Podcasts about NEA

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.

¡#JulioPreciado le EXPLICA por qué EXPLOTÓ contra personal de AEROLÍNEA a #GustavoAdolfoInfante! En exclusiva esto fue lo que respondió.See omnystudio.com/listener for privacy information.

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

Hanna och Nea har varit i London för att fira Neas födelsedag och Nea har gjort en bucket list med grejer som hon ska hinna med innan hon fyller 40! Reklam: Ansök om Klarnakortet i appen: https://l.klarna.com/22XC/f2W_sXaw Villkor: Att låna kostar pengar! För stöd kontakta budget- och skuldrådgivningen via konsumentverket.se. Ett betalt Klarna-medlemskap krävs för att få ett fysiskt kort och för att kunna betala senare. Kontot omfattas av den svenska insättningsgarantin. Max. ersättning till varje kund är 1 050 000 kronor och Riksgälden kommer att göra ersättningen tillgänglig för utbetalning inom 7 bankdagar från den dag då rätten till ersättning inträdde. Läs mer på riksgalden.se/sv/var-verksamhet/insattningsgarantin-och-investerarskyddet/

Skoltvång och fängelsetvång, Nea (kanske) har blivit förolämpad av en annan influencer, hur hittar man en ansvarstagande man, Hanna har varit på NK och tjuvlyssnat och Micke Leijnegard Reklam: Ansök om Klarnakortet i appen: https://l.klarna.com/22XC/f2W_sXaw Villkor: Att låna kostar pengar! För stöd kontakta budget- och skuldrådgivningen via konsumentverket.se. Ett betalt Klarna-medlemskap krävs för att få ett fysiskt kort och för att kunna betala senare. Kontot omfattas av den svenska insättningsgarantin. Max. ersättning till varje kund är 1 050 000 kronor och Riksgälden kommer att göra ersättningen tillgänglig för utbetalning inom 7 bankdagar från den dag då rätten till ersättning inträdde. Läs mer på riksgalden.se/sv/var-verksamhet/insattningsgarantin-och-investerarskyddet/

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

RECONECTA con tu PAZ y renueva tu ESPERANZA✨ Este Sábado 01.11.25 , te invitamos a sintonizar un espacio de BIENESTAR y CONEXIÓN en Esperanza Argentina , tu radial saludable y Embajada de Paz desde el 2011. 1. INSPIRACIÓN y LIDERAZGO PACÍFICO para TU VIDA. Reconecta con tu PAZ y la convicción de que tú también eres un constructor de la misma. HOY En el Mes Aniversario de la FUNDACIÓN MIL MILENIOS DE PAZ (¡30 años de impacto!), conversamos con su presidenta, la Prof. Inés Palomeque . Ella nos compartirá las claves de un LIDERAZGO por la PAZ que puedes aplicar en tu día a día. 2. DERECHO al AGUA :Información Vital que Fortalece tus Derechos: conciencia y claridad sobre temas esenciales que nos unen como comunidad. Junto al Dr. Aníbal Faccendini , profundizamos en el DERECHO AL AGUA , un bien que debemos cuidar. Conoce la gesta histórica de Santa Fe y siéntete parte de un cambio positivo. ¡CELEBRAMOS JUNTOS! Haber recibido desde 09.11.2011. esta distinción como Embajada y Embajadora de Paz es un compromiso y responsabilidad a nivel mundial. Queremos que este espacio te AYUDE a CREER y CREAR PAZ, desde tu noble corazón.. 🗓️ ¿Cómo sumarte a esta reconexión? En VIVO: Este SÁBADO 01.11.25 FM 88.9 a las 11 am (Rosario, Argentina) . EN LÍNEA: www.radiogranrosario.com.ar o su App.homonima A TU RITMO: Luego, en tu canal de podcast preferido: MARISA PATIÑO entrevistas para TU BIENESTAR . ¡Un encuentro para nutrir tu alma! Te esperamos con un ABRAZOTE de PAZ . www.marisapatinoambassador.com #MarisaPatiñoEmbajadoradePaz desde el 09.11.2011. a la feca. #ReconectaConTuPaz #EsperanzaArgentina #RadialSaludable #Bienestar #PazInterior #EmbajadaDePaz #Inspiración #DerechoAlAgua

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

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/popular-culture

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

From MPR News, Art Hounds are members of the Minnesota arts community who look beyond their own work to highlight what's exciting in local art. Their recommendations are lightly edited from the audio heard in the player above. Want to be an Art Hound? Submit here.A storytelling road trip from Grand Marais to WinonaRose Arrowsmith is a storyteller and children's book writer from Grand Marais, and for the second year in a row, she's making the six-hour drive to Winona to attend the Sandbar Storytelling Festival. The festival, held on Friday and Saturday, features seven storytellers from around the country, including local talent, offering a series of storytelling events at the Page Theatre.There are also free events Friday through Sunday at the Historic Mason Theater, the Winona Public Library and two Winona churches. Find the schedule here.Rose describes the transportive nature of storytelling: This is oral storytelling, so oftentimes it's going to be one person up on stage, and they might be telling a story from their own life. They might be telling a folktale or a myth or some combination thereof. Some people are really theatrical storytellers and do voices and a lot of physicality. And some people, it feels like you're in a really intimate conversation until you realize you're lost in a story.Rose is particularly excited to see Elizabeth Ellis, whom the NEA named an American Masterpiece Touring Artist.Rose says: If you're in the storytelling world, you've known her name for forever. She doesn't really travel anymore, but she tells these traditional stories from her experience in Appalachia.— Rose ArrowsmithA play about care, connection and humanityTwin Cities theater-maker Shanan Custer is looking forward to seeing Martyna Majok's Pulitzer Prize-winning play “Cost of Living” staged by Full Circle Theater.The show runs Oct. 10–18, including accessibility matinees Saturdays at 1 p.m., at 825 Arts in St. Paul. The play lasts an hour and 45 minutes with a 10-minute intermission. Tickets are pay-as-you-are-able.Shanan says: It's an incredible acting show. You really get to know the characters. And the show has two characters [out of four] who have disabilities. And in this particular production, we have two characters who are using wheelchairs. They both require caregiving, but the show isn't about disability. All of the characters are fully realized, and the show is asking us to think about all the ways that we intersect, whether it be how much money we make in a year, or how we're able to move about in the world, or how others perceive us.— Shanan CusterGlamour, vintage, and Prince-inspired fashion on the runwayLeslie Firkins is a wardrobe stylist living in St. Paul, and she's looking forward to Glam Jam, a vintage fashion show and corresponding clothing market, both held at The Hennepin in Minneapolis. It's a Prince-inspired event as well as a fundraiser for Hennepin Arts.The high-glam 80's style fashion show kicks off at 7 p.m. Friday night.Leslie says: The stylist is Richard Anderson. He's a really well-known icon and stylist here in the Twin Cities, and I just can't wait to see what he pulls together.And then on Saturday, there is a vintage market where you can shop a lot of the vendors that provided a lot of the clothes and pieces that we saw in the show the night before.I think it'll be a really good time to be inspired to maybe pick up some vintage to mix and match with your modern clothes.— Leslie Firkins

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.  

