Podcasts about The New School

Americans are living longer, but the financial cost of aging may be higher than most people realize. In this episode, Kathy Fettke sits down with Jessica Forden of The New School to discuss the rising cost of long-term care, the role of Medicaid, the impact on home equity and inheritances, and the retirement risks that could affect millions of families in the decades ahead.   Want to learn more about the housing market? Visit www.RealWealthShow.com    DISCLAIMER The views and opinions expressed in this podcast are provided for informational purposes only, and should not be construed as an offer to buy or sell any securities or to make or consider any investment or course of action. For more information, go to www.RealWealthShow.com.  

It's a bonus "new school" edition of AWA Unleashed as Chris Tubbs talks with the current WWE United States Trick Williams! We discuss reaching out to WWE (but not for wrestling), his time in NXT, the Gingerbread Man and more!   We have a new one stop shop for AWA Unleashed merch, it's https://www.teepublic.com/user/unleashed-plus

Today Chris Tubbs is joined by the incomparable Bayley! We discuss the evolution of women's wrestling, being a leader in the locker room, what version of Bayley is her favorite, her goal for SummerSlam and more!   We have a new one stop shop for AWA Unleashed merch, it's https://www.teepublic.com/user/unleashed-plus

Landing your first leadership position is exciting...until reality sets in.The meetings, the emails, the difficult conversations, the angry parents, and the constant interruptions can quickly pull new administrators away from the work they were most excited to do: leading people and supporting learning.In this episode of Leaning Into Leadership, Dr. Darrin Peppard is joined by Erika Bare and Tiffany Burns, experienced school leaders and co-authors, for a practical conversation about surviving—and thriving—in your first years of school leadership.Together they share strategies for preparing for difficult conversations, building a trusted support network, protecting your time, and leading with intentionality rather than reacting to every urgent issue.Whether you're stepping into your first assistant principal role, becoming a building principal, or mentoring a new leader, this episode is packed with immediately actionable advice.In this episode, you'll learn:Why every school leader needs a trusted "work bestie"How preparation reduces anxiety before difficult conversationsThe planning process that leads to more effective communicationCommon mistakes leaders make during challenging meetingsStrategies for working with frustrated parents and caregiversWhy attacking the problem—not the person—is essentialHow to respond when someone asks, "Do you have a minute?"Practical ways to protect your calendar and prioritize instructional leadershipWhy saying "no" is sometimes the best leadership decisionHow intentional time management creates better leaders and healthier livesMemorable Quotes"Action is the antidote to anxiety.""School leadership is not a solo sport.""Never sacrifice the important at the altar of the urgent.""You are worth so much more than a minute."Connect with Erika Bare & Tiffany BurnsVisit Connecting Through Conversation for resources, blog posts, free planning guides, and information about their books and professional learning opportunities.Facebook https://www.facebook.com/profile.php?id=100090370647418&mibextid=LQQJ4dInstagram https://www.instagram.com/connectingthroughconversation/Linked In Erika Bare https://linkedin.com/in/erika-bare-6a72a6215Linkedin Tiffany Burns https://linkedin.com/in/tiffany-burns-90a50a274LinkedinCTC https://www.linkedin.com/company/connecting-through-conversation/Twitter https://twitter.com/CTCPlaybook.comYoutube https://www.youtube.com/@CTCPlaybookSponsor Spotlight:This episode is sponsored by HeyTutor.HeyTutor partners with schools and districts nationwide to provide evidence-based high-dosage tutoring support in Math and ELA while helping schools remain intentional about staff capacity and student support systems.Learn more here: HeyTutor.com

