight over bringing adult performance art into kids’ spaces like libraries and classrooms. This isn’t about censoring adults, it's about drawing a clear line between free speech and exposing children to sexualized content — a line that should have never been blurred in the first place. 38:30 In Texas, Republican Senate candidate Wesley Hunt is pushing a proposal to block education benefits for illegal immigrants — a move that's long overdue. With millions of illegal immigrants already in the country, full deportation isn’t realistic. Self-deportation was always part of the strategy. By cutting off benefits like public education, families will choose to leave on their own. It's a tough, controversial approach — but one that finally confronts why illegal immigration persists in the first place. 40:30 And we finish off today’s show with a little tech history that quietly reshaped the modern world. On this day in 1994, Netscape Navigator 1.0 hit the market and opened the door for everyday people to actually use the internet. Long before Chrome, Safari, or Firefox, Netscape was how the web worked — the browser that made surfing possible and set the standard for everything that followed. Follow us: americangroundradio.com Facebook: facebook.com / AmericanGroundRadio Instagram: instagram.com/americangroundradioSee omnystudio.com/listener for privacy information.

In this episode, Tudor sits down with former teacher and education advocate Erika Sanzi to unpack the growing concerns inside America’s public school system. They examine the expanding influence of teachers’ unions like the NEA, the shift from academic achievement to political priorities, and the rise of ideological activism in classrooms and teacher training programs. Sanzi shares firsthand insights on declining student performance, what parents and educators are up against, and why restoring balance in education is critical to putting students back at the center of learning. The Tudor Dixon Podcast is part of the Clay Travis & Buck Sexton Podcast Network. For more visit TudorDixonPodcast.comSee omnystudio.com/listener for privacy information.

The Dean's List with Host Dean Bowen – In a recent workshop sponsored by the NEA, teachers are trained in the usage of new pronouns as well as manipulating the recent SCOTUS decision allowing parents to opt-out of LGBT lessons. Unfortunately, the nation's largest teachers' union stands diametrically opposed to the education parents want for their children...

This week on The Paragould Podcast, we sit down with Shawn Goodson and our own producer, Chris Collier, co-founders of the Paragould Run Company. What began in 2023 with a simple question: “Why not us? Why not now?” has quickly grown into one of the most exciting community-driven movements in NEA. In this episode, Shawn and Chris share how their desire for more local races turned into a vision to create true attractions for Paragould. Over the past two years, they've organized two editions of the Paraghoul 5K/10K and launched the inaugural Creek Trail Crusher Ultramarathon, drawing runners from as far away as Austin and Milwaukee. Along the way, they've also given $7,750 to local organizations through race proceeds. We talk about the early days of dreaming and planning, the challenges of stepping into something new, and how meaningful it is to see the community rally around these events. Whether you're a runner, a community builder, or someone who loves hearing the story behind local initiatives, this episode offers a thoughtful look at what can happen when ordinary people decide to contribute in extraordinary ways.

First up…SAN FRANCISCO—-Incredible Health, the largest AI company powering healthcare hiring, today announced it has reached 1.5 million nurses on its career marketplace, representing half of active nurses in the United States. The company now serves more than 1,500 US healthcare employers. Eight weeks ago, Incredible Health introduced Gale and Lyn, two purpose-built AI voice agents designed to revolutionize the hiring experience for both healthcare workers and employers. The agents are specialized and trained on millions of data points from the Incredible Health marketplace. https://hrtechfeed.com/incredible-health-reaches-1-5-million-nurses/ Findem, the AI platform for talent decisions, today announced it has acquired Getro, the leading operating system powering more than 800 venture capital, private equity, economic development, chamber of commerce and professional networks worldwide. These communities represent 3.5 million open jobs and some of the highest-trust talent ecosystems in the market. https://hrtechfeed.com/findem-acquires-job-board-software-platform/ Built in partnership with Findem, AnitaB.org launched an AI-powered, purpose-driven platform designed to make tech hiring smarter, fairer, and more human. In a year marked by more than 150,000 tech layoffs and ongoing inequities in hiring, the new Talent Network connects recruiters with vetted, diverse technologists while giving job seekers unprecedented visibility into opportunities across the industry. https://hrtechfeed.com/findem-now-powering-niche-talent-networks/ TOKYO — HelloBoss, Asia's leading AI-powered recruitment platform developed by Tokyo-based startup NGA, announced today that it has raised Series A funding backed by international media group Bertelsmann, marking the firm's first-ever strategic investment in Japan.  https://hrtechfeed.com/series-a-funding-accelerates-hellobosss-vision-for-an-ai-powered-global-hiring-platform/ NEW YORK––LizzyAI, the AI-native interviewing platform revolutionizing how companies evaluate talent, today announced it has raised $5 million in seed funding, led by NEA, with participation from Speedinvest and Zero Prime Ventures. https://hrtechfeed.com/another-ai-interview-startup-lands-millions/ Learn more about your ad choices. Visit megaphone.fm/adchoices