AI Deployment Reality Check: From Pentagon to Wall Street with AI Squared CEO | Top Global StartupsMost AI projects fail in production. Darren Kimura has deployed AI for the Pentagon and Intelligence Community while investing in 18 startups with 3 IPOs. Tomorrow, he reveals what actually works vs. what's just hype - and why most enterprises are getting AI completely wrong.Join Darren Kimura, CEO of NEA-backed AI Squared, serving the U.S. Department of Defense, Intelligence Community, and major financial institutions. Get unfiltered insights on AI's production realities, leadership transformation, and investment trends from someone who's both built and funded the ecosystem.

I'm thrilled to have Garry Sigle, Central Regional Director, and Sharon Nelson, Sr. Director of Legal Services for the Association of American Educators (AAE) on the show today.AAE provides professional benefits public school employees desire, like liability insurance and job protection, without funding partisan politics or non-education issues.The cost is $234 per year that includes $2 million in liability coverage. In contrast, the NEA cost is more than $1,400 per year that includes just half the liability coverage.In addition, rather than a group policy, AAE offers a per member, per instance policy, which guarantees each member will receive the benefits they are paying for.It's time to get the word out. Hope you can tune in.Support the show

On this week's Labor Radio Podcast Weekly: This week on Work Stoppage, Italy's unions show how it's done, with port blockades and a nationwide transit shutdown in solidarity with Palestine. Over on WorkWeek, a Wells Fargo banker in Wyoming tells how workers organized with CWA—and what happened when the company fired him for it. From the Labor Notes Podcast, beauty-salon workers at Sugared + Bronzed unionize amid safety concerns and punishing metrics—and win momentum shop by shop. In the latest Reinventing Solidarity, NEA president Becky Pringle argues public education is where democracy takes root—and why that scares authoritarians. Meanwhile, on Words & Work, Jonathan Rosenblum revisits Kshama Sawant's wins—from $15 to taxing Amazon—and how an elected office became an organizing center. And on the Powerline Podcast, JNCTN's crew breaks down an app built to tighten safety, compliance, and efficiency across the building trades. Help us build sonic solidarity by clicking on the share button below. Highlights from labor radio and podcast shows around the country, part of the national Labor Radio Podcast Network of shows focusing on working people's issues and concerns. @WorkStoppagePod @labormedianow @LaborNotes @CunySLU #LaborRadioPod @AFLCIO Edited by Captain Swing, produced by Chris Garlock; social media guru Mr. Harold Phillips.

Inner Moonlight is the monthly poetry reading series at the Wild Detectives in Dallas. Curated by Dallas poet Logen Cure, the in-person show is the second Wednesday of every month in the Wild Detectives backyard. We love our podcast fans, so we release recordings of the live performances every month for y'all! On 9/10/25, we collaborated with SMU Project Poëtica to feature three poets, Aaron Smith, Denise Duhamel, and Luisa Muradyan, all of whom have books published by SMU Project Poëtica/Bridwell Press!Aaron Smith is the author of five books of poetry with the University of Pittsburgh Press, most recently Stop Lying (2023). With the poet Maureen Seaton, he co-authored the book Beautiful People (2025). He is a three-time finalist for the Lambda Literary Award and a two-time finalist for the Publishing Triangle's Thom Gunn Award. His work has appeared in The Baffler, The New York Times, Ploughshares, Poetry, and Best American Poetry. He is the cohost of the podcast Breaking Form and an associate professor of creative writing at Lesley University in Cambridge, MA.Denise Duhamel and the late Maureen Seaton co-authored six collections, the most recent of which is Tilt (Bridwell Press, 2025). Denise's solo books include Pink Lady (Pitt Poetry Series, 2025), Second Story (Pittsburgh, 2021), and Scald (Pittsburgh, 2017). Blowout (Pittsburgh, 2013) was a finalist for the National Book Critics Circle Award. A recipient of NEA and Guggenheim Fellowships, she is a distinguished university professor at Florida International University in Miami.Luisa Muradyan is originally from Odesa, Ukraine and is the author of I Make Jokes When I'm Devastated (Bridwell Press, 2025) When the World Stopped Touching (YesYes Books, 2027), and American Radiance (University of Nebraska Press, 2018). She holds a Ph.D. in Poetry from the University of Houston and won the 2017 Raz/ Shumaker Prairie Schooner Book Prize. Additionally, Muradyan is a member of the Cheburashka Collective, a group of women and nonbinary writers from the former Soviet Union. Additional work can be found at Best American Poetry, the Threepenny Review, Ploughshares, and Only Poems among others.www.innermoonlightpoetry.com

 Listen to the Show Right Click to Save GuestsPenfold Theatre 25th Annual Putnam County Spelling BeeNew Manifest Theatre Manifest Minifest 6TUBU FestWhat We Talked About 

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

We read and discuss [It is abominable, unquenchable by touch] by Diane Seuss and then read from Kim's newest book Exit Opera. Kim Addonizio  is the author of nine poetry collections, two novels, two story collections, and two books on writing poetry, The Poet's Companion (with Dorianne Laux) and Ordinary Genius. She has received fellowships from the NEA and Guggenheim Foundation, Pushcart Prizes in both poetry and the essay, and her work has been widely translated and anthologized. Tell Me was a National Book Award Finalist in poetry. Her new poetry collection, Exit Opera, is out from W.W. Norton. She lives in Oakland, California.

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.