Co-presented with Pt Reyes Books Join Host Susan Grelock Yusem in conversation with David George Haskell to talk about his new book, How Flowers Made Our World: The Story of Nature's Revolutionaries (Viking). In this exquisite exploration of the role flowers played in creating the world we know today, David observes, smells, and studies flowers such as magnolias, orchids, and roses, as well as fascinating but less celebrated flowers such as seagrasses and tea. Through radical genetic flexibility, flowers turned past environmental upheavals into opportunities for renewal. This inventiveness allowed them to build and sustain rainforests, savannahs, prairies, and even ocean shores. Looking to the future, flowers offer us lessons on resilience and creativity in the face of rapid environmental change. We need floral creativity, beauty, and joy more than ever. How Flowers Made Our World combines lyrical writing, sensual exploration, and the latest in scientific research to explore some of the most consequential life forms ever to have evolved, showing how our planet came to be and how it thrives today. *** The New School is Commonweal's learning community and podcast — we offer conversations, workshops, and other events in areas that Commonweal champions: finding meaning, growing health and resilience, advocating for justice, and stewarding the natural world. We make our conversations into podcasts for listeners world wide and have been doing this since 2007. Please like/follow our soundcloud channel for access to our library of more than 400 great podcasts. tns.commonweal.org

Jazzmeia Horn wuchs hauptsächlich bei ihren Grosseltern auf. Wo sie von der Grossmutter die Kirchenmusik mitbekam – und vom Grossvater viele Geschichten, unfreiwilligerweise: Immer wenn ihre Lieblings-TV-Serie kam, wollte er sie damit belehren - sie hasste diese Geschichten voller Lebensweisheiten. Wie Jazzmeia Horn die Geschichten ihres Grossvaters lieben lernte und daraus sogar Musik machte, und warum ihr die Jazzsängerin Betty Carter, die auf und neben der Bühne kein Blatt vor den Mund nahm, persönlich näher ist als die grossartige, aber poliertere Sarah Vaughan – das alles erzählt sie im Musikmagazin mit Jodok Hess. 01:43 – Talk Jazzmeia Horn ist ein rising star am Jazzhimmel. Ihr Weg dahin war kein leichter und hat sie gelehrt sich zu wehren. Im Talk erzählt sie, wie sie in der Primarschule gehänselt wurde und noch an der New School in New York die Menschen davon überzeugen musste, dass Jazzmeia Horn ihr echter Name ist. 29:08 – Wochenrückblick Mit Oliver Rutz schauen wir auf die Musikwoche zurück, u.a. auf den ersten Preis für den polnischen Akkordeonisten Michał Stochel am Eurovision Young Musicians Wettbewerb und den Prix Serdang für die armenisch-russische Pianistin Eva Gevorgyan. 43:32 – Konzert-Tipp Das Orchester für Alte Musik Bern «Les passions de l'âme» bringt aktuelle Diskussionen und alte Musik zusammen in ihrem Programm «KI & Abel». 46:49 – Musikfrage Warum ist das Album nach wie vor beliebt, auch in Zeiten von Playlists und Streaming-Diensten? Diese Frage stellen wir dem Klassik-Chef von Berlin Classics. 51.03 – Neu auf meiner Playlist Diese Woche neue Musik des Israelischen Bassisten Avishai Cohen von seinem Album «Eternal Child», voller musikalischer Widmungen an Menschen, die ihm viel bedeuten. Funktioniert als Album und in einzelnen Songs.

Happy Monday! The USMNT will get under way tonight against Paraguay in the World Cup. NBA Finals Game 5 is this weekend, do the Spurs have anything left? We play Scotty Doesn't Know and Overs and Unders. Texas Tech HC Joey McGuire and booster Cody Campbell come up with ridiculous defenses of Brendan Sorsby and the program. We play Under Pressure. Old School vs New School. Which celebrities need to step up and save the Ohio State basketball program? Lamar Jackson and Ja'Marr Chase are glad Myles Garrett is out of the division. What's the biggest move of the offseason for Ohio State football? And we Tell the Truth.