I veckans avsnitt av Barnet Går gästas vi av poddaren och influencern Linnéa ”Nea” Holm, andra halvan av podcasten Surret, som delar med sig av hur det är att vara två-barns-mamma. Efter att ha fått bröstcancer under första graviditeten gick Nea igenom delar av sin cancerbehandling samtidigt som hon försökte landa i sin nya roll som mamma.Nea berättar öppet om känslan av att inte vara en ”bebismamma”, om hur mamma-identiteten tog tid att växa fram, och om hur lätt det är att tro att man är ensam i att tycka att spädbarnstiden inte är den roligaste fasen.Idag, med två flickor på 2,5 och 6 år, tycker Nea att livet som mamma är roligare än någonsin. Detta är ett fint, ärligt och tröstande samtal för alla som känt att bebisåret inte var ens bästa period – men som ändå hittat hem i föräldraskapet med tiden.Vi pratar också om:skillnaderna mellan första och andra barnethur familjens stöd från mor- och farföräldrar gjorde den första tiden lättarevarför tvåbarnschocken inte kom direkt – utan smög sig påhur relationen påverkades och varför två barn blev tuffare än ettFölj oss gärna på Instagram @vattnetgarförsta året som mamma, bebistid utmanande, nybliven mamma cancer, bröstcancer graviditet, mammaidentitet, tvåbarnsliv, tvåbarnschock, Nea Holm, Linnea Holm, Surret podden, bebistid inte min grej, olika personligheter barn, mamma i kris, spädbarnstid jobbigt, föräldraskap ärligt, stöd från morföräldrar, stöd från farföräldrar, relation efter barn, två barn tufft, Barnet Går podcastSupport till showen http://supporter.acast.com/vattnetgar. Hosted on Acast. See acast.com/privacy for more information.

What if the most dreaded part of your customer's journey: the return, was actually your biggest untapped opportunity for growth?Agility requires brands to re-examine every part of the customer journey, especially the challenging post-purchase phase, and find hidden opportunities to adapt and strengthen customer relationships. It demands we turn operational liabilities into strategic assets. Today, we're going to talk about something that many retailers see as a pure cost center: customer returns. Instead, we'll explore how a smart, data-driven post-purchase strategy can actually become a powerful engine for customer retention and lifetime value. We'll look at the data trends shaping retail, how to navigate the complex pressures on merchants today, and why this often-overlooked part of the business might be the key to unlocking future growth. Joining me to discuss this is Laura Huddle, CRO at Seel. This show is sponsored by Seel, the AI-powered post-purchase platform that helps retailers turn returns into revenue while giving shoppers a more seamless, trusted experience. For more information, go to ⁠www.seel.com⁠. About Laura Huddle Laura Huddle is the CRO of Seel, a Lightspeed Ventures and Foundation Capital backed startup that is creating the next generation e-commerce insurance experience. Previously, she led world-class sales, marketing, and account management teams across the globe at tech industry disruptors Eventbrite's (NYSE: EB), Deliveroo (LSE: ROO), Smartcar (a16z, NEA, Energize Capital) and Belong . She was one of the first employees at Eventbrite and was a lot of "firsts": first product manager, first product marketer, first category marketer, first Head of APAC Sales, etc. In addition, she taught product management at UC Berkeley, founded her own consultancy, and helped grow Myspace into the world's most popular website.,Yes,This will be completed shortly Laura Huddle on LinkedIn: https://www.linkedin.com/in/laurahuddle/ Resources Learn more about Seel: https://www.seel.com Catch the future of e-commerce at eTail Palm Springs, Feb 23-26 in Palm Springs, CA. Go here for more details: https://etailwest.wbresearch.com/ Connect with Greg on LinkedIn: https://www.linkedin.com/in/gregkihlstrom Don't miss a thing: get the latest episodes, sign up for our newsletter and more: https://www.theagilebrand.show Check out The Agile Brand Guide website with articles, insights, and Martechipedia, the wiki for marketing technology: https://www.agilebrandguide.com The Agile Brand is produced by Missing Link—a Latina-owned strategy-driven, creatively fueled production co-op. From ideation to creation, they craft human connections through intelligent, engaging and informative content. https://www.missinglink.company

I veckans avsnitt av Vattnet Går möter vi influencern och poddaren Linnéa ”Nea” Holm, ena halvan av podden Surret. Nea berättar öppet om den livsomvälvande resa som började med en planerad graviditet och slutade med ett cancerbesked – men som lyckligtvis slutade väl. Nea blev gravid på första försöket, 32 år gammal och bosatt i Toronto, Kanada, men mitt i lyckan förändrades allt när hon fick beskedet ingen blivande mamma vill höra: bröstcancer.Nea tar oss igenom:• hur det är att genomgå cancerbehandlingar samtidigt som man bär ett barn• skillnaderna mellan att vara gravid i Kanada jämfört med Sverige• hur hon hanterade rädslan, kroppen och framtiden• och hur vägen vidare såg ut efter att hennes första dotter föddesVi pratar också om hennes andra graviditet, ännu ett planerat kejsarsnitt – där läkarna fick hantera en extra skör hinnsäck efter tidigare cellgifter. Nea delar hur det kändes att gå igenom förlossning nummer två med allt hon hade i bagaget.Ett starkt, varmt och viktigt avsnitt om moderskap, sårbarhet och att hitta ljuset även när livet skakar som mest.Följ oss gärna på Instagram @vattnetgarLinnéa Holm, bröstcancer gravid, cancer under graviditet, graviditet och cancer, Nea Holm bröstcancer, bröstcancer unga kvinnor, gravid med bröstcancer, cancerbehandling gravid, planerat kejsarsnitt, två kejsarsnitt erfarenhet, cellgifter gravid, gravid i Kanada, skillnad svensk vård Kanada, mammaliv cancer, influencer Nea Holm, Surret podden, gravidresa cancer, förlossning, mammapodd, föräldrapodd, gravidpodd, förlossningspodd Vattnet Går podcastSupport till showen http://supporter.acast.com/vattnetgar. Hosted on Acast. See acast.com/privacy for more information.