This week's episode was recorded and broadcasted live from the Axel Contemporary Truck onto Radio Tomada in Santa Fe. Thibault talks with Mathew and Jerry about woo, and talks with Zina about the sound bath she did at Electra Gallery, living in Arkansas, and the art world. About Radio TomadaRadio Tomada 87.9 is a mobile radio broadcast project organized by Autumn Chacon for SITE Santa Fe's International Biennial curated by Cecila Alemani. Zina Al ShukriZina Al-Shukri was born in Baghdad, Iraq in 1978. She moved with her parents to the United States when she was 5 years of age. Al-Shukri received her BA from the University of Arkansas at Little Rock, and attended the California College of the Arts, receiving her MFA in 2009.Zina Al-Shukri is an emerging artist whose exhibition history includes Jack Hanley Gallery, San Francisco, and Pulliam Deffenbach Gallery, Portland, Oregon.Zina's workMatthew Chase-DanielMatthew Chase-Daniel  was born in Cambridge, Massachusetts in 1965 and lived in New York City in the 1960s. In the mid and late 1980s, Chase-Daniel studied at the Ojai Foundation in Ojai, California, at Sarah Lawrence College in Bronxville, New York (B.A.), and in Paris, France, where he studied cultural anthropology, photography, and ethnographic film production (Ecole Pratique des Hautes Etudes & Sorbonne). Since 1989, he has lived in Santa Fe, New Mexico, making family, and roaming the landscape to make his art. His photography and sculpture have been exhibited across the U.S. and in Europe.He is the co-founder, co-owner, and co-curator of Axle Contemporary, a mobile gallery of art, founded in 2010, a radio/podcast host at Coffee and Culture, curator of The Lena Wall, and a member of the Railyard Art Committee, all in Santa Fe.Jerry WellmanJerry Wellman is a Santa Fe-based artist whose cultural work includes curatorial projects, performance, writing, video and studio production. Wellman earned an MFA from CalArts. Wellman's paintings and drawings have been exhibited at the Brooklyn Museum of Art, Holly Solomon Gallery in New York City, Pierogi Gallery in Brooklyn, The Downey Museum, and The Orange County Center of Contemporary Art in California, The El Paso Museum of Art, The Revolving Museum in Boston, and The Paseo Project in Taos, NM. His drawings were selected for a traveling show sponsored by the Smithsonian. His work with Axle Contemporary has been exhibited at SITE Santa Fe, 516 Arts in Albuquerque, The. Navajo Nation Museum in Window Rock AZ, The Western Heritage Museum in Hobbs NM and the Roswell Art Center in Roswell NM. Awards of note include: Art Matters Foundation Grant, LINE Grant, Puffin Grant, and an NEA grant. Wellman has taught at the Pasadena College of Art and Design, CalArts, and New Mexico State University. He was formerly the head curator at Los Angeles Institute of Contemporary Art. He is the co-founder, co-director and co-curator of Axle Contemporary artspaceAbout The Side WooThe Side Woo podcast was created to open a frank dialogue about the overlaps of mental health, queer stories, the metaphysical (woo), and creativity as a way to understand how one builds a sustainable creative life, and to shine a light on the ways artists overcome trauma and adversity. New episodes come out on Thursdays.About ThibaultThibault² is a trans, interdisciplinary artist based in New Mexico. To learn more you can follow them on their blog, artdate.substack.com

Part 2 picks up where we left off in Part 1. Marga had just arrived in San Francisco and lived in a collective house with a lesbian and two gay men ("of course, the decorations were fabulous"). It was a bit of a party house, known for throwing spectacular Halloween fests. Marga talks about collective living, chore charts and stuff like that. Eventually, the woman Marga drove across country with split from her, as so often happens (I certainly relate). Everyone who lived in that first house, she says, was into rolfing and coffee enemas. Marga wasn't too keen on any of it. The meals were vegetarian and bland, and perhaps most importantly for her, not Cuban. Her roommates gave painful hugs and held hands before they ate. It just wasn't her scene. And so she found work in a Hippie coffeehouse called Acme Cafe on 24th Street. All her coworkers there were performers. She was just happy to make omelettes. Underground celebrities like R. Crumb and John Waters came in regularly, and Marga loved it. Her fellow cafe employees, many of whom were artists, would ask her, “So, what do you do?” And she would answer, “I make omelettes.” She also worked at a bath house on Market called Finilla's Finnish Baths. Marga's job there was to hand out towels to spa-goers. She later learned that the owner sexually abused and exploited workers there, mostly the masseuses. A perk of her job, though, was access to the steam sauna, and Marga took advantage of that as much as she could. That sauna room also served as a meeting space for a group of older women. One of them, an older Mexican woman, would leave her Chihuahua in the lobby while she steamed, the idea being that Marga would take care of the dog. Eventually, Ms. Montoya got 86'd from the bathhouse for steaming flour tortillas in the sauna on the hot stones. Another regular, a famous singer whom Marga won't name, was kicked out for a different reason. Marga takes a sidebar to explain what a “primal scream” is. Then she takes us back to the sauna and the famous singer, who proceeded one day to launch into her own primal scream. Marga describes other women from the sauna running out frantically. Meanwhile, she says, over in the men's sauna, “there was a different kind of screaming.” She goes on another sidebar about the time she got crabs at the bathhouse. You just have to listen to that one. Marga also had a job as a gardener at a house in Pac Heights, despite not loving that kind of work. She shares a story of using the “servant's bathroom” on that job and discovering that she had crabs. Then the conversation shifts to Marga's next show—Spanish Stew. It will be her 15th one-person show, which she began developing at The Marsh here in The City, where she did her first-ever one-person show back in the day. The New Conservatory Theater Center commissioned the show, which is set in 1976 San Francisco, the year that Marga landed here. It's also about cooking, something near and dear to her heart. Marga points out that the New Conservatory Theater Center recently lost its NEA funding thanks to the fascist US regime, but that the community is helping keep the theater afloat. Please go see this show. I know I will. It opens October 17, 2025. For more info and to buy tickets, please visit Marga's website. Follow her on Instagram @themargagomez to keep up with everything she does and says. This episode is brought to you by Standard Deviant Brewing. We recorded this podcast at Noe Cafe in Noe Valley in August 2025. Photography by Jeff Hunt  

