Podcasts about negress

Westerns and Drama on a SaturdayFirst a look at this day in History.Then Frontier Gentleman starring John Dehner, originally broadcast October 19, 1958, 66 years ago, The Preacher.  Kendall tries to prevent a gunfight betwen a preacher and a man determined to kill him. Followed by the news from 66 years ago, then Gunsmoke starring William Conrad, originally broadcast October 19, 1958, 66 years ago, Kick Me.  An Indian scout named Tobile vows to kill the two white men who played a cruel practical joke on him, and who have insulted his honor.Then The Adventures of Frank Merriwell starring Lawson Zerbe, originally broadcast October 19, 1946, 78 years ago, The Clue of the Numbers. Frank does some detective work that would make Sherlock Holmes blush as he solves the robbery of the money from the big football game. Followed by The CBS Radio Workshop, originally broadcast October 19, 1956, 68 years ago, The Legend of Annie Christmas starring Amanda Randolph. A story about a legendary giant Negress who started as a slave but who became a heroine to her people. William Conrad narrates. Finally Claudia, originally broadcast October 19, 1948, 76 years ago.  Claudia and David return from shopping.Thanks to Debbie for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://jfk.artifacts.archives.gov/objects/18804/the-family-fallout-shelter

John takes Tituba to meet his Mistress. This was her first introduction to Slavery. Tituba, a free Negress born in 27th Century Barbados, gave up her Freedom to be a Slave. All in the name of Love. I'm Zeena! Intuitive Reader and Advisor. I am a Medium and Spiritual Worker. ZEENAAURA@GMAIL.COM --- Send in a voice message: https://podcasters.spotify.com/pod/show/zeena-aura/message

This special festive episode is slightly different because, as we come to the end of 2023, we thought it would be interesting to talk to someone who has had a breakthrough year. And we couldn't think of anyone that description fits better than UK-based designer, Simone Brewster. In June, Simone held her first solo exhibition at the NOW Gallery on London's Greenwich Peninsular, entitled The Shape of Things. While, in September, her installation Spirit of Place with cork company, Amorim, opened on the Strand in the centre of the capital. These came with what amounts to a blizzard of publicity, including a profile in the New York Times. In short, she has been hard to avoid.In this episode Simone and Grant talk about: her brilliant year; how The Shape of Things informed her practice; creating ‘intimate architecture' with furniture and jewellery; her (occasionally extraordinary) use of colour; the importance of taking herself seriously; the thinking behind her best-known pieces, The Negress and The Mammy; painting during the pandemic; why people didn't know what to do with her work; working with cork; her issues with studying architecture; making as salvation; not fitting in… until now; and her plans for 2024. We're delighted that this episode has been sponsored by the American Hardwood Export Council Europe. You can find its excellent podcast Words on Wood here: https://podcasts.apple.com/gb/podcast/words-on-wood/id1559894669. It's well worth checking out.Support the show

VOLUME 10 guests on this podcast, and we discuss current events, and love, relationship stuff- per usual..LOL..Quavo is in a suspect "robbery" that occurred in Miami, a military Black man who was acting like a whole fool, getting in fights in n. korea and looking at jail time in the U.S., a Black woman defends herself from getting screamed on in Dubai and instead of B.Men standing up for us, they side with the Screaming sexist! wow! anyhoo, more antics discussed, shout out to Cynthia G for her commentary, peace. Enjoy! --- Send in a voice message: https://podcasters.spotify.com/pod/show/tomeickoshow/message

The CBS Radio Workshop, originally broadcast October 19, 1956, 66 years ago, The Legend of Annie Christmas starring Amanda Randolph. A very well-written story about a legendary giant Negress who started as a slave but who became a heroine to her people.Visit my web page - http://www.classicradio.streamWe receive no revenue from YouTube. If you enjoy our shows, listen via the links on our web page or if you're so inclined, Buy me a coffee! https://www.buymeacoffee.com/wyattcoxelAHeard on almost 100 radio stations from coast to coast. Classic Radio Theater features great radio programs that warmed the hearts of millions for the better part of the 20th century. Host Wyatt Cox brings the best of radio classics back to life with both the passion of a long-time (as in more than half a century) fan and the heart of a forty-year newsman. But more than just “playing the hits”, Wyatt supplements the first hour of each day's show with historical information on the day and date in history including audio that takes you back to World War II, Korea, and Vietnam. FDR, Eisenhower, JFK, Reagan, Carter, Nixon, LBJ. It's a true slice of life from not just radio's past, but America's past.Wyatt produces 21 hours a week of freshly minted Classic Radio Theater presentations each week, and each day's broadcast is timely and entertaining!

Time now for another visit with our theater critic, J. Wynn Rousuck, who joins us each week with her reviews of important local stage productions. Today, she tells us about Everyman Theatre's world premiere of Behold, A Negress, Jacqueline E. Lawton's historical drama about the intimate relationship between a White artist in late-18th century Paris and her muse, a formerly enslaved Black woman. Directed by Tatyana-Marie Carlo and starring Everyman resident company actor Hannah Kelly as the artist, Marie, and Jessica Natalie Smith as the muse, Madeleine, the play explores the intersection of race, art and feminism during times of social unrest and political upheaval. Behold, A Negress continues at Everyman Theatre through February 27. Video streaming option available beginning February 18. For showtimes and ticketing info, click here. See omnystudio.com/listener for privacy information.