The National Education Association, the largest teacher's union in the United States, is pushing the transgender myth to our students. In this episode, Doug Billings discusses the recently discovered emails, the plans to teach children how to "transition" without parental knowledge and that they teach kids there are an infinite number of gender choices.------------------Please subscribe to Doug's YouTube Channel: @TheRightSideDougBillingsPLEASE contribute to the show at the link below.Support the show

In this episode, we sit down with Chad Henson, the new Chief of Police for the Paragould Police Department — a man whose journey has taken him from protecting the skies as a Federal Air Marshal to serving overseas in a UN mission, to leading drug task force operations across NEA. Chief Henson shares how those experiences shaped his philosophy of leadership and why he believes real change starts with character, humility, and a commitment to teaching. We talk about building healthy culture inside a department, why not everyone actually fears change, and how long-lasting cultural transformation happens from the inside out. He also outlines his vision for the future of PPD, including a major emphasis on officer development — increasing annual training requirements from 24 to 100 hours, equipping leaders at every level, and creating a department other agencies look to for instructors and best practices. We close by discussing the realities of drug trends in Arkansas, the importance of regional cooperation among agencies, and why “playing well with others” matters more than ever. If you care about leadership, community, or the direction of policing in Paragould, this is an episode you won't want to miss.

Kelsie Bullock is a small-town teacher making a big impact - and proving that every student deserves to belong. A few years ago, she started a Diversity, Equity, and Inclusion Club for her Morgan County high school students.  Now, as political attacks threaten programs like hers, Bullock and her students are standing strong, creating a safe space where everyone can connect across differences and feel proud of who they are - no exceptions.KNOW YOUR RIGHTS | Take a listen to NEA's School Me podcast for a discussion with Alice O'Brien, general counsel for the National Education Association, as she walks through your rights, risks, and opportunities to push back against anti-equality policies and fear tactics: A Lawyer Explains: "DEI" and Anti-Equity Policies in Schools | NEA || OEA members with questions are urged to contact their Labor Relations Consultant for guidanceON THE FEDERAL LEVEL | Click here for information from NEA about several recent court rulings impacting inclusive education in public schools.In February, 2025, the US Department of Education issued a Dear Colleague Letter threatening schools and colleges across the country with the loss of federal funding in a matter of days if they continued to pursue vaguely defined “DEI programs.” The National Education Association, ACLU, and others filed a lawsuit to block enforcement of this directive, saying 'the Letter radically resets ED's longstanding positions on civil rights laws that guarantee equality and inclusion and impermissibly infringes on the authority of states and school districts over public education, as well as the First Amendment rights of educators and students. In April, a federal judge granted a preliminary injunction, preventing the US Department of Education from enforcing the directive while litigation continues. Read NEA's statement on the court ruling here: Federal court grants preliminary injunction against Department of Education's unlawful directive | NEAHERE IN OHIO | Ohio lawmakers continue to propose legislation to ban diversity, equity, and inclusion programs and offices in K-12 schools, extending the DEI ban they enacted on college campuses with SB 1 earlier this year. Click here to see recent news coverage.SUBSCRIBE | Click here to subscribe to Public Education Matters on Apple Podcasts or click here to listen on Spotify so you don't miss a thing. You can also find Public Education Matters on many other platforms. Click here for some of those links so you can listen anywhere. And don't forget you can listen to all of the previous episodes anytime on your favorite podcast platform, or by clicking here.Featured Public Education Matters guest: Kelsie Bullock, Morgan Local Education Association memberA biology and marine biology teacher at Morgan High School in McConnelsville, Kelsie Bullock enjoys listening to music, judging gymnastics, doing jiu jitsu and spending time with my husband and dogs.  A Newark, Ohio, native, Bullock grew up doing gymnastics and loving animals. These two loves directed her towards attending Ohio State for their vet program and coaching gymnastics through her time in college. She quickly realized, once starting college, that becoming a vet was not for her. She thought back on her life and realized that she has always been somewhat of a teacher to her younger sisters, her teammates, and her school peers. This, coinciding with her coaching, led her to realize that she may want to be a teacher. So she switched her major to zoology with a focus in anatomy and physiology, something she wanted to teach at the time. After graduating with her first degree, Bullock had a few hiccups for her licensure and ultimately ended up going back to Ohio State to get her bachelors in life science education. During this second degree program, she took an equity and diversity class that she attributes to her turning point in life. She learned so much about the history and culture of marginalized groups in the US and it opened her eyes. From that point on, she has been dedicated to learning and serving to help marginalized groups.Bullock enjoys her job, which allows her to actively express her D.E.I passion while also teaching about a topic she truly loves. She gets to help students learn in more ways than one.  Connect with OEA:Email educationmatters@ohea.org with your feedback or ideas for future Public Education Matters topicsLike OEA on FacebookFollow OEA on TwitterFollow OEA on InstagramGet the latest news and statements from OEA hereLearn more about where OEA stands on the issues Keep up to date on the legislation affecting Ohio public schools and educators with OEA's Legislative WatchAbout us:The Ohio Education Association represents nearly 120,000 teachers, faculty members and support professionals who work in Ohio's schools, colleges, and universities to help improve public education and the lives of Ohio's children. OEA members provide professional services to benefit students, schools, and the public in virtually every position needed to run Ohio's schools.Public Education Matters host Katie Olmsted serves as Media Relations Consultant for the Ohio Education Association. She joined OEA in May 2020, after a ten-year career as an Emmy Award-winning television reporter, anchor, and producer. Katie comes from a family of educators and is passionate about telling educators' stories and advocating for Ohio's students. She lives in Central Ohio with her husband and two young children. This episode was recorded on September 15, 2025.