While our team is on a brief recording hiatus, we're sharing another encore episode from the Slush Pile archive. This one is from late 2017 and found Jason still in his bathrobe. Nick Lantz published a new collection of poetry in 2024 “The End of Everything and Everything That Comes after That”, and we love an opportunity to celebrate our past authors. Sidle up to our virtual editorial table and take a listen to an episode that considers three poems by Nick Lantz.   In this episode, the editors review three poems by Nick Lantz: “An Urn for Ashes,” “Starvation Ranch,” and “Ghost as Naked Man.”  As a child, Nick Lantz was obsessed with paranormal phenomenon and the unexplained, from cryptids to aliens to ghosts… Present at the Editorial Table: Kathleen Volk Miller, Tim Fitts, Sharee DeVose, Jason Schneiderman, Marion Wrenn, Samantha Neugebauer, Joe Zang (Production Engineer) For the first and possibly only time, we were in a recording studio within Drexel University's LeBow College of Business, which made us feel like we were on an episode of The View. This week, the editors review three poems by Nick Lantz: “An Urn for Ashes,” “Starvation Ranch,” and “Ghost as Naked Man.” As a child, Nick Lantz was obsessed with paranormal phenomenon and the unexplained, from cryptids to aliens to ghosts. These days, he tells people he's writing a book of poems about ghosts, though that's only sort of true. His fourth book, You, Beast, won the Brittingham Prize and was published by University of Wisconsin Press in 2017. He was also the recipient of a 2017 NEA fellowship for his poetry. He lives in Huntsville, Texas, where he teaches at Sam Houston State University and edits the Texas Review. “An Urn for Ashes” gets us started off on our a conversation on past lives and reincarnation. Lantz's impressive use of language and imagery draws up ideas of present beings possessing remnants of those far in the past. Moving on to “Starvation Ranch,” the editors reflect on what memory and recollection look like in the modern era. The poem layers alluring images that are beautifully constructed and give us a front seat in recounting many summers past. The final poem, “Ghost as Naked Man” offers a reimagined commentary on gender as a social construct. Seemingly in conversation with other works on the topic, the poem conveys frustration and destruction, then pride, as expressions of manhood. It also brings to mind Ada Limón's “After the Storm,” published in Issue 66 of Painted Bride Quarterly. Listen in for our takes on these poems and the verdicts! An Urn for Ashes The atoms that made up Julius Caesar's body, burned on a pyre, spread by wind and time, have since dispersed far and wide, and statistically speaking you have in you some infinitesimal bit of carbon or hydrogen from his hand or tongue, or maybe some piece of the foot that, crossing a river, turned a republic into an empire. But that means you carry with you also the unnamed dead, the serfs and farmers, foot soldiers and clerks, and their sandals and the axles of chariots and incense burned at an altar and garbage smoking in a pit outside a great city at the center of an empire, that you are a vessel carrying the ashes of many empires and the ashes of people burned away by empires, their sweet, unheard melodies. And look how finely wrought you are, how precise your features, your very form a kind of ceremony for transporting the dead through the living world. Starvation Ranch Frank Hite, my mother's father's mother's father, named his farm Starvation Ranch, and one July, I balanced high on a ladder to repaint those white letters on the same red barn where they've been for a hundred years. But that summer is a sketch, a note written in the margin of a book I gave away. I shot rabbits and learned to drive and listened to the same Lou Reed tape on loop in the upper bedroom of my family's farmhouse. In a closet I found my grandmother's high school yearbook in which she had crossed out the name of each classmate who had died. I learned there are three kinds of garbage— the kind that goes in the compost heap to feed the garden that grows the peppers and the corn, the kind that goes in the ditch to feed the coyotes who howl at night, the kind that goes in an old oil drum to burn I learned to love the indentation my grandmother's pencil left in the paper over a name, like the tally marks I carved into a tree for each rabbit I shot. I learned that a stone arrowhead, taken from a newly plowed field that has held it for hundreds of years is still sharp enough to cut my palm. I learned to love the hiss of silence on the tape after a song ended, the sound of time like the susurrus of insects at dusk, like a broom whisking clean the floor of some upper room. I learned how to walk the perimeter of the house and feel in the grass the edges of the old foundation, a version of house that burned, that disappeared, that was rewritten, and I learned how to walk farther out into the pastures, to spot the earthen mounds left behind by people who remain only in names of rivers and country roads. That was one summer. Decades later, I learned that the barn I painted was not even the original, which had been replaced, board by beam, years before. And I learned that barns are red because red paint is cheap because iron is abundant because dying stars sighed iron atoms into space and those atoms gathered here on earth, became the earth, became blood and arrowheads and steel girders holding up towers and the red paint of barns. Ghost as Naked Man “Gender is a kind of imitation of which there is no original.”—Judith Butler Take away his beard, his hairy flanks. Lick your thumb and smear off his Adam's apple. Lift away his penis like a live bomb, and bury it under a mountain. Hide the testicles behind a broad leaf. But look, he still goes around town pointing at things he wants and moaning, rattling his imaginary chains. Every time he sees his reflection in a shop window, he cuts a thumb and with the blood paints over gaps in his shimmering reflection. Then he takes a brick and breaks the glass. There, he says, look what I made.

Former New York City public school teacher Karen Feldman spent more than 25 years in the classroom, earning awards for her groundbreaking Holocaust education curriculum. But in recent years, she witnessed a disturbing shift: professional development and classroom resources promoting anti-Israel narratives, often backed by teachers' unions and the DOE.Now leading the NYCPS Alliance, Karen has helped document thousands of incidents of anti-Semitism, biased curricula, and union-backed propaganda infiltrating America's schools. She joins host David Osborne to expose how groups like the NEA, AFT, and UFT are pushing resources with ties to extremist movements—and what must be done to stop it before it's too late.

Marc Cox and Dan Buck talk with Jean Evans about the judge's ruling on the NEA challenge to the Missouri Scholars program and the approval of 7,500 scholarships with $51 million in new funding. They explain how the tax credit program works, offering donors a dollar-for-dollar return and raising millions statewide for school choice. Evans outlines how scholarships are prioritized for students with IEPs and low-income families while addressing legal challenges from the NEA.

In this episode of The Sweet Tea Series, Ariana Guajardo is joined by Sienna Rose from the Freedom Foundation to unravel why people are choosing to leave their public sector unions. From coercive tactics like locking workers in rooms to sign membership cards to forcing Jewish teachers into representation by unions with anti-Semitic agendas, Sienna exposes the shady practices driving educators and others away. Tune in for a compelling discussion on workers rights, the myth of collective bargaining, education reform, and the fight for individual liberty!Sweet Tea Socials: https://linktr.ee/sweetteaseriesThe Freedom Foundation Website: https://www.freedomfoundation.comThe Texas Public Policy Foundation's mission is to promote and defend liberty, personal responsibility, and free enterprise in Texas and the nation by educating and affecting policymakers and the Texas public policy debate with academically sound research and outreach.Funded by thousands of individuals, foundations, and corporations, the Foundation does not accept government funds or contributions to influence the outcomes of its research.The public is demanding a different direction for their government, and the Texas Public Policy Foundation is providing the ideas that enable policymakers to chart that new course.Website: https://texaspolicy.comX: https://twitter.com/tppfFacebook: https://facebook.com/texaspolicyInstagram: https://instagram.com/texaspolicyLinkedIn: https://linkedin.com/company/texas-public-policy-foundation/Keywords: teachers opting out, public sector unions, Freedom Foundation, Teacher Freedom Alliance, union tactics, education reform, teachers' rights, collective bargaining, union dues, anti-Semitism in unions, NEA reform, Oregon union bill, liability insurance for teachers, non-partisan curriculumHashtags: #TeachersOptingOut #ExposingUnions #FreedomFoundation #TeacherFreedomAlliance #EducationReform #TeachersRights #UnionTactics #SweetTeaSeries #IndividualLiberty #NEAReform