“Giacometti / Beckett” Rater encore. Rater mieux.à l'Institut Giacometti, Parisdu 9 janvier au 28 mars 2021Extrait du communiqué de presse :Commissaire de l'exposition : Hugo Daniel, responsable de l'Ecole des Modernités, chargé de mission curatoriale.Parmi les amitiés littéraires d'Alberto Giacometti (1901-1966), celle qui le lie à Samuel Beckett (1906-1989) n'est pas la plus connue, mais c'est l'une des plus durables. Elle remonte à 1937 et se développe dans l'après-guerre. Les deux artistes aiment se retrouver dans les soirées sans fin des cafés de Montparnasse, puis arpenter Paris la nuit. De profondes parentés rapprochent leurs oeuvres, qui s'expriment dans une collaboration exceptionnelle : la réalisation par Giacometti d'un décor pour une mise en scène d'En attendant Godot en 1961.Pour la première fois, l'Institut Giacometti présente les liens qui ont rapproché l'artiste et l'écrivain. L'exposition aborde leur longue amitié, leur collaboration, et l'affinité entre leurs oeuvres qui ont croisé la trajectoire de l'Existentialisme.Samuel Beckett, Alberto Giacometti (Work) in progress par Hugo Daniel – extrait du catalogue co-édité par la Fondation Giacometti, Paris et FAGE éditionsCompagnieAu bord d'un chemin, sous les branches d'un arbre décharné, deux hommes tournent leur regard vers le croissant iridescent d'une lune. La petite toile mélancolique peinte par Caspar David Friedrich en 1819-1820 avait marqué Samuel Beckett au musée de Dresde, en 1937. Ce colloque silencieux est, selon Beckett, un antécédent à sa pièce En attendant Godot dont il a planté le décor avec laconisme : « Route à la campagne, avec arbre. / Soir. » On pourrait encore y voir l'illustration d'un échange artistique idéal tel qu'il a pu se mettre en place dans sa longue et mystérieuse relation avec Giacometti. La tentation est d'autant plus grande que leur rencontre date de la même année que la découverte de cette toile par Beckett et que leur seule collaboration aboutie fut l'arbre de Godot, en 1961. Mais cette relation appelle justement à dépasser l'illustration.La relation entre Beckett et Giacometti est régie par le silence et les hasards de leurs rencontres. Giacometti a reçu Beckett, comme de nombreux autres écrivains, dans son atelier. Il a réalisé un grand nombre d'illustrations pour ses amis poètes, de René Crevel et André Breton à Jacques Dupin, et ces derniers ont écrit sur son oeuvre. Il les a portraiturés. Beckett, qui avait une relation ambivalente à l'image, entre attraction et méfiance, possédait une grande culture artistique. Il a été l'ami de peintres comme les frères Bram et Geer Van Velde, Avigdor Arikha, Pierre Tal Coat, André Masson (amis également de Giacometti), auxquels il consacre après-guerre des textes remarqués. Mais, hormis l'arbre pour Godot, pièce de théâtre qui a fait connaître son auteur, pas d'ouvrage commun, pas de portrait de Beckett comme il en existe d'André Breton, de Simone de Beauvoir, de Jean-Paul Sartre, de Georges Bataille, de Jean Genet, de Jacques Dupin, d'Olivier Larronde, etc., pas de texte de Beckett sur Giacometti, à peine la maigre trace, dans la bibliothèque de l'écrivain, de deux catalogues d'exposition tardifs de l'oeuvre de Giacometti. Leur amitié, fuyante, est pourtant l'une des plus longues qu'ils connurent : elle s'étend de la fin des années 1930 à la mort de Giacometti, en 1966. Et leurs oeuvres offrent tellement d'échos qu'on les dirait soeurs. Entre eux, dont l'imaginaire est hanté par la solitude, plutôt qu'une amitié, il faut envisager une compagnie, dans le sens beckettien du « besoin de compagnie discontinu », de cet « autre imaginant le tout pour se tenir compagnie ». Ainsi, le dialogue ne se fait pas face à face mais en parallèle, dans un échange dans lequel le hasard a toute sa place – « lui et moi, toujours par hasard », a observé Giacometti. Comme si tout autre moyen de communication plus social eût empêché son fonctionnement singulier. Les conditions de leurs rencontres illustrent leur interrogation commune sur le pouvoir de l'expression face à un réel qui excède tout ; et pour bien comprendre cette relation, il faut la libérer des images d'Épinal du Paris d'après-guerre.Giacometti et Beckett appartiennent à la même génération de créateurs parvenus à cette « tour de Babel » qu'est Paris, le premier à l'académie de la Grande Chaumière en 1922, le second comme lecteur à l'École normale supérieure en 1928 . Ils fréquentent les mêmes cafés de Montparnasse : La Closerie des Lilas, Le Dôme, Le Sélect. Au tournant des années 1930, ils évoluent dans les cercles proches du surréalisme. Giacometti rejoint le groupe en 1930 et voit régulièrement André Breton, Georges Sadoul, Tristan Tzara, Max Ernst, Louis Aragon, René Crevel, etc. Beckett, proche de Philippe Soupault , les lit. Et il est notamment marqué par le Second Manifeste du surréalisme. En 1928, Beckett a une idylle avec Peggy Guggenheim, soutien du mouvement (elle visite dix ans plus tard l'atelier de Giacometti et achète ses oeuvres). Dans ce tourbillon d'échanges, leurs oeuvres cohabitent avant leur rencontre. La revue Transition, sous la direction d'Eugène Jolas, participe depuis 1927 à la diffusion du modernisme et du surréalisme . Dès juin 1929, Beckett en devient un contributeur régulier, tout comme Giacometti à partir de mars 1932.En 1931, Giacometti et Crevel se rapprochent et travaillent au frontispice du roman Les Pieds dans le plat, occasion pour Giacometti d'une première collaboration avec le graveur Stanley William Hayter de l'Atelier 17. Il est peu probable que cette publication échappe à Beckett qui traduit, en 1931, les textes des surréalistes pour Negro Anthology de Nancy Cunard , qui comprend notamment le manifeste « Murderous Humanitarianism » signé par le « Surrealist Group in Paris », mais écrit par Crevel, qui rédigea également pour l'occasion le pamphlet The Negress in the Brothel. Crevel n'est pas le seul lien entre les deux artistes. En 1934, alors que Beckett fait paraître ses premiers textes et qu'il travaille à son roman Murphy, l'éditeur et poète surréaliste George Reavey lui propose de l'éditer en français dans sa maison d'édition Europa Press. Reavey, qui a l'habitude d'illustrer les ouvrages qu'il imprime de frontispices, est proche de Hayter. Ceci explique que l'on trouve sur une enveloppe adressée par Beckett depuis Londres à Reavey la mention de l'adresse du sculpteur, écrite de la main de Giacometti: Reavey aurait invité Giacometti à réaliser le frontispice de l'ouvrage. Si le projet n'aboutit pas, la proximité des deux artistes est ainsi attestée.À cette date, leur création s'appuie sur l'expérience du surréalisme. Plus que des coïncidences ou des emprunts, la prolifération des résonances entre leurs oeuvres traduit la convergence de deux itinéraires intellectuels. Un exemple : la forme de la cage apparaît chez Giacometti avec Boule suspendue (1930). On la retrouve ensuite dans plusieurs oeuvres, dont les gravures préparatoires pour le frontispice des Pieds dans le plat (1933), où elle est associée à un corps qu'elle contient. Le roman Murphy, en gestation depuis 1934, s'ouvre sur la situation du personnage éponyme, qui vit dans une impasse de Londres : « Là, depuis des mois, peutêtre des années, il mangeait, buvait, dormait, s'habillait et se déshabillait, dans une cage de dimensions moyennes, exposée au nord-ouest, ayant sur d'autres cages de dimensions moyennes exposées au sud-est une vue ininterrompue. » L'impasse physique de Murphy est la métaphore de son impasse mentale qui traverse le roman. Infirmier dans un hospice psychiatrique, il se trouve bloqué dans un « va-et-vient ». « L'esprit de Murphy s'imaginait comme une grande sphère creuse, fermée hermétiquement à l'univers extérieur . » Ainsi est-il « fendu en deux, d'un côté un corps, de l'autre un esprit ». Ce rapport à l'esprit, sur fond de partie d'échecs entre le rationnel et l'irrationnel, explore la brèche ouverte par le surréalisme. Une note de Giacometti de 1934 y fait écho : « Même processus dans la formation des rêves et dans la formation de mes objets. » Mais, constate-t-il rétrospectivement, « tout ceci m'éloignait peu à peu de la réalité extérieure ». En 1935, un besoin impérieux le pousse à s'asseoir devant le modèle afin de revenir à une confrontation au réel. Ce mouvement lui vaut l'exclusion du groupe surréaliste, mais ce retour au réel n'est pas un pas en arrière. Il permet une combinaison, comme Giacometti le fait observer à Pierre Matisse : « Tout ceci alternait, se contredisait et continuait par contraste. » L'oscillation est la même que celle des romans de Beckett qui font délirer le réel. Avant leur rencontre, les deux artistes ont une compréhension de la « réalité » qui prend pour acquis le modernisme et le surréalisme. Celle-ci intègre la tension entre une réalité « intérieure » (mentale) et la réalité « extérieure », mais aussi la conviction que la manière d'en rendre compte doit s'affranchir du rationalisme. […] Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Episode #68 Uppity Negress Podcast - Kiki Bryant & Cass Osei Kiki Bryant (she/her) is a self-described amateur social anthropologist, published children's book author and illustrator, and full-stack designer who combines her love of visual art, technology, and black women in all of her projects and services. Motivated by the incredible power that STEAM has to drive social progress, Kiki infuses empathy and social awareness into her design process, creating more ethical and inclusive digital experiences in a field dominated by straight white men. Her current focus is creating truly safe, ethical spaces on the internet for members of the black community- especially black women and black LBGT+ folks. Cass A. Osei (they/them) is a public health and administration scholar with expertise in and a passion for maternal health and environmental justice. They have over six years of interdisciplinary experience in population health, public policy, and administration. Their work seeks to develop and promote equitable strategies for diverse populations excluded in discussions of structural change, and public health and policy. Their research focuses on the impact of collaborative governance between communities, local level advocacy organizations, and local health departments on maternal health and mortality. Together, Kiki and Cass are Uppity Negress Podcast and 2/3 of the founders of The Cookout Online, the ONLY invitation only social media platform exclusively by LBGT+ Black women and exclusively FOR the Black community. Payment Links: paypal.me/uppitynegress Cashapp: $thecookoutapp Follow Uppity Negress on social media: IG: https://www.instagram.com/uppity_negress_podcast/ Twitter: https://twitter.com/Uppity_Negress_ FB: https://www.facebook.com/UppityNegressPodcast Other links: The Cookout Online: https://thecookout.club/ --- Support this podcast: https://anchor.fm/the-full-set-podcast/support