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    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.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 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 are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

What if the solution to our democracy's crisis isn't another white paper or study—but an artist running for office?In this episode, civic organizer and “public defender” Tom Tresser reveals why he feels America's nonprofit and creative sectors are missing in action when it comes to power, policy, and public trust. As arts funding shrinks and disinformation grows, Tom challenges creatives to stop “staying in their lane” and instead step up as leaders in civic life.In it we'll: • Learn how a small, unfunded coalition stopped the 2016 Olympics from coming to Chicago—and why that matters for creative change agents everwhere • We'll also Discover why Tom thinks creative people are uniquely qualified to solve society's most funky problems—and how artistic skills and political strategies are cut from the same clothAnd inspired by a radical, hopeful model for building civic power from the ground up, rooted in creative intelligence, story making, and community action.Notable MentionsThe 100K Project: Tom Tresser's initiative that seeks to train, and propel 100,000 people from the arts, nonprofit, social services, education, and science sectors (and their supporters) to run for local office or help those with our values run as champions of service, science, justice, equity, peace, creativity, and the public sector.PeopleBill Cleveland: Host of Art Is Change and long-time practitioner in arts-based community development and civic storytelling.Tom Tresser: Chicago civic organizer, public defender of the public sector, and co-founder of No Games Chicago.Richard M. Daley: Former Chicago mayor behind the 2016 Olympic bid effort.Barack Obama: Then–senator and later president who supported Chicago's Olympic bid.Sam Zell: Billionaire and owner of the Chicago Tribune, a supporter of the Olympic bid.Senator Jesse Helms: Conservative senator known for attacks on the NEA.Pat Robertson: Christian Coalition founder and major force in culture-war politics.Andres Serrano: Artist whose work Piss Christ became central to NEA controversies.The NEA Four: Performance artists whose denied NEA grants fueled national censorship debate.Frederick Douglass: Abolitionist and civic educator cited as a model for grassroots truth-telling.Paul Wellstone: U.S. senator whose “organize–advocate–run” triangle influences...

Do women have problems with allowing men to lead? Has the dynamics changed between husband and wife? And are traditional roles still necessary in 2025? This week, B. Wayne's wife 'Nea' joins the show to discuss how to rebuild, refine, and renew a marriage/relationship...Let's pod!

“I love plot, I love character, and I just feel like the colors are bolder and brighter and there's more to work with when I'm writing about science fiction and fantasy.” - Randee DawnIn this How To Write the Future episode, “Future Fantasy, Real-World Resilience with Randee Dawn,” podcast host Beth Barany interviews Brooklyn-based author and veteran entertainment journalist Randee Dawn, where Randee shares how her love of “new journalism” started and they discuss how to portray monsters in their novels that leave their readers guessing whether they're good or evil, how to craft stories with emotional resonance, and the power of a writing community. ABOUT RANDEE DAWNRandee Dawn is a Brooklyn-based author and veteran entertainment journalist. In 2025, she has two dark rock n' roll fantasies being published through Arc Manor/Caezik: The Only Song Worth Singing (April), and Leave No Trace (September).Born in Virginia, raised in Maryland, she's now based in Brooklyn with her spouse and never enough mangoes.Website: https://randeedawn.com/Facebook Page: https://www.facebook.com/AuthorRandeeDawnInstagram: https://www.instagram.com/randeedawn/LinkedIn: https://www.linkedin.com/in/randeedawn/TikTok: https://www.tiktok.com/@randee.dawnRESOURCESRELATED EPISODE: Monsters and Humanity in Fiction with Surekha Davies https://www.buzzsprout.com/2012061/episodes/18046744-177-monsters-and-humanity-in-fiction-with-surekha-daviesGET HELP WITH YOUR WORLD BUILDING - START HEREFree World Building Workbook for Fiction Writers: https://writersfunzone.com/blog/world-building-resources/GET SOME FREE WRITING COACHING LIVE ON THE PODCASTSign up for the 30-minute Story Success Clinic with Beth Barany: https://writersfunzone.com/blog/story-success-clinic/SHOW PRODUCTION BY Beth BaranySHOW CO-PRODUCTION + NOTES by Kerry-Ann McDadeEDITORIAL SUPPORT by Iman Llompartc. 2025 BETH BARANYhttps://bethbarany.com/Questions? Comments? Send us a text!Invitation to join our Romancing the Subplot Workshop coming soon. Link in the show notes.--- JOIN US! ROMANCING THE SUBPLOT - SAT + SUN, NOV. 15-16, 2025 on ZoomRomancing the Subplot Masterclass Workshop, Weekend Writing Retreat with Gala Russhttps://bethbarany.thrivecart.com/romancingthesubplotfall2025/ CONNECTContact BethLinkedInCREDITSEDITED WITH DESCRIPT (Affiliate link)MUSIC: Uppbeat.ioDISTRIBUTED BY BUZZSPROUT: https://www.buzzsprout.com/?referrer_id=1994465