Today we discuss how the Democrats continue to implode heading into the midterms, and how will all this redistricting affect the 2026 elections? Plus Trump's remarkable achievements in a short 8 months in office, reshaping government, antisemitism at the NEA, the Tish James case. John Solomon and Ned Ryan join the show to talk about all this and more Learn more about your ad choices. Visit megaphone.fm/adchoices

John Solomon joins Joe to discuss antisemitism at the NEA, Trump's remarkable achievements in 8 months, the midterm elections and James Comey Learn more about your ad choices. Visit megaphone.fm/adchoices

2 - As we head back to school, we welcome School Choice Evangelist Corey DeAngelis to the program. Is Oklahoma City a nice place to visit? Why has Corey taken aim at Becky Pringle and the NEA? What's the back to school word of the day? How can we curtail the power that teachers' unions have wielded over parents and students alike? What is the secret sauce in weakening the unions? 215 - Dom's Money Melody! 225 - Producers should have to take a spelling test on local town names. What does Mayor Mayer think about Gloucester Twp.'s decision to arrest parents for their kids who are repeat crime offenders? 240 - How many male cheerleaders are on the Baltimore Ravens? Your calls. 250 - The Lightning Round!

12 - The Frank Rizzo statue returns to Philadelphia! But, what is the stipulation the re-erection must follow? 1205 - Larry Krasner dominated Kaitlan Collins on CNN last night, completely domineering the interview with her and blaming the city and the nation's ills on Trump. 1215 - CNN Analyst Scott Jennings joins us today. What are the distilleries in Kentucky looking like? Scott details a story he told on CNN of a man next to him getting shot at the tie shop he was at in Union Station. Is the crime in DC really falling? Is there really an “acceptable murder rate'? How bad are car jackings in the Capital? How will the meetings between Putin and Trump look after this week? Will there be diplomacy in this conflict? How will Politics and Pints go? 1230 - Side Question - what deserves a reboot? 1240 - Your calls. 1245 - Former advisor to Frank Rizzo and President of Girard Estates Area Residents Jody Della Barba joins us today to discuss the Rizzo statue being re-erected. How much will it cost to get it back up? Where will the statue be placed? Does the private property stipulation throw a wrench into their plans? How is Jody and Trump's influence affecting South Philly? Will Dugan challenge Krasner in the District Attorney race with the help of the unions? How many people will show out for the Columbus Day parade? 1 - Linda Kerns joins us live from Graceland! How big is the campus there? How many times has she been to the location? What does she think about the names headlining the next event at The Kennedy Center? Elvis was on drugs? What kind of grade is Linda giving out to the state of Pennsylvania? Linda has a suggestion for Mulligan's on Friday? 110 - New Jersey parents could go to prison if their kids repeat bad behavior. Is this a good idea? The crew disagrees. 120 - Your calls. What can be done to make parents care for their kids? 135 - Emanuel Heller Professor of Law at the University of California at Berkeley John Yoo joins us to discuss Trump taking over the police department in the nation's capital, as well as deploying the national guard to clean up crime? Is this the correct move from the president? Was there a certain level of apathy regarding crime in DC? Why does John clamor for the way DC was pre-1970s? What is the biggest issue heading up through the federal courts system? 150 - Why are NFL teams continuing to deploy male cheerleaders? What's your go-to Wawa order? Some local congresspeople let us know. 2 - As we head back to school, we welcome School Choice Evangelist Corey DeAngelis to the program. Is Oklahoma City a nice place to visit? Why has Corey taken aim at Becky Pringle and the NEA? What's the back to school word of the day? How can we curtail the power that teachers' unions have wielded over parents and students alike? What is the secret sauce in weakening the unions? 215 - Dom's Money Melody! 225 - Producers should have to take a spelling test on local town names. What does Mayor Mayer think about Gloucester Twp.'s decision to arrest parents for their kids who are repeat crime offenders? 240 - How many male cheerleaders are on the Baltimore Ravens? Your calls. 250 - The Lightning Round!

Bob kicks off the show talking about the federalization of police in DC. Bob then talks about a community that wants to punish the parents for repeated crimes by their chilfren. Bob and Seth argue about who should be held accountable. Bob then welcomes John R Lott Jr from the Crime Prevention and Research Center to the show to talk about the stats of crime in DC and across the country. Bob is then joined by Kendall Tietz from Defending Education to talk about the NEA and what they are teaching our kids.See omnystudio.com/listener for privacy information.

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

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 […]