Max and Maria sit down with Dr. Nina Khrushcheva, Professor of International Affairs at the New School and one of the world's leading experts on Russia, to discuss her new Russian‑language book Nikita Khrushchev: Vozhd vne sistemy (“Nikita Khrushchev: An Outlier of the System”) and her experience as one of the few scholars still traveling to and from Russia. As Nikita Khrushchev's great‑granddaughter and adoptive granddaughter, she offers a rare, personal view of how Russian culture, politics, and society are evolving. Mentioned:  No Exit from Stalin | by Nina L. Khrushcheva in Project Syndicate (April 2026)  Russia's Descent Into Tyranny: How Four Years of War Have Remade Society | by Nina L. Khrushcheva in Foreign Affairs (Dec. 2025)  Nikita Khrushchev: Vozhd vne sistemy (Nikita Khrushchev: An Outlier of the System) | Book by Nina L. Khrushcheva  Feedback? Suggestions? Ideas to help us improve? Email us at erep@csis.org.  If you love Russian Roulette, let us know by subscribing and leaving a review wherever you get your podcasts.   Listen to our sister podcast, covering all things Europe through a Washington lens: CSIS Podcasts | The Eurofile 

WBZ NewsRadio’s Chris Fama reports.See omnystudio.com/listener for privacy information.

In this episode of the 18Forty Podcast, David Bashevkin responds to listeners' feedback and comments, in conversation with Denah Emerson.In this episode we discuss:—Should every Jew be Orthodox?—Is the gap year in Israel “just a business”?—How does one develop their own Jewish identity at a phase in life when it's no longer mediated by institutions?Tune in to hear what the 18Forty community has been thinking about regarding the conversations we've shared.Voicemails begin at 9:40.David Bashevkin is the founder and host of 18Forty. He is also the Clinical Assistant Professor of Jewish Values at Yeshiva University's Sy Syms School of Business. He completed rabbinic ordination at the Rabbi Isaac Elchanan Theological Seminary, a master's degree at the Bernard Revel Graduate School, and his doctorate in Public Policy and Management at The New School's Milano School of International Affairs. He has published four books, including Sin·a·gogue: Sin and Failure in Jewish Thought and a Hebrew work, B'Rogez Rachem Tizkor (trans. In Anger, Remember Mercy).References: 18Forty Podcast: “Michael Eisenberg: Iran, USA, Israel: What Comes Next”Genesis 15 18Forty Podcast: “Michael Olshin: Reimagining the Gap Year in Israel”18Forty Podcast: “Diana Fersko: An Orthodox Rabbi Interviews a Reform Rabbi”18Forty Podcast: “Dovid Bashevkin: A Reform Rabbi Interviews an Orthodox Rabbi”How Judaism Became a Religion: An Introduction to Modern Jewish Thought by Leora Batnitzky“The Future Is Sephardic” by Mijal BittonJoshua 7 18Forty Podcast: “Mark Wildes: Is Modern Orthodox Outreach the Way Forward?”18Forty Podcast: “Elisheva Carlebach & Debra Kaplan: The Unknown History of Women in Jewish Life”For more 18Forty:NEWSLETTER: 18forty.org/join CALL: (212) 582-1840EMAIL: info@18forty.orgWEBSITE: 18forty.org IG: @18fortyX: @18_fortyWhatsApp: join hereBecome a supporter of this podcast: https://www.spreaker.com/podcast/18forty-podcast--4344730/support.