Brian Evenson is the author of over a dozen books of fiction, most recently Good Night Sleep Tight (Coffeehouse Press 2024). His novel Last Days won the American Library Association's award for Best Horror Novel of 2009. His novel The Open Curtain (Coffee House Press) was a finalist for an Edgar Award and an International Horror Guild Award. Other books include The Wavering Knife (which won the IHG Award for best story collection), Dark Property, and Altmann's Tongue. He has translated work by Christian Gailly, Jean Frémon, Claro, Jacques Jouet, Eric Chevillard, Antoine Volodine, Manuela Draeger, and David B. He is the recipient of three O. Henry Prizes as well as an NEA fellowship. He lives in Los Angeles and teaches in the Critical Studies Program at CalArts. Brian Evenson's Reports (2018) and Further Reports (The Cupboard Pamphlet, 2024) are interrogations. Relationships real and imagined—with bygone chairs, vanished kitchen implements, friends of yore—and the linguistic positioning that defines such interactions are subject to particular scrutiny. In turns intimate and speculative, paranoid and expository, disparate and amalgamated, Evenson's observations and inquiries into the nature of connection, description, and signification will permit you, too, to question the meanings that make your life. 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

Brian Evenson is the author of over a dozen books of fiction, most recently Good Night Sleep Tight (Coffeehouse Press 2024). His novel Last Days won the American Library Association's award for Best Horror Novel of 2009. His novel The Open Curtain (Coffee House Press) was a finalist for an Edgar Award and an International Horror Guild Award. Other books include The Wavering Knife (which won the IHG Award for best story collection), Dark Property, and Altmann's Tongue. He has translated work by Christian Gailly, Jean Frémon, Claro, Jacques Jouet, Eric Chevillard, Antoine Volodine, Manuela Draeger, and David B. He is the recipient of three O. Henry Prizes as well as an NEA fellowship. He lives in Los Angeles and teaches in the Critical Studies Program at CalArts. Brian Evenson's Reports (2018) and Further Reports (The Cupboard Pamphlet, 2024) are interrogations. Relationships real and imagined—with bygone chairs, vanished kitchen implements, friends of yore—and the linguistic positioning that defines such interactions are subject to particular scrutiny. In turns intimate and speculative, paranoid and expository, disparate and amalgamated, Evenson's observations and inquiries into the nature of connection, description, and signification will permit you, too, to question the meanings that make your life. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Jennifer Albert Mann joins the show to discuss her book "Shift Happens, The History of Labor in the United States," a labor history book for teens and young adults. Shift Happens was the September young adult book recommendation on NEA's Read Across America Calendar, under the theme “invite transformation.”

This week on The Hydrogen Podcast, we cut through the noise to break down the week's biggest hydrogen headlines—from Europe's momentum and Asia's acceleration to America's funding setbacks. The message is clear: the future of hydrogen belongs to projects built on economic strength and operational discipline.

For over a decade, OZ Arts has brought contemporary and international performing arts companies to Nashville, but federal funding cuts, new NEA mandates from President Trump, and unexpected visa expenses now threaten their work. Executive and artistic director Mark Murphy joins host Marie Cecile Anderson to discuss the hurdles OZ overcame to present their 2025-26 season, featuring artists from six continents, which opens this weekend. Learn more about the sponsors of this October 21st episode: United Way of Greater Nashville Get more from City Cast Nashville when you become a City Cast Nashville Neighbor. You'll enjoy perks like ad-free listening, invitations to members only events and more. Join now at membership.citycast.fm/nashville   Want some more City Cast Nashville news? Then make sure to sign up for our Hey Nashville newsletter.  Follow us @citycastnashville You can also text us or leave a voicemail at: 615-200-6392 Interested in advertising with City Cast? Find more info HERE.