Our resident constitutional expert Bruce Fein joins to make the case for impeaching the Supreme Court AND the President, and what we—as citizens—can do to make it happen. Then we welcome Lori Wallach of Rethink Trade to evaluate Trump's tariff policy. Are these trade deals bringing manufacturing back to the US? Or is Trump just using tariffs as a cudgel to punish countries that annoy him?Bruce Fein is a Constitutional scholar and an expert on international law. Mr. Fein was Associate Deputy Attorney General under Ronald Reagan and he is the author of Constitutional Peril: The Life and Death Struggle for Our Constitution and Democracy, and American Empire: Before the Fall.This has real consequences for you people all over the country because one of their shadow docket decisions (without explanation or hearing) briefs just very recently said that Trump can fire all these people in the IRS or the Education Department or EPA and get away with it. And, in fact, paralyze the workings of his (statutorily-established-by-Congress) Cabinet Secretary and Department…So this is devastating to your health, economic safety, environment, workplace safety, education, all kinds of things that are being ridden into the ground.Ralph NaderIn my judgment, the court has basically abandoned its role as a check on executive power…It's actually become an appendage of the executive branch. Nothing placing any kind of serious or material handcuff on what the President can do on his own. And the President is taking full advantage of that.Bruce FeinLori Wallach is a 30-year veteran of international and U.S. congressional trade battles— starting with the 1990s fights over NAFTA and WTO when she founded the “Global Trade Watch” group at Public Citizen. She is now the director of the Rethink Trade program at the American Economic Liberties Project, and a Senior Advisor to the Citizens Trade Campaign.What these guys are doing [with Trump's tariff policy] it's basically trying to build a house with just a hammer—we are against saws; we are against screwdrivers; we do not actually believe in nails, no other tools; we will just hammer a bunch of wood. And as a result, we're going to make some noise and we're definitely going to break some things, but we're not actually building a new redistributed trade system—which we could.Lori WallachBest that we can tell, the dynamic is something like: Trump is so engaged in the fun and chaos—fun (from his perspective) and chaos of throwing tariff news around like a lightning bolt that he really is not taking advice about it from people who know how you could use tariffs to try and ostensibly achieve the things he promised. He's just enjoying throwing around tariffs.Lori WallachNews 7/18/25* Last week, Elon Musk's pet AI program – Grok – began identifying itself as “MechaHitler,” and spitting out intricate rape threats and sexual fantasies directed at individuals like liberal pundit Will Stancil and now-ex X CEO Linda Yaccarino. This week, Musk rolled out Grok's new “sexy mode” which includes a visual avatar feature depicting the artificial entity as a quasi-pornographic anime-esque character who can flirt with users, per the Standard. So, naturally, the Trump Defense Department awarded xAI, the parent company behind Grok, a $200 million contract. According to CNN, “The contracts will enable the DoD to develop agentic AI workflows and use them to address critical national security challenges.” It is unclear how exactly the entity calling itself MechaHitler will accomplish that.* In local news, a special election was held in Washington DC's Ward 8 this week, seeking to replace corrupt councilmember Trayon White. White was implicated in an FBI bribery investigation and was expelled from the council in February. Yet, because of the splintered opposition, White pulled out a narrow victory on Wednesday, winning with 29.7% of the vote compared to his opponents' 24.3%, 23.7% and 22.3% respectively, per WTOP. In 2024, DC Voters approved a ballot measure to implement ranked-choice voting, which could have helped prevent this outcome, but it has yet to take effect. The DC Council could vote to expel White again more or less immediately; if not, they would likely wait for his trial to commence in January 2026.* Turning to foreign affairs, Israel has bombed the Syrian capital of Damascus, killing three and wounding 34, in strikes primarily targeting the Syrian Defense Ministry headquarters, per NPR. Israel's attack comes amid tensions between the new, post-Assad Syrian government and the Druze minority in the Southern Syrian city of Sweida. The government claims the Druze violated a ceasefire reached earlier in the week and Syrian troops responded; a new ceasefire deal has been reached and the office of interim President Ahmed al-Sharaa issued a statement reading, the “rights [of the citizens of Sweida] will always be protected and…we will not allow any party to tamper with their security or stability.” Stéphane Dujarric, spokesman for United Nations Secretary-General António Guterres, said in a statement that the U.N. chief “condemns Israel's escalatory airstrikes,” as well as reports of the Israeli military's redeployment of forces in the Golan Heights. As journalist Séamus Malekafzali notes, “Damascus is now the 4th Middle Eastern capital to be bombed by Israel in the past 6 weeks, alongside Tehran, Beirut, and Sana'a.”* In more news from Israel, the Knesset this week sought to expel Palestinian lawmaker Ayman Odeh, leader of the Hadash-Ta'al party. According to Haaretz, “The vote was triggered by a Likud lawmaker after Odeh published a social media post in January, saying that he ‘rejoices' over the release of Israeli hostages and Palestinian prisoners.” However, the motion failed to reach the 90-vote threshold, meaning Odeh will remain in the legislature. Six members of Yair Lapid's Yesh Atid party voted for the motion, but not Lapid himself. The United Torah Judaism party did not back the motion. Haaretz quotes Hassan Jabareen, an attorney, director of the Adalah Legal Center and legal counsel for Odeh, who said, “The overwhelming support for this initiative – from both the coalition and the opposition – reveals the state's intent to crush Palestinian political representation...This was not a legitimate legal process, but rather a racist, fascist incitement campaign aimed at punishing Odeh for his principled stance against occupation, oppression and Israeli violence.” Senator Bernie Sanders celebrated the failure of the motion, writing “Israel's far right tried to expel Ayman Odeh, an Arab Israeli opposition leader, from the Knesset because of his opposition to Netanyahu's war. Today, they failed. If Israel is going to be considered a democracy, it cannot expel members of parliament for their political views.” This from the Middle East Eye.