Topics of discussion: Staying Consistent in the Business; Doubting and Redefining Yourself; Taking Risks and Trusting your Gut Instincts; Diversity through a Specific Lens; Casting for Black People/Black Roles; Jimmy’s Lead Role in Bwoy alongside Rent’s Anthony Rapp; Telling Good Stories for Black Men; the Stories that Film and Television have on Shaping our Perception; Change isn’t Perfect and when to Take a Break...etc. Jimmy Brooks is an actor/model/tennis player/skater/guitar player. He is a NYC based actor known for Off-Broadway: A Clockwork Orange (Billy Boy, F-Me Pumps, Governor), Safeword (Xavier),  NBT Bayano: My Odisea (DIKE) and Dial N’ for Negress (Doodlebug). He delivered a charming, standout performance in the film Bwoy opposite Anthony Rapp.  On TV he’s known for “Madam Secretary” (Recurring), “Elementary,” “Power” and “Blue Bloods.” Before moving to NYC, Jimmy earned a BFA in Drama, and a BA in Mathematics from Washington University in St. Louis. For more information on Jimmy Brooks, please visit his website: http://www.jimmybrooksjr.com

Marilyn Singer, Author, Face Relations: 11 Stories About Seeing Beyond Color. A young adult anthology of short stories about race relations, edited by Marilyn and including her story “Negress,” as well as stories by Jess Mowry, Joseph Bruchac, Sherri Winston, Rene Saldana, Jr., Naomi Shihab Nye, Ellen Wittlinger, Kyoko Mori, M.E. Kerr, Marina Budhos, and Rita Williams-Garcia.