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The Jazz Masters: Setting the Record Straight (UP of Mississippi, 2021) is a celebration of jazz and the men and women who created and transformed it. In the twenty-one conversations contained in this engaging and highly accessible book, we hear from the musicians themselves, in their own words, direct and unfiltered. Peter Zimmerman's interviewing technique is straightforward. He turns on a recording device, poses questions, and allows his subjects to improvise, similar to the way the musicians do at concerts and in recording sessions. Topics range from their early days, their struggles and victories, to the impact the music has had on their own lives. The interviews have been carefully edited for sense and clarity, without changing any of the musicians' actual words. Peter Zimmerman tirelessly sought virtuosi whose lives span the twentieth and twenty-first centuries. The reader is rewarded with an intimate look into the past century's extraordinary period of creative productivity. The oldest two interview subjects were born in 1920 and all are professional musicians who worked in jazz for at least five decades, with a few enjoying careers as long as seventy-five years. These voices reflect some seventeen hundred years of accumulated experience yielding a chronicle of incredible depth and scope. The focus on musicians who are now emeritus figures is deliberate. Some of them are now in their nineties; six have passed since 2012, when Zimmerman began researching The Jazz Masters. Five of them have already received the NEA's prestigious Jazz Masters award: Sonny Rollins, Clark Terry, Yusef Lateef, Jimmy Owens, and most recently, Dick Hyman. More undoubtedly will one day, and the balance are likewise of compelling interest. Artists such as David Amram, Charles Davis, Clifford Jordan, Valery Ponomarev, and Sandy Stewart, to name a few, open their hearts and memories and reveal who they are as people. This book is a labor of love celebrating the vibrant style of music that Dizzy Gillespie once described as “our native art form.” Zimmerman's deeply knowledgeable, unabashed passion for jazz brings out the best in the musicians. Filled with personal recollections and detailed accounts of their careers and everyday lives, this highly readable, lively work succeeds in capturing their stories for present and future generations. An important addition to the literature of music, The Jazz Masters goes a long way toward “setting the record straight.” Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

On May 3, hundreds of arts organizations across the US opened their inboxes to an abrupt notice: their NEA grant applications had either been denied or rescinded. Among them, Art21, the New York nonprofit that produces the beloved public television series Art in the 21st Century, lost an $85,000 grant to support the production of seasons 12 and 13.In today's episode, host Scott "Sourdough" Power sits down with Lolita Fierro, Director of Development at Art21, to discuss the triumphant premiere of Season 12 (Oct.17), despite executive orders defunding the NEA and the Corporation for Public Broadcasting earlier this year. Together, they unpack the season's first episode, “Between Worlds,” which features artists whose practices explore the space between the self and the other, reflect on histories of migration, borders, and displacement, incorporate knowledge across disciplines, and create human connections across difference.Together, Scott and Lolita Unpack…The upcoming premiere of Art in the 21st Century, Season 12, on Oct. 17, 2025Art21's new social-first series, IRL, focusing on artists working in both online and offline spacesThe second biannual film festival in New York, which included premieres, panel discussions, and behind-the-scenes insightsWhy Art21 is an essential educational resource that supports teachers and lifelong learnersThe challenges and rewards of securing support for nonprofit art organizationsThe concept of art as “soul food”—exploring its spiritual and philosophical significance beyond market value and investment How You Can Get Involved With Art21Watch the trailer for Season 12 of Art in the 21st Century.Explore over 600 films with no paywall and global accessibility.Register to host an Art21 Screening Society screening event.Discover tools for educators.Watch Art21.live, an always-on broadcast channel featuring high-quality, hand-selected video programming on contemporary art and artists.Support Art21; donations of any size are meaningful.About Art21 and Lolita FierroArt21 is a leading nonprofit organization dedicated to expanding access to contemporary art through documentary films, educational resources, and public programs. With a mission to inspire a more creative and inclusive world, Art21 produces award-winning films that highlight groundbreaking contemporary artists. Its flagship PBS series, "Art in the Twenty-First Century," along with digital shorts like "Extended Play" and "New York Close Up," engages millions of viewers worldwide. Art21 also offers free materials and professional development programs for educators and hosts community film screenings globally, making contemporary art accessible to all.Lolita Fierro, the Director of Development at Art21, plays a vital role in overseeing the organization's annual operating budget and donor engagement strategies. Under her leadership, Art21 has launched its first gala, revitalized events programming, and strengthened its patron programs to connect supporters with artists and cultural communities. Fierro also spearheads "Art21 for Everyone," the organization's inaugural capacity-building campaign to...