I was so excited for this one, and Nicole did not disappoint. Dr. Nicole LePera, the Holistic Psychologist, trained at Cornell University and the New School for Social Research, is the founder of SelfHealers Circle and the author of three books including the number one New York Times bestseller How to Do the Work. In this conversation, Nicole and I go deep into covert narcissism, how growing up with emotional unavailability shapes every relationship that follows, what re-parenting actually looks like in the body, and why healing is never a straight line from A to B. I had so many personal realisations listening back to this one, about my own relational blueprint, my expectations, and how narcissism in my family has quietly shaped how I show up with others. Connect with Nicole:theholisticpsychologist.comwww.instagram.com/the.holistic.psychologistWORK WITH ME 1:1:❥Softening into self- 3 month 1:1 with Whats App Support:https://marina-yt.mykajabi.com/offers/PAWQhZHu❥❥1:1 Coaching with me: https://docs.google.com/forms/d/e/1FAIpQLSfWcZM5s9c2OjOLwoGMI5jE6rh_JAzjN2d_vCtuVe7e3pVGxw/viewformDOWNLOAD FOR FREE:Stay or Go: 5 Clarity Questions to Reconnect with Your Inner Knowing: https://marinayt.com/stay-or-go-guideAttatchment Practice: Discover the actual blocks beneath the surface so you can actually have the deep intimacy you crave: https://marinayt.com/attachment-practice Connect & Ground: 10 Incredible Somatic Practices for Nervous System Regulation: https://marinayt.com/connect-and-groundAlive & Aligned: 7 Embodiment Practices For Self Connection: https://marinayt.com/alive-and-alignedTrigger to Rooted: A step by step process of working with your triggers: https://marinayt.com/trigger-2-rooted VIEW MY COURSES & RESOURCES:https://marinayt.com/resources CONNECT WITH  ME:Follow me on Instagram:⁠ ⁠www.instagram.com/marina.y.t⁠⁠ Subscribe to YouTube: http://www.youtube.com/@marinatriner Top Episode Quotes:"We all become self-focused when we feel threatened — that's survival. But when someone is consistently unable to hold anyone else's perspective, that's a different pattern entirely." — Dr. Nicole LePera"I was a million miles away, demanding someone feel close to me — while every instinct in my body was pushing them away. That was the contradiction I had to face." — Dr. Nicole LePera"Re-parenting begins in the body. Teaching your nervous system how to come back to safety — that's the foundation everything else is built on." — Dr. Nicole LePera"The familiar thing that's causing harm still feels safer than the unknown thing that might heal you. That's just how a nervous system works." — Dr. Nicole LePera"You don't have to get rid of your past entirely. The goal is to give yourself a choice — to bring forward what still serves you and break free from what's overtaking your present." — Dr. Nicole LePerainner child healing, reparenting, covert narcissism, nervous system healing, somatic healing, childhood emotional neglect, attachment wounds, relational patterns, hypervigilance, emotional attunement, people pleasing, family estrangement, self healing, trauma recovery, embodiment, deep within podcast, Nicole LePera, holistic psychologist, Marina Triner, How to Do the Work

New York City's unemployment rate is higher than it was before the coronavirus pandemic, and job growth has stalled. James Parrott, senior fellow and senior advisor at the Center for New York City Affairs at the New School, talks about factors contributing to these economic concerns. Photo: A 'help wanted' advertisement is displayed in Manhattan on January 09, 2026, in New York City. The Labor Department reported on Friday that employers added 50,000 jobs in December, bringing the unemployment rate down to 4.4% (Photo by Spencer Platt/Getty Images) Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

What happens when a touring jazz bassist, electronic music pioneer, film composer consultant, and music educator decides to reinvent music education using AI?John von Seggern joins Jason Tonioli for a fascinating conversation about adapting to constant change in the music industry, building a long-term creative career, and why musicians who refuse to evolve often get left behind.John shares stories from launching his jazz career in Tokyo, touring the world with massive Hong Kong pop stars, working with Disney and Thomas Newman's team on WALL-E, and eventually moving into online music education long before it became mainstream.The conversation also dives deep into the future of AI in music. Rather than replacing musicians, John explains how AI can become a powerful creative assistant that helps artists learn faster, market themselves better, and remove technical roadblocks without sacrificing creativity.If you've ever wondered where music education, production, and the music industry itself are heading next, this episode is packed with insight.To read the complete transcript and watch the podcast video, visit the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠episode blog⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.⁠What You'll Learn- Why musicians must evolve as technology changes- How John built an international music career in Asia- The realities of touring professionally for major pop artists- Why passion matters more than chasing trends- How AI can help musicians without replacing creativity- The future of personalized music education- Why information overload is hurting modern learners- How AI can accelerate music production workflows- The difference between making “mid” music and meaningful art- Why musicians should still learn instruments in the AI era- How online music education has evolved since 2010- The importance of adapting your career over time- How AI can help musicians with marketing and business- Why many successful musicians eventually pivot creatively- How technology is reshaping the future of learningTopics Covered in This Episode- Studying jazz at the New School in New York- Launching a jazz career in Tokyo- Touring internationally with Hong Kong pop stars- Playing venues like Wembley Arena and Madison Square Garden- Becoming one of Asia's first computer DJs- Transitioning into electronic music production- Studying ethnomusicology and internet music culture- Working with Native Instruments- Consulting for film composers in Los Angeles- Working on WALL-E with Disney collaborators- The evolution of online music education- Zoom and the transformation of remote learning- Building Future Proof Music School- Developing AI-powered music coaching tools- Using AI inside Ableton Live- AI-assisted coding and plugin creation- Music marketing with AI- The dangers of losing passion in your music careerWho This Episode Is For- Music producers- Electronic musicians- Touring musicians- Jazz musicians- Independent artists- Music educators- Ableton users- Film composers- Songwriters- Artists interested in AI tools- Musicians exploring online education- Creators building long-term careers- Producers overwhelmed by information overload- Artists trying to adapt to industry changesConnect with  John von Seggern WebsiteLinkedInInstagramFacebookYouTubeInstagram (Future Proof Music School)TikTokConnect with Jason TonioliWebsite FacebookYouTube InstagramSpotifyPandoraAmazon MusicApple Music