* Sanders also made news this week by declaring that “Given the illegal and immoral war being waged against the Palestinian people by Netanyahu, NO Democrat should accept money from AIPAC – an organization that also helped deliver the presidency to Donald Trump,” per the Jerusalem Post. Sanders posted this statement in response to a video by Obama foreign policy advisor Ben Rhodes, who said “AIPAC is part of the constellation of forces that have delivered this country into the hands of Donald Trump…These are the wrong people to have under your tent...The kind of people that they are supporting, Bibi Netanyahu and Donald Trump, I don't want my leaders and my political party cozying up to these people.” Bernie's statement is perhaps the strongest stand taken by any American politician against AIPAC, Israel's front group in American politics and one of the biggest special interest groups in the country. AIPAC throws around eye-popping sums of money to members of both parties; to name just one example, House Minority Leader Hakeem Jeffries has accepted over $1.6 million from the group, according to Track AIPAC's Hall of Shame.* In a similar vein, last week we discussed the National Education Association's vote to suspend its ties with the Anti-Defamation League due to the ADL's shift in focus from Jewish civil rights to laundering the reputation of Israel. Since then, the ADL has sought to mobilize their allies to demand the NEA reject the vote. To this end, the ADL has sought the support of J Street, a liberal Jewish group critical of Israel, per the Forward. J Street however has rebuffed the ADL, refusing to sign the group's letter. Though they oppose the NEA resolution, J Street President Jeremy Ben-Ami issued a statement reading in part, “charges of antisemitism must not be wielded to quash legitimate criticism of Israeli policy...the NEA vote can[not] be dismissed as being driven by fringe ‘pro-Hamas' antisemitic activists.” Hopefully, more Jewish groups will follow the example of J Street and break with the Zionist orthodoxy of the ADL.* In other foreign policy news, the Guardian reports French President Macron has reached a deal with the leadership of the French “overseas territory” New Caledonia to grant the island statehood and more autonomy within the French legal system. New Caledonia is one of several UN-designated ‘non-self-governing territories.' France has exerted rule over the Pacific Island – over 10,000 miles from Paris – and its nearly 300,000 inhabitants since the 19th century. Last May, riots broke out over France's decision to grant voting rights to thousands of non-indigenous residents. This violence “claimed the lives of 14 people, [and] is estimated to have cost the territory…$2.3 bn... shaving 10% off its gross domestic product.” However, the Times reports indigenous Kanak independence activists reject the deal outright. Brenda Wanabo-Ipeze, a leader of the Co-ordination Cell for Actions on the Ground, who is currently detained in France, said, “This text was signed without us. It does not bind us.” The Times adds that, “The conservative and hard-right French opposition accused Macron of failing to ensure security in the territory. The left accused the president of imposing colonial tactics on a people who should be allowed self-determination.” It remains to be seen whether this deal will prove durable enough to weather criticism from so many angles.* Much has been made of Attorney General Pam Bondi's decision last week to not release any more information related to the Jeffrey Epstein investigation. A Department of Justice memo reads, “it is the determination of the Department of Justice and the Federal Bureau of Investigation that no further disclosure would be appropriate or warranted.” This has created a firestorm in the MAGA world, with many Trump supporters feeling betrayed as the president implied he would declassify these files if reelected. Now, Congressmen Thomas Massie and Ro Khanna have introduced the Epstein Files Transparency Act which would “force the House of Representatives to vote on the complete release of the government's files related to Jeffrey Epstein,” according to a press release from Massie's office. This resolution specifically states the files cannot “be withheld, delayed, or redacted” should they cause “embarrassment, reputational harm, or political sensitivity, including to any government official, public figure, or foreign dignitary.” The resolution is attracting support from some Republicans, but it is unclear how far this will go under Speaker Johnson, who maintains there is “no daylight between his position and that of Trump,” per the Hill. The position of congressional Republicans has been further complicated by a bombshell report in the Wall Street Journal documenting previously unknown details of the intimate relationship between the late pedophile financier and the president.* Meanwhile, the Trump administration is once again torching America's reputation abroad – this time literally. The Atlantic reports “Five months into its unprecedented dismantling of foreign-aid programs, the Trump administration has given the order to incinerate food instead of sending it to people abroad who need it. Nearly 500 metric tons of emergency food—enough to feed about 1.5 million children for a week—are set to expire tomorrow, according to current and former government employees with direct knowledge of the rations. Within weeks…the food, meant for children in Afghanistan and Pakistan, will be ash.” This cartoonishly evil decision paired with the “Big Beautiful Bill”'s provisions cutting food assistance for children in poverty, point to one inescapable conclusion: the Trump administration wants children to starve.* Finally, on the opposite end of the spectrum, Mexico News Daily reports the administration of President Claudia Sheinbaum is debuting a healthy, domestically produced and affordable staple for Mexican consumers – chocolate bars. “This ‘Chocolate de Bienestar' is part of the government's ‘Food for Well-Being' strategy, which aims to bring nutritious and affordable food options to consumers while supporting national producers, particularly those in the southern states of Tabasco and Chiapas — a region that has historically lagged behind other regions in several social and economic indicators.” The Sheinbaum administration is stressing the health benefits of chocolate, noting that, “Studies have shown that chocolate improves cardiovascular health via its antioxidants, provides energy, helps control blood pressure, improves cognitive capacity, satisfies hunger and lifts mood.” At the same time, the administration is seeking to minimize the sugar content “striking a supposedly healthier balance between natural cane sugar and the cacao itself.” This chocolate will be available in three forms:“Chocolate bar containing 50% cacao, and priced at…less than $1.Powdered chocolate with 30% cocoa, priced...$2Chocolate de mesa or tablet chocolate, with 35% cacao, priced at …$5”This has been Francesco DeSantis, with In Case You Haven't Heard. Get full access to Ralph Nader Radio Hour at www.ralphnaderradiohour.com/subscribe