Want to implement AI agents like $50M startups do? Get our ultimate guide: https://clickhubspot.com/fcv Episode 80: Are coders really being replaced by AI agents, or is this just the next tech hype cycle? Nathan Lands (https://x.com/NathanLands) is joined by repeat guest Matan Grinberg (https://x.com/matansf), co-founder of Factory—an agent-native software development platform backed by NEA, Sequoia, JP Morgan, and Nvidia. This episode dives deep into Factory's ambitious mission to transform software engineering by enabling developers—and entire organizations—to delegate painful, repetitive coding tasks to “droids,” Factory's intelligent agents. Matan shares strategies for helping massive enterprises adopt new workflows, how Factory's platform is built for surface/interface agnosticism (terminal, IDE, Slack, and more), and why optimization for teams—not individuals—will define the future of AI-powered development. Plus, debate about GPT-5's impact, the myth of “AI winters,” and what the real business ROI of AI looks like in the enterprise. Check out The Next Wave YouTube Channel if you want to see Matt and Nathan on screen: https://lnk.to/thenextwavepd — Show Notes: (00:00) Scaling Teams to Empower Enterprises (03:54) Agent Native, Surface Agnostic Approach (09:07) Prioritizing Business ROI Over Code (12:10) Assessing Expertise Levels Quickly (16:01) AI Model Nuances and RL Shift (18:26) AI Enterprise Market Dynamics (22:41) Choosing AI Subscription Plans (25:43) Future-Focused, IDE-Agnostic Development (27:30) Adapting Cities and Enterprises (30:11) Embracing Change and Growth — Mentions: HubSpot Inbound: https://www.inbound.com/ Matan Grinberg: https://www.linkedin.com/in/matan-grinberg Factory: https://factory.ai/ Docusign: https://www.docusign.com/ Nvidia: https://www.nvidia.com/ Anthropic: https://www.anthropic.com/ Cursor: https://cursor.com/ Get the guide to build your own Custom GPT: https://clickhubspot.com/tnw — Check Out Matt's Stuff: • Future Tools - https://futuretools.beehiiv.com/ • Blog - https://www.mattwolfe.com/ • YouTube- https://www.youtube.com/@mreflow — Check Out Nathan's Stuff: Newsletter: https://news.lore.com/ Blog - https://lore.com/ The Next Wave is a HubSpot Original Podcast // Brought to you by Hubspot Media // Production by Darren Clarke // Editing by Ezra Bakker Trupiano

The news of Texas covered today includes:Our Lone Star story of the day: As expected the Republican Party of Texas executive committee did not vote to ban anyone from the ballot in the big meeting this weekend. The committee did concur with local censure resolutions of five state legislators and did not do so for five others.Also in a development for the RPT, Attorney General Ken Paxton has joined Texas Republicans, as A.G., in urging the court to allow the party to conducted closed primary elections. This leaves the Secretary of State to fight to keep legislator control of Texas GOP primary elections.Our Lone Star story of the day is sponsored by Allied Compliance Services providing the best service in DOT, business and personal drug and alcohol testing since 1995.Texas oil and gas rig count plunges.Texas State Teachers Association parent union, NEA, sends three million members map that completely ‘erases' Israel. “The email also linked to shocking material that defended Hamas' depraved Oct. 7, 2023, attack on Israel that killed 1,200 people and led to another 250 being kidnapped to Palestine, according to NAVI.”Listen on the radio, or station stream, at 5pm Central. Click for our radio and streaming affiliates.www.PrattonTexas.com

Maxine Chernoff and Paul Hoover talk with Roxi Power in this second part of our interview, revealing their mutual love of film and poetry inspired by it. From Chernoff's surreal meditations on François Truffaut's French New Wave film, Jules et Jim, toHoover's weaving of Wim Wenders' Lisbon Story into his dreamlike language, we look through the lenses of other artforms—including the deep and unsettling Brazilian musical genre, Fado—to experience the strange and gorgeous interior worlds of these prolific and beloved Bay Area poets. Listen to Part 1 of our interview from 8-9-25 here. 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).  Peter Johnson called her the most important prose poet of her generation. 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 the literary annual, New American Writing–now published by MadHat Press–and two editions of the indispensable Postmodern American Poetry: A Norton Anthology, Hoover teaches 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.  

Broadway Flea hits record total, ‘Saturday Church’ reviews, gender ideology rules unconstitutional for NEA, Since 2016, “Today on Broadway” has been the first and only daily podcast recapping the top theatre headlines every Monday through Friday. Any and all feedback is appreciated:Grace Aki: grace@broadwayradio.com | @ItsGraceAkiMatt Tamanini: matt@broadwayradio.com | @BroadwayRadio Patreon: BroadwayRadiohttps://www.patreon.com/broadwayradio For a read more