A recent Paris exhibition honouring forgotten black models of modern art has shone a spotlight on black identity in a society where race remains a controversial subject. France has been multicultural "since the 19th and 20th century", says Denise Murrell, co-curator of Le Modèle Noir or Black Models. The landmark exhibition on modern art's forgotten black models ran from March to July at Paris' Orsay museum. On Friday 13 September, it was due to premiere at Pointe à Pitre in Guadeloupe. The lavish show, portraying people of colour in French art from the country's final abolition of slavery in 1848 until the 1950s, “shows without question that there was a black presence in the heart of cultural activity in the 19th century,” mirroring “today's diverse, contemporary society”, Murrell told RFI. Yet these figures were left out of history. The four-month long exhibition sought to give them back their identity, by renaming leading paintings in the models' names. Portrait of a Negress thus became Portrait of Madeleine and Edouard Manet's Olympia, showing a reclining nude prostitute, has been renamed Laure, in honour of the black maid in the background. Being ignored “Madeleine, the black woman in the painting, has been subject to a silencing or obliteration of her identity by a generic title…so being able to rename her was important,” continues Murrell. Similarly, Laure, who inspired one of Manet's most important works, is barely noticed, and extensive scholarship on the work has focused more on the cat than the servant stooping down to offer flowers to the white woman. “Laure was emblematic of the condition of the diaspora, being invisible even though one is in plain view. I wanted to do something about it,” comments Murrell. Revealing the maid's identity became the foundation of the curator's doctoral dissertation, Seeing Laure, Race and Modernity from Manet's Olympia to Matisse, Bearden and Beyond, and an earlier exhibition of Le Modèle Noir in New York that Murrell curated called, Posing Modernity: The Black Model from Manet and Matisse to Today. Black studies Over 400,000 visitors flocked to the Orsay museum to see Laure and many of the other Black figures in French art such as Haitian model Joseph, who was the central figure of Gericault's famous painting the Raft of the Medusa. Joseph was portrayed as the hero in the artwork – the one who called for rescue for the other stricken crewmembers. In an era where slavery was still rampant, such a favourable portrayal was a clear call for abolition. For Murrell, the success of Le Modèle Noir is a clear sign of the "hunger" in France for information on the subject, which has "historically not been widely discussed”, she says. While the representation of black people has become a topic in the history of art on both sides of the Atlantic, research in black studies is relatively new in France. Breaking the mould of mental slavery Le Modèle Noir exhibition was the first of its kind in Paris, while London and the Netherlands have already drawn crowds to shows such as Black Chronicles at the National Portrait Gallery and Black Is Beautiful at Amsterdam's Newe Dirk museum.  Republican values The term "race" remains controversial in France.  Advocates of strict secularism are against defining society in racial terms, saying it undermines the French Republican value that “everyone is equal".  Last year in June, the government removed the word from the constitution, arguing it was a "made-up social construct". Former president François Hollande, in his 2012 election campaign, said the term “has no place in the Republic”. Collecting statistics based on race remains illegal. Critics say that such apparently lofty ideals conceal the extent of racial discrimination in France. Murrell believes embracing black identity in France could, in fact, reinforce the foundations of the Republic. “I think recognition of France's multiple heritage and the contribution of people of colour to French society can only strengthen Republican ideals,” she says, “because it creates a sense of belonging for populations who may perhaps feel they have been ignored. “I think that part of the ability to improve the condition of the diaspora is to hear the voices of people from the diaspora.”  To hear more stories like this, subscribe to RFI's diaspora series on iTunes or Google podcasts.

A recent Paris exhibition honouring forgotten black models of modern art has shone a spotlight on black identity in a society where race remains a controversial subject. France has been multicultural "since the 19th and 20th century", says Denise Murrell, co-curator of Le Modèle Noir or Black Models. The landmark exhibition on modern art’s forgotten black models ran from March to July at Paris’ Orsay museum. On Friday 13 September, it was due to premiere at Pointe à Pitre in Guadeloupe. The lavish show, portraying people of colour in French art from the country’s final abolition of slavery in 1848 until the 1950s, “shows without question that there was a black presence in the heart of cultural activity in the 19th century,” mirroring “today’s diverse, contemporary society”, Murrell told RFI. Yet these figures were left out of history. The four-month long exhibition sought to give them back their identity, by renaming leading paintings in the models’ names. Portrait of a Negress thus became Portrait of Madeleine and Edouard Manet’s Olympia, showing a reclining nude prostitute, has been renamed Laure, in honour of the black maid in the background. Being ignored “Madeleine, the black woman in the painting, has been subject to a silencing or obliteration of her identity by a generic title…so being able to rename her was important,” continues Murrell. Similarly, Laure, who inspired one of Manet’s most important works, is barely noticed, and extensive scholarship on the work has focused more on the cat than the servant stooping down to offer flowers to the white woman. “Laure was emblematic of the condition of the diaspora, being invisible even though one is in plain view. I wanted to do something about it,” comments Murrell. Revealing the maid’s identity became the foundation of the curator’s doctoral dissertation, Seeing Laure, Race and Modernity from Manet’s Olympia to Matisse, Bearden and Beyond, and an earlier exhibition of Le Modèle Noir in New York that Murrell curated called, Posing Modernity: The Black Model from Manet and Matisse to Today. Black studies Over 400,000 visitors flocked to the Orsay museum to see Laure and many of the other Black figures in French art such as Haitian model Joseph, who was the central figure of Gericault’s famous painting the Raft of the Medusa. Joseph was portrayed as the hero in the artwork – the one who called for rescue for the other stricken crewmembers. In an era where slavery was still rampant, such a favourable portrayal was a clear call for abolition. For Murrell, the success of Le Modèle Noir is a clear sign of the "hunger" in France for information on the subject, which has "historically not been widely discussed”, she says. While the representation of black people has become a topic in the history of art on both sides of the Atlantic, research in black studies is relatively new in France. Breaking the mould of mental slavery Le Modèle Noir exhibition was the first of its kind in Paris, while London and the Netherlands have already drawn crowds to shows such as Black Chronicles at the National Portrait Gallery and Black Is Beautiful at Amsterdam’s Newe Dirk museum.  Republican values The term "race" remains controversial in France.  Advocates of strict secularism are against defining society in racial terms, saying it undermines the French Republican value that “everyone is equal".  Last year in June, the government removed the word from the constitution, arguing it was a "made-up social construct". Former president François Hollande, in his 2012 election campaign, said the term “has no place in the Republic”. Collecting statistics based on race remains illegal. Critics say that such apparently lofty ideals conceal the extent of racial discrimination in France. Murrell believes embracing black identity in France could, in fact, reinforce the foundations of the Republic. “I think recognition of France’s multiple heritage and the contribution of people of colour to French society can only strengthen Republican ideals,” she says, “because it creates a sense of belonging for populations who may perhaps feel they have been ignored. “I think that part of the ability to improve the condition of the diaspora is to hear the voices of people from the diaspora.”  To hear more stories like this, subscribe to RFI's diaspora series on iTunes or Google podcasts.