We begin on a positive note by welcoming a “doer,” citizen extraordinaire, Jon Merryman, who couldn't stand the trash, especially old tires, being dumped in his neighborhood. So, he took it upon himself to clean it up and has now expanded his efforts across the country. Then co-president of Public Citizen, Robert Weissman, joins us to explain how spending in the recent bill passed by the Republican controlled Congress prioritizes the Pentagon and deportation enforcement at the expense of the social safety net, essentially trading life for death.Jon Merryman was a software designer at Lockheed Martin, who after retiring found his true calling, cleaning up trash in every county in America.When I first started looking at the environment next to my place of work, one of the things I did uncover was tires. And they were definitely there from the '20s, the '30s, and the '40s, they've been there for decades. And then just after a while, the soil and the erosion just covers them up. And you just discover them, and you realize this has been going on forever.Jon MerrymanNature is innocent. It really doesn't deserve what we've given it. And I feel like someone's got to step up to undo what we've done.Jon MerrymanRobert Weissman is a staunch public interest advocate and activist, as well as an expert on a wide variety of issues ranging from corporate accountability and government transparency to trade and globalization, to economic and regulatory policy. As the Co-President of Public Citizen, he has spearheaded the effort to loosen the chokehold corporations, and the wealthy have over our democracy.The best estimates are that the loss of insurance and measures in this bill will cost 40,000 lives every year. Not once. Every year.Robert Weissman co-president of Public Citizen on the Budget BillPeople understand there's a rigged system. They understand that generally. They understand that with healthcare. But if you (the Democrats) don't name the health insurance companies as an enemy, as a barrier towards moving forward. You don't say United Health; you don't go after a Big Pharma, which is probably the most despised health sector in the economy, people don't think you're serious. And partially it's because you're not.Robert WeissmanNews 7/11/251. This week, the Financial Times published a stunning story showing the Tony Blair Institute – founded by the former New Labour British Prime Minister and Iraq War accomplice Tony Blair – “participated” in a project to “reimagine Gaza as a thriving trading hub.” This project would include a “Trump Riviera” and an “Elon Musk Smart Manufacturing Zone”. To accomplish this, the investors would pay half a million Palestinians to leave Gaza to open the enclave up for development – and that is just the tip of the harebrained iceberg. This scheme would also involve creating “artificial islands off the coast akin to those in Dubai, blockchain-based trade initiatives…and low-tax ‘special economic zones'.” The development of this plot is somewhat shadowy. The FT story names a, “group of Israeli businessmen…including tech investor Liran Tancman and venture capitalist Michael Eisenberg,” who helped establish the Gaza Humanitarian Foundation in February 2025. GHF has been accused of using supposed aid distribution sites as “death traps,” per France 24. Boston Consulting Group, also named in the FT story, strongly disavowed the project, as did the Tony Blair Institute.2. In more positive news related to Gaza, the National Education Association – the largest labor union in the United States – voted this week to sever ties with the Anti-Defamation League. The ADL, once an important group safeguarding the civil rights and wellbeing of American Jews, has completely abandoned its historic mission and has instead devoted its considerable resources to trying to crush the anti-Zionist movement. The NEA passed a resolution stating that the NEA “will not use, endorse, or publicize materials from the Anti-Defamation League (ADL), such as its curricular materials or statistics,” because, “Despite its reputation as a civil rights organization, the ADL is not the social justice educational partner it claims to be.” Labor Notes writes that the ADL “has been a ubiquitous presence in U.S. schools for forty years, pushing curriculum, direct programming, and teacher training into K-12 schools and increasingly into universities.” One NEA delegate, Stephen Siegel, said from the assembly floor, “Allowing the ADL to determine what constitutes antisemitism would be like allowing the fossil fuel industry to determine what constitutes climate change.”3. Another major labor story from this week concerns sanitation workers in Philadelphia. According to the Delaware News Journal, AFSCME District Council 33 has reached a deal with the city to raise wages for their 9,000 workers by 9% over three years. The union went on strike July 1st, resulting in, “massive piles of trash piling up on city streets and around trash drop-off sites designated by the city,” and “changes to the city's annual Fourth of July concert with headliner LL Cool J and city native Jazmine Sullivan both dropping out,” in solidarity with the striking workers, per WHYY. The deal reached is a major compromise for the union, which was seeking a 32% total pay increase, but they held off on an extended trash pickup strike equivalent to 1986 strike, which went on for three weeks and left 45,000 tons of rotting garbage in the streets, per ABC.4. Yet another labor story brings us to New York City. ABC7 reports the United Federation of Teachers has endorsed Democratic Socialist – and Democratic Party nominee – Zohran Mamdani for mayor. This report notes “UFT is the city's second largest union…[with] 200,000 members.” Announcing the endorsement, UFT President Michael Mulgrew stated, “This is a real crisis and it's a moment for our city, and our city is starting to speak out very loudly…The voters are saying the same thing, 'enough is enough.' The income gap disparity is above…that which we saw during the Gilded Age." All eyes now turn to District Council 37, which ABC7 notes “endorsed Council speaker Adrienne Adams in the primary and has yet to endorse in the general election.”5. The margin of Mamdani's victory, meanwhile, continues to grow as the Board of Elections updates its ranked choice voting tallies. According to the conservative New York Post, Zohran has “won more votes than any other mayoral candidate in New York City primary election history.” Mamdani can now boast having won over 565,000 votes after 102,000 votes were transferred from other candidates. Not only that, “Mamdani's totals are expected to grow as…a small percent of ballots are still being counted.”6. Meanwhile, scandal-ridden incumbent New York City Mayor Eric Adams has yet another scandal on his hands. The New York Daily News reports, “Four high-ranking former NYPD chiefs are suing Mayor Adams, claiming they were forced to retire from the department after complaining that his ‘unqualified' friends were being placed in prestigious police positions, sometimes after allegedly bribing their way into the jobs.” Former Police Commissioner Edward Caban, who was already forced to resign in disgrace amidst a federal corruption investigation, features prominently in this new lawsuit. Among other things, Caban is alleged to have been “selling promotions” to cops for up to $15,000. Adams is running for reelection as an independent, but trails Democratic nominee Zohran Mamdani and disgraced former Governor Andrew Cuomo.7. Turning to the federal government, as the U.S. disinvests in science and technology, a new report published in the Financial Times finds that, “Almost three-quarters of all solar and wind power projects being built globally are in China.” According to the data, gathered by Global Energy Monitor, “China is building 510 gigawatts of utility-scale solar and wind projects… [out of] 689GW under construction globally.” As this report notes, one gigawatt can potentially supply electricity for about one million homes. This report goes on to say that, “China is expected to add at least 246.5GW of solar and 97.7GW of wind this year,” on top of the “1.5 terawatts of solar and wind power capacity up and running as of the end of March.” In the first quarter of 2025, solar and wind accounted for 22.5% of China's total electricity consumption; in 2023, solar and wind accounted for around 14% of electricity consumption in the United States, according to the U.S. Energy Information Administration.8. Developments this week put two key rules promulgated by the Federal Trade Commission under former Chair Lina Khan in jeopardy. First and worse, NPR reports the Republican-controlled FTC is abandoning a rule which would have banned non-compete clauses in employment contracts. These anti-worker provisions “trap workers and depress wages,” according to Connecticut Senator Chris Murphy, who has introduced legislation to ban them by statute. Perhaps more irritatingly however, Reuters reports the 8th U.S. Circuit Court of Appeals in St. Louis has blocked the so-called “click to cancel” rule just days before it was set to take effect. This rule would have, “required retailers, gyms and other businesses to provide cancellation methods for subscriptions, auto-renewals and free trials that convert to paid memberships that are ‘at least as easy to use' as the sign up process.” A coalition of corporate interests sued to block the rule, including the U.S. Chamber of Commerce and a trade group representing major cable and internet providers such as Charter Communications, Comcast and Cox Communications along with media companies like Disney and Warner Bros. Discovery. Lina Khan decried “Firms…making people jump through endless hoops just to cancel a subscription, trapping Americans in needless bureaucracy and wasting their time & money.”9. In another betrayal of consumers, Secretary of Health and Human Services Robert F. Kennedy Jr. continues to break promises and speak out of both sides of his mouth. A new report in NPR documents RFK Jr. speaking at a conference in April, where he “spoke about the health effects of exposure to harmful chemicals in our food, air and water…[and] cited recent research on microplastics from researchers in Oregon, finding these tiny particles had shown up in 99% of the seafood they sampled.” Yet Susanne Brander, the author of the study, had gotten word just an hour earlier that “a federal grant she'd relied on to fund her research for years…was being terminated.” Brander is quoted saying "It feels like they are promoting the field while ripping out the foundation." Ripping out the foundation of this research is felt acutely, as “regulators are weakening safeguards that limit pollution and other toxic chemicals.” So Mr. Secretary, which is more important – stopping the proliferation of microplastics or slashing funding for the very scientists studying the issue?10. Finally, in Los Angeles masked federal troops are marauding through the streets on horseback, sowing terror through immigrant communities, per the New York Times. President Trump mobilized approximately 4,000 National Guard members – putting them under federal control – alongside 700 Marines in response to protests against immigration raids in June. As the Times notes, “It has been more than three weeks since the last major demonstration in downtown Los Angeles,” but the federal forces have not been demobilized. While some have dismissed the shows of force as nothing more than stunts designed to fire up the president's base, Gregory Bovino, a Customs and Border Protection chief in Southern California told Fox News “[LA] Better get used to us now, cause this is going to be normal very soon.” As LA Mayor Karen Bass put it, “What I saw…looked like a city under siege, under armed occupation…It's the way a city looks before a coup.”This has been Francesco DeSantis, with In Case You Haven't Heard. Get full access to Ralph Nader Radio Hour at www.ralphnaderradiohour.com/subscribe