listener comments? Feedback? Shoot us a text!The Myth of New Mexican Spanish This week we are joined by the official New Mexico State historian Rob Martinez! Rob joins us as we dissect the many myths surrounding the way Spanish is spoken in New Mexico. In this episode, we ask the question: is New Mexican Spanish actually an archaic and “pure” form of ancient Spanish?Spoiler alert: Hell no, it isn't!!Our guest:State Historian Rob Martinez is a native New Mexican born and raised in Albuquerque. A graduate of the University of New Mexico, Rob has presented papers and lectures on his research at the University of New Mexico as well as history conferences throughout the southwestern United States. He has also spoken to historical groups in New Mexico such as the Hispanic Genealogical Research Center of New Mexico, the Albuquerque Historical Society, and the Society for Crypto-Judaic Studies about research methodology, unique findings, New Mexico Hispanic culture, and general History of New Mexico. Mr. Martinez is also a folk musician, performing and promoting New Mexican Hispanic musical traditions for the past twenty years with his brother Lorenzo and their father Roberto Martinez in the group Los Reyes de Albuquerque. With his musical family, he has performed in all parts of New Mexico, and on multiple occasions has presented music and New Mexican culture at the Smithsonian Folk Life Festival in Washington, D.C., the NEA's National Heritage Fellowship Awards, and also at the Kennedy Center for the Performing Arts. Support the showYour Hosts:Kurly Tlapoyawa is an archaeologist, ethnohistorian, and filmmaker. His research covers Mesoamerica, the American Southwest, and the historical connections between the two regions. He is the author of numerous books and has presented lectures at the University of New Mexico, Harvard University, Yale University, San Diego State University, and numerous others. He most recently released his documentary short film "Guardians of the Purple Kingdom," and is a cultural consultant for Nickelodeon Animation Studios.@kurlytlapoyawaRuben Arellano Tlakatekatl is a scholar, activist, and professor of history. His research explores Chicana/Chicano indigeneity, Mexican indigenist nationalism, and Coahuiltecan identity resurgence. Other areas of research include Aztlan (US Southwest), Anawak (Mesoamerica), and Native North America. He has presented and published widely on these topics and has taught courses at various institutions. He currently teaches history at Dallas College – Mountain View Campus. Find us: Bluesky Instagram Merch: Shop Aztlantis Book: The Four Disagreements: Letting Go of Magical Thinking

Thought the teachers union was your only option? Think again. In this Must Read Alaska Show, host Ben Carpenter is joined by Kenai teacher Kim Bates, Anchorage teacher Aimee Sims, and Garry Sigle, Central Region Director for the Association of American Educators (AAE), to unpack what AAE is, who it serves, and how it stacks up against NEA-Alaska. If you've never heard of AAE, you're not alone. While NEA-Alaska dues can run over $1,400 a year, AAE membership costs just $19.50 a month—about $234 a year. That's a savings of more than $1,100 annually—money that stays in your pocket while still giving you day-one legal protection and $2 million in professional liability coverage, double what NEA provides. And because AAE is non-union and non-partisan, your dues go entirely to supporting you as a professional—not to political campaigns. You stay covered under your district's negotiated contract, but without paying union prices. You'll also hear how substitutes, paras, bus drivers, and other W-2 school employees can join AAE (with a low-cost option for retirees), and why—after the 2018 Janus v. AFSCME decision—membership is a choice, not a condition of employment. If you want options that align with your values and your wallet, this energetic conversation is your roadmap.

From Kellyanne Conway torching Jessica Tarlov to the NEA trying to rewrite Holocaust history—this episode is wild. We break down the most viral, ridiculous, and outrageous stories of the week: Scott Adams exposes the real Russian collusion narrative, Mayor Pete flails in front of Charlamagne, and a “hot woman in marketing” sparks the internet's favorite debate. Plus: Ghislaine resurfaces, South Park wins again, the Young Turks implode (as usual), and why Temu + Andrew Tate + Hitler = the worst headline of the year. Don't miss our takedown of the Dems' biggest Twitter blunder and the shady new push to recognize Palestine.SUPPORT OUR SPONSORS TO SUPPORT OUR SHOW! Head over to https://RepublicanRed.com and grab the Drill Baby Drill wines while they're still in stock. Save $5 OFF a bottle with code CHICKS or more by joining the wine club.Donate $20 to support women's success and receive the book, A Woman's Guide, Seven Rules for Success in Business and Life from Concerned Women for America. Visit https://ConcernedWomen.org/ChicksGive your liver a boost with Dose Liver Health. Save 30% on your first month's subscription at https://DoseDaily.co/CHICKS or enter code “C” at checkout.Bare Bar got it right—a high-quality protein bar with no junk. Try it now and get 15% off! Use code CHICKS at https://GetBareBars.comVISIT OUR WEBSITE DAILY!  https://chicksonright.com SUBSCRIBE TO OUR PODCAST: https://link.chtbl.com/BtHbvS8C?sid=youtube JOIN OUR SUPPORTER COMMUNITY ON LOCALS:  https://chicksontheright.locals.com/ JOIN OUR SUPER DOUBLE AWESOME SECRET BUT NOT SECRET EXCLUSIVE GROUP: https://www.facebook.com/groups/388315619071775 Subscribe to our email list: https://politics.chicksonright.com/subscribe/ GET OUR BOOK! https://www.amazon.com/dp/B08H5D3CF1/ref=cm_sw_r_cp_api_fabc_JdhQFbZ363CAY Venmo: @chicksonrightPaypal: https://www.paypal.me/chicksonright Get exclusive Chicks merch here:  https://www.etsy.com/shop/InRealLifeCreations?ref=seller-platform-mcnav§ion_id=50399398 Even more Merch: https://shop.spreadshirt.com/chicksonright/ Thank you for the Superchats!  Watch live to donate and be recognized! Facebook:  Chicks on the RightFacebook Group:  Chicks on the RightTwitter, IG, Parler, Rumble:   @chicksonright