IT'S SUMMER SESSION! We have our first returning guest, Spencer Stultz! *kicks Jas under the table for air horns* We are so thrilled to have her back on the show. Spencer has graduated from Syracuse University with a Masters in Arts and Pan-African Studies and we couldn’t be more proud. We discuss her thesis, Aesthetic Liberation: Contemporary Black Visual Art and Typologies of Activism in Atlanta, as well as her time in grad school and what’s next. Check out episode 4 of the show, We Can Be Heroes w/ Spencer Stultz, after this if you haven’t already.This summer session is just 2 printmaker with microphones without YOU. Send us your creative question or show topics or questions to our email studionoizepodcast@gmail.com or on Instagram @StudioNoizePodcast. We can’t wait to hear from you.Find Spencer on Instagram @SpencerAurielleFind Jamaal Barber on instagram @JBarberStudioFind Jasmine Nicole on instagram @Negress.SupremeThis episode is brought to you by Black Art in America and Shop BAIA. Get your black art fix over at BAIA.

IT'S SUMMER SESSION! We have Tisha Smith from Fulton County's Aviation Cultural Community Center. We discuss our feelings after the opening of 400 and some of our favorite pieces. Tisha and Jamaal also talk about the importance and accessibility of these public spaces to the community and local artist.This summer session is just 2 printmaker with microphones without YOU. Send us your creative question or show topics or questions to our email studionoizepodcast@gmail.com or on Instagram @StudioNoizePodcast. We can’t wait to hear from you.Contact Tisha at tisha.smith@fultoncountyga.gov with SERIOUS proposals or just to talk on instagram @ArtYouBetterFind Jamaal Barber on instagram @JBarberStudioFind Jasmine Nicole on instagram @Negress.SupremeThis episode is brought to you by Black Art in America and Shop BAIA. Get your black art fix over at BAIA.

Support the show on Patreon OR Buy me a coffee Show Notes: There is a common misconception about Europe and Black people; that basically, there are no black people there other than maybe in London. As a first-generation West Indian born in London myself, I too fall victim to this strange phenomenon. Occasionally, a reader from Russia or as happened this week from Estonia will contact me and I'll think to myself “How on earth did black people get there?” Yea I know it’s dumb, but if you catch me on a miserable Monday morning, I’m liable to think anything. So, more to remind me than to educate anyone else that we are a global people, this particular slice of history is from Poland via Germany. Let me introduce you to Miss Lala also know as, Olga Kaira, “Olga the Mulatto”, “Olga the Negress”, “The Venus of the Tropics”, “The Cannon Woman” and “The African Princess.” Miss Lala was born Anna Olga Albertina Brown to Wilhelm Brown and Marie Christine Borchardt, on April 21, 1858, in the former German (but now Polish) city of Stettin (Szczecin). Miss Lala though possessed incredible strength, an all-around circus performer she worked at various times as a wire walker, trapeze artist, hand balancer, strong woman and incredibly enough an iron jaw performer. She first appeared in the circus aged 9 and found fame aged 21 in France. She toured around Europe eventually finding her way to London where she performed at the Royal Aquarium and Manchester's Gaiety Theatre. Lala was part of the troupe called Folies Bergère and the Keziah Sisters. She partnered with another strength acrobat called Theophila Szterker/Kaira la Blanche. Together they were known as Les Deux Papillons (The two butterflies). Please check out the show to learn more :) You can check out the painting mentioned in the show here: Click here You can find the Map Mentioned here and to get the map with 50% use the discode BLACK777 at the checkout Follow us and find out more here Support this podcast --- Send in a voice message: https://anchor.fm/blackhistorybuff/message Support this podcast: https://anchor.fm/blackhistorybuff/support

We kick off this week's episode with a bit of Story Time followed by the recent developments in the Jussie Smollett saga and the (hopefully) beginning of R. Kelly's downfall. Also discussed, B. Smith and her husband. Make sure to follow us at @A_Negress on Twitter and use #AggressiveNegress to take part in the social media conversations! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Happy New Year and as always, thanks for choosing to listen to Aggressive Negress! We kick off another one of Earth's rotations around the Sun by discussing some of the changes we can all make in the year ahead. Make sure to follow us at @A_Negress on Twitter and use #AggressiveNegress to take part in the social media conversations! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Thanks again for choosing to listen to Aggressive Negress! In this pilot episode, we hold a mirror up to ourselves as we dissect the impact of the Surviving R. Kelly documentary as well as the shock waves it sent rippling through pop culture. Make sure to follow us at @A_Negress on Twitter and use #AggressiveNegress to take part in the social media conversations! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Greetings 9MindSS. Peace, protection, prosperity and most of all wisdom be upon we and those we love. BA's inability to turn themselves into a recognized Klan,Tribe, Nation will once again have a serious impact on those of we not already assimilated are amalgamated into a already recognized KLAN. As Dr. C. Anderson has already informed us that the poorest of BA who are comprised of mostly BW and their children are locked into a (permanent underclass) status. This should be of grave concern to anyone who has relatives or friends who fall nto this goup.  Well I cant stress to the Sisterhood how important it is that (we choose) or own status in this land and not allow others to choose it for us. Listen to the show and you will overstand better what I'm alluding to.  Send & receive money with Gmail. Open GmailClick the Compose button.Enter the email address of the person you want to send money to.Add a subject and message text (optional).Click the $ icon (£ for UK users). If you don’t have Google Wallet yet, you’ll be asked to set up your account.To send money: Enter the amount you want to send and choose a funding source.To request money: Click Request at the top of the box, and enter the amount you’d like to request.Click Attach.Look over your message one more time and click Send Payment methods and charges.  US & UK users It's free to send money using your Google Wallet Balance, debit card, or your bank account linked to Google Wallet. Thank You!  

Sex educator, BDSM practitioner, and kink expert Mollena Williams is the guest on this week's installment of The Chauncey DeVega Show. She is the author of the book Playing Well With Others. Mollena Williams also travels across the country (and world) where she gives seminars and lectures on human sexuality, being sex positive, and the pleasures of being open to one's deepest sexual desires. Mollena was recently featured in a New York Times story about her marriage to world renowned composer Georg Friedrich Haas. In this fun and adult conversation, Mollena Williams and Chauncey talk about her life path, questions of sexual freedom and happiness, kink, "race play", white supremacy, and happiness in a person's intimate life. Chauncey and Mollena also dialogue about modern day black chattel slavery sex "plantations", the boundaries and rules of playing with sex and race, concerns about dignity, and how control of one's body and pleasure is an integral (and little discussed) part of the Black Freedom Struggle. Mollena Williams is a funny, smart, and great conversation partner. During this week's grown folks episode of The Chauncey DeVega Show, Chauncey also talks about his post Chicago Trump media appearances, complains about how a picture of him online does not do justice to his real beauty, warns Hillary Clinton about how Donald Trump will attack her in the 2016 presidential election, and discusses the Hulk Hogan penis trial and the legendary members of American presidents.

Greetings 9Mind Sacred Sistuhs of Light and Love. Peace, Prosperity, Protection and most of all wisdom be upon the sacred sisterhood sanctuary and community and upon those we love. This evenings show will be as the show is titled. The Necessary Re-Education Of Black Americans. This is a must if we are to entangle ourselves from the vestiges of Colonialism which has been renamed White Supremacy. Now many people of color refuse to admit that such a system even exist which makes it even harder for those who have (no doubt) of it's existence to wage a effective defense against it, let along DEFEAT IT entirely. Here at the 9MIND Sacred Sisterhood Cosmic Frequency Braodcast we acknowledge that such a system exist and seek to enlighten all that listen but especially the North American born and bred African American woman aka Negress aka Black woman. She is extremly blind and ignorant to the existence of this system, how it is maintained and the numerous individuals of her RACE that work to maintain this system or with or without their knowledge that this is indeed what their doing. We often here that, "KNOWLEDGE is POWER" and I'm not one to disagree with that affirmation but if that is so then it's clear that we called Black Americans who although seemingly obsessed with knowledge and information are yet to grab hold of the lightening bolt of POWER and use it in our own favor. I pray with all that is in my being that we see this change and reverse, this 2016 year of the Roman Gregorian calender. I wish to see the Black, African and true Indigenous woman FREE and LIBERATED in the truest sense of what those words mean and embody.  Thank You for listening to the Broadcast, share it with YOUR SISTERS and let's rize as the mythological Phoenix Bird out of the old ashes of Mammie oppression, servitude and exploitation into the NEW LIGHT & SUN of NEW AGE DOMINION. 

This funky fresh epi deals with random stuff, the importance of brownies when I have to placate an angry uterus, and the finer points of culinary torture. Would YOU, as a sadist, force someone to consume a food that would make them sick, just to watch 'em suffer? Would you, as a masochist, or as a submissive, consent to such an unusual "scene?" The Heavy Cream Scenario offers a fascinating jumping-off point for discussing the limits a lactose intolerant Negress such as myself might have to impose with negotiation with The Lazy Sadist.

Our Very Special New York Podcasts is in three parts! This is Part Two! J.P. was in The City for work and we hung out, rolling downtown nomming snax from some of my very fave places (Vanessa’s Dumplings,Momofuku Milk Bar Store, Molly’s Cupcakes) and wound up having some delicious Vietnamese food before settling in for some podcastin’. Parts one & two are single topic, and inspired by a conversation I had with one of my long-time and dear friends, R.– What about people who have, as their core kink, providing service? How do they negotiate for that? This might be my fave so far, so bust out some snax and get ready for a pithy half-hour!

Our Very Special New York Podcasts is in three parts! Parts one & Two are single topic, and inspired by a conversation I had with one of my long-time and dear friends, R.-- What about people who have, as their core kink, providing service? How do they negotiate for that? This might be my fve so far, so bust out some snax and get ready for a pithy half-hour!

We start off with some ball wedging (hey, it makes sense of you've listened to the previous episodes!) and we jump back into telling / showing / sharing the intricacies of BDSM without losing the realness, the authenticity? I describe a wonderful moment I witnessed between a master and slave, and how lovely it was. And how that motivates my (possibly futile longing) to somehow bring stories of kick, BDSM and Power Exchange to an “audience” or, as I will forever consider them, the gathered voyeurs. J.P. gets down to the heart of the mater, by questioning not only CAN that sharing be accomplished authentically, but SHOULD that be something we share. And we finally get to J.P.’s true nature: a Dream-Killing Shithead. Which is, of course, really hot. Hot enough that I have now made it a fetish on FetLife. I talk about a scene where I realized that having an audience …or not…can be very impactful on the quality and sensation of the scene. So the question! Hey, people who are performers AND are kinky, how do you differentiate? When is a scene a performance for you? When does it feel different to have an audience, when is an active observer vital to your play, and do you feel that impacts the central nature of your play?

Because the call got dropped, we kiiiiinda pick up where we dropped off. (J.P. theorizes that the very Internet itself was unbalanced by our ongoing DISPUTE.) There is some movement towards compromise when we talk about the fact that the potential to connect with an audience AND a partner in a BDSM scene COULD OCCURR. Aha! Progress! Then some trashtalking about my Poor Beleaguered Inner Romantic might or might not have a valid opinion in this debate. DO NOT MESS WITH MY DREAMS. Then we get a radio play-fantasy of a Stage Manager motivated assassination, which is pretty awesome, really. THEN I decide that, somehow, internal come-shots in porn have a deeper parallel with actual performative authenticity. No, really. And then J.P. delivers the KILLING BLOW. SCIENCE CRUSHES MY DREAMS. Fuck you, particles. But I still hold fast to my dream of genuine BDSM being brought to the people in a way that shares the energy and heat and awesomeness as possible. And of course, this part slices off…but at least we know it this time! Tune in tomorrow for the last slice of deliciousness in this series…retroactively titled THE BIG THROWDOWN OF TWO THOUSAND AND THIRTEEN, BITCHES. (Not really but it looks good in all-caps.)

The “EPIC Conflict Continues” in which we learn my sadness & discomfort apparently amuses J.P. What are the limitations to and freedoms within performing BDSM vs. doing a scene vs. sharing one’s interactions with a dungeon of kinksters vs. an audience…is the audience intrinsically voyeuristic? How can one capture the ephemeral nature of the energetic exchange within BDSM? I parallel performance within the protocols of BDSM with performing in theater, and on the world-as-stage. J.P. still isn’t buying it, and brings into play the question of intention and focus with an audience vs. without an audience, and whether or not authenticity is compromised by using BDSM as a vector for performance. J.P. opinions on performance art and “happenings” are thrown in there, and the theater nerding continues. We drill down to the question of the intention of audiences vs. voyeurs. AND MID-SENTENCE CUTOFF. Because the call got dropped.

This next series of podcasts...folks, ALL over the damn map! We had a whole bunch of questions and topics and shit. Somehow, the weather became a fasci-fucking-nating topic. I'm serious, y'all. I mentioned that I had legendary Evil Jewish Lesbian Landlady and writer and stuff Laura Antoniou on Podcast #10, and J.P. waxes all rhapsodic as hell about The Marketplace series. And then J.P. makes all kinda noise about how awesome my roomie is, blah blah blah, we all know she's awesome and boggles the mind knocking out all kindsa books! We dipped toes into the ongoing 50 Shades debate, I talk about my upcoming OMFG CROSS COUNTRY TOUR (have you donated yet? Please do!) and why I want to create a documentary chronicling the stories of kink and BDSM in the USA.

WHat is the gap between seen and what is felt when we engage in BDSM and Power Exchange dynamics? When is performance narrative? Ambition? Activism? Push activism vs. pull activism. And what was the name of that damn Spiderman Musical anyway? Actors vs. performers, dungeon performers vs. actors. What is a scene vs. a performance? And what does Mo have against Peter Greenaway? We jive on the awareness gap between what you see people doing vs. what is actually happening...and I add bottoming to a top who is blindfolded to my bucket list! Performatizing silence ..and THEN...! You Heard It Here First, Folks...we have our FIRST DISAGREEMENT!! ooo. It is vicious. It inspires me to begin conceptualizing an entire performance piece...which may or may not survive THE CRUCIBLE OF DEVELOPMENT that is J.P. Robichaud's EPIC ELLIPSOIDAL LIGHT OF EVISCERATION. Oh, its just getting good...

Join me in conversation with Laura Antoniou, author of reams and reams of gay male smut (ha, see what I did there?) as well as one of the most seminal (oops I did it again!) series in the BDSM milieu: "The Marketplace."

And here it is! Segment six of the EPIC series on transparency! You probably wanna roll back to Episode 9, and then listen to 9A, 9B, 9C and 9D. Or just go back and listen to 'em all. You can still be a way cool early adopter, yo! Transparency! Yeah, sometimes, you are transparent where you absolutely are being honest and sincere and...it just wasn't the right damn thing to say, yo. We talk about how transparency can indeed leave you vulnerable but how wonderful it is when having that shared recognition of vulnerability can compel us to even deeper trusting and forge amazing bonds. And of course, the lexicographical trainwreck continues! No, iconify isn't the word you were looking for either, J.P. unless you meant making someone into a little symbol for the interwebs. Also not a word? Latitudinism. And though it took two instalments,he finally realized idealization of a partner was the thing we are talking about. And yeah, the word I was struggling to come up with is archetype. Derp! America's Next Top Fetish? Gaffers: the Next Big Thing in the dungeons of 'merica, yo. I talk about why your resume might be an excellent tool in your power-exchange relationships. J.P. suggests that power exchange dynamics might be uniquely suited to turn the dominant paradigm on its head by actually using power for good. WHUT WHUT!! For real, yo. What if we explore PE as a way to intrinsically improve / uplift our partners? How badass is it when these relationships are exclusively geared toward betterment? I'll tell you what happens. Daft Punk gets stuck in my head.

Transparency and opacity online. Doe the "Walled Garden " of Fetlife keep people from sharing their process in a broader context? Is it safe for sadists and dominant types to bare their shit to the public? Especially when their words could very well leave all kinds of evidence against 'em? I talk about some of the risks of personal transparency, sharing my own personal journey has put me in the crosshairs...and still does. I squick J.P.'s genitals, and we riff and jaw a bit abut the next big thing, courtesy of my weird brain: SUB JENGA! My Angry Birds ignorance is revealed (there's a Star Wars Angry Birds?!) Discussions on how a mutual desire for transparency and openness can foster transparency and, subsequently, emotional intimacy and validation. Which is teh awesome! Intimacy isn't always obvious: the outside world can't really have a transparent window into the intimacies of a relationship when all they can see is the play and the protocol... ...aaaand then you guessed it, time to Sad Trombone out of this installment! Tomorrow is the last bit of tastiness in this six-part brainmeat extravaganza on intimacy!

Part four of a six section extended club mix in which J.P. and I continue to dissect and chew on the multiple manifestations of transparency in Power Exchange dynamics, and in the larger world of BDSM. Transparency in interactions: what we see people doing in the kink / Leather / BDSM Confederacies has so little to do with what is actually happening for people. J.P. Talks about how some opacity can be, for some folks, a beneficial tool for maintaining some degree of personal, emotional, spiritual privacy. When is transparency too much of a risk? FOr those who are engaging in a deeply spiritual path, it may well be that a lack of transparency feeds the idea of spirituality being deeper. What is the difference between your essential nature and your state of being? Can you exist in a state that is not aligned with your essential nature? and what happens when you do? J.P. introduces me to the Canadian concept of...er...longetivity. Transparency in protocols, and accidental transparency, when someone tips their hand and manages to reveal deeper truths even when they don't expect it. And just as I make some snappy analogy to having to maintain that high-performance vehicle with the good gasoline, and how that maps to d/s relationships, we hit the 30 minute mark! Stay tuned, since we have two more installments on this dense and tasty topic! Seriously, people, that's, like a three hour conversation!

Picking RIGHT up where Episode 9A chopped off...this is the third section of a six-part series on transparency. Vulcan approaches to coping with emotional surges, feelings and how personal transparency helps PE work. J.P. comes so...close...to making a broad sweeping statement (gasp!) on the crude nature of using emotional obfuscation as s tool for control. Riffing on the awesomeness of submitting to a whole human, warts, flaws and all rather than creating earthly gods. Radical Honesty...how does that relate to transparency? And when is it cruel? And when is it preferable to redirect that potentially harsh energy into a kinder, gentler approach? On narratives about the story we hear so much about submission being a one-way street....why is so much a hard theme in the BDSM / Kink Confederacies? Do we choose intelligence and logic and truth or ignorance and blissful pencil-based lobotomies? Submissives contribute to this shit behaviour by accepting bad behaviour fro bad actors. Personal responsibility and transparency of internal accountability is important. Someone remind me to put my snax on a plate before podcasting...rather than rustling that shit around whilst recording. Oh yeah, and we are all cut out just as we get into transparency of the public vs. private discussions of the kink / BDSM experience...so. Stay tuned! More to come tomorrah!

Transparency = vulnerability = weakness: a common fallacy that we pull apart as we dig into the idea about internal transparency. The value of three simple words from a dominant in times of crisis: what do you say when you don't have the answers? Is transparency potentially risky? How do we along those things in an unequal power dynamic? And then we have to cliffhang just as we get into moar discussions on emotion...but stay tuned! The nest part's a-comin'!

Transparency, fools! Why do we not see so much of it from dominant types? How important is it in d/s and M/S relationships? When is the hunter more vulnerable than the hunted and who is hunting who in the first place? And more importantly. JUST HOW SWEATY IS JP?!? All this and more in the first-of-six installments on transparency in kink!

In which I answer a question from Saynine about how kink makes one's love life more complicated and a question from LeRougarou about POC and BDSM. Thanks, guys!

Sex, Kink, Sexuality, what does it all meeeeean?!? Brainnoms again with J.P. Robichaud and we try to hash out sexual satiation vs. erotic satiation. Aaaand...have moderate success with that. On eroticising sammitches...and on Coco The Cat's refusal to bring sammitches. Why SMs are pretty much The Shit and how much it translates preeeety damn flawlessly to BDSM. And how I suspect that pretty much all Stage Managers are a bit kinky. Some discussion on acknowledging service, on wny I really need to get the pat on the head, for real, yo. And why ID it that some perverts don't wanna talk about BDSM being FUN? Our question for you? Tell us how kink blends with fun and expends your joy! No, for real Tell us in the comments down there. Please? Otherwise J.P. will be all bummed out in that laid-back Canadian way and stuff.

How excitin! The conversation continues as we talk about my recent stint on the Savage Lovecast! We bring in a question that wasn't included in my Q & A from Dan Savage What is up with sexual satiation vs. erotic satiation? And how about sexual sammitch making, bro? And we also riff on god-mikes and SM for SMers. That's Stage Managers for the uninitiated, and yes being ito SM and being an SM is super hilarious.

In this bonusy episode, a per-recording tangent lead me to hit record! We talk about education amongst the Confederacy of Kinksters...about the need for more kink-identified folks to be therapists for us, why we hear about how tops should bottom but we rarely hear about how bottoms should benefit from topping, and how awesome it is to watch training videos of cops being tazed!

So, we talk some more about hunger, gut instinct, low-hanging fruit, how I had patience modeled early in my intentional explorations into BDSM. J.P. talks about repping for THE PATRIARCHY (woot woot!) and how caution plays into his own measured pace. Also chomped on are how D/S and m/s can be challenging and also tough to navigate when you have the One True Way Thing in your face...or it has crept into your guts. How do we seek patterns, and how do we find ourselves irresistibly drawn to the seductive lure of narrative? Pattern lock and narrative addiction...and the risks of entitlement. #BDSM #KINK #Mollena #Mollena Williams #JP #JP Robichaud #PrimeDirective #Dominance and #Submission

Getting hyphy with the hypotheticals..fantasies vs. realities and edgeplay in daily life. We talk about the hotness of attention to detail, the randomness of stutters, why I avoid the word Smörgåsbord, and why pufferfish dominance isn't always the move. #BDSM #kink #fetish #dominance #submission #mollena #pervertednegress #Leather #JP

So we riff on handles, scene names, and why it is weird to call J.P. "The Control Enthusiast," and archetypes of dominance. Conversation also jumps around all over D/S negotiations, how power structures in these relationships work...or don't. Talking also happens about hunger and why you can't make your choices from a place of privation. I was inspired by this segment to write "Beware Hunger," a recent post. Apologies for sound quality snafus! #mollena #BDSM #kink #Leather #pervertednegress #controlrnthusiast #JPRobichaid #JP #submission #dominance

#Mollena #ThePervertedNegress #BDSM #EDUCATION #JP #ControlEnthusiast #Kink riffs in education, demo vs play, and Coco the cat weighs in on penises.

Wherein we discuss the vagaries of voluntary servitude in a racist context, more Paula Deen fooliganism, plantations, and so forth! Featuring J.P. Robichaud

Guest: Singer, Writer, and Actress Tamala Baldwin and rock band The James McCullum Project. Tamala Baldwin has performed In Theatre, Gospel, and R&B since she was a mini-Tammy. All that work has culminated into a fantastic skill and knack for grabbing an audience. Tamala has consistently cultivated her craft while getting ready for her big break. Tamala landed several commercials as a young adult including, JC Penny, Honey Combs and Beautiful Beads. She toured with the Harlem Kids Symphony in Japan and worked on other off-off-Broadway productions like Guys and Dolls, and Huckleberry Finn. In a year, Tamala grew her resume substantially with over 20 Theatre, Film and TV credits under her belt. She has performed in productions including, J.E. Franklin?s play Black Girl as Billy Jean, Bachelor: On Crack as Latasha, In The Silence Of The Heart as Mama, First Lady of Song as Ella Fitzgerald. Additional highlights from her first year of acting since her hiatus include Dial ?N? for Negress at Theatre Row and two regional productions of the musical Rent as Joanne. Tamala also starred in the production of Shake, Rattle & Roll for six months with Spirit Productions. In the late 80's there was a band called THE JAMES MCCULLUM PROJECT. Or otherwise known as JMP. This was one of the top performing original bands in the Bay Area circuit, to include Niles Station-Fremont CA, Berkeley Community Theater-Berkeley CA, The Hill-Oakland CA, The Omni-Oakland CA, The Cabaret and The San Jose Civic Auditorium-San Jose CA, and Centennial Hall in Hayward along with many others throughout the 80?s and 90?s. They opened for War, Journey, Carlos Santana, Graham Central Station, Edgar Winter, Morris Day & The Time and The Marshall Tucker Band along with many other top artists. The time has finally come and James has now recreated ?THE JAMES McCULLUM PROJECT?.