Today we unpack the massive global hack of the Canvas Learning Management System in May 2026 that impacted some 9000 education institutions and stole an estimated 275 million users' data. To discuss this event and its implications with me is Claire Bond Potter. Claire Bond Potter is Professor of History emeritus at The New School for Social Research, author of the Political Junkie Substack, and creator of Why Now?, a political-history podcast . Her latest article in Chronicle of Higher Education is entitled Kill Canvas. Now. freshedpodcast.com/potter -- Get in touch! LinkedIn: @FreshEdpodcast Facebook: FreshEd Email: info@freshedpodcast.com

As Pride Month begins, a new debate is taking center stage across America: Should schools be required to notify parents when students request different names or pronouns?In this episode of The Caffeinated Christian Podcast, Pastor Mike Wrigglesworth and Ryan Willert discuss the recently proposed Protect Kids Act, parental rights, transgender ideology, public education, and the role of truth, compassion, and Christian conviction in a rapidly changing culture.We explore:• Should schools keep information from parents?• Are parental notification laws harmful or necessary?• How should Christian parents respond if a child identifies as transgender?• What role should teachers play in discussions about gender identity?• Why does this issue generate such strong reactions?• How can Christians balance grace and truth in these conversations?Whether you agree or disagree, this episode aims to move beyond slogans and examine the assumptions, arguments, and implications behind one of the most controversial issues facing our culture today.☕ Grab a cup of coffee and join the conversation.#PrideMonth #ChristianPodcast #GenderIdeology #ParentalRights #TransgenderDebate #ChristianWorldview #FaithAndCulture #BiblicalTruth #Parenting #culturewars CHAPTERS00:00 Welcome & Coffee Talk03:38 Trans Pronoun Bill Explained05:23 What Is the Protect Kids Act?08:00 Should Schools Keep Secrets From Parents?09:18 Can Children Make Gender Decisions?11:04 The Problem With Modern Gender Arguments12:58 Are Parents a Threat to Their Children?16:24 Gender Ideology in Public Schools18:01 Should Teachers Discuss Gender Identity?19:39 How Culture Shapes Beliefs21:02 Pride Month and the School Debate22:06 Following the Money Behind Activism23:14 A Christian View of Human Flourishing25:44 Gender Dysphoria and Mental Health26:26 The Self-Identification Question28:40 Why Parents Have a Right to Know29:21 How Christians Should Respond With Grace and Truth31:07 Recommended Resources for Parents32:42 Final Thoughts33:18 Outro Hosted on Acast. See acast.com/privacy for more information.

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, Maria Callas's Lyric and Coloratura Arias (Bloomsbury, 2021) envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum. Ginger Dellenbaugh is a musician and historian who has written and lectured on music and politics, vernacular notation systems, and the cultural history of the voice. A trained opera singer, she performed for over a decade in Europe and the United States. Ginger is currently a lecturer at The New School in New York, USA and completing a PhD in musicology at Yale University, USA. She lives in New York City and Vienna, Austria. Ginger Dellenbaugh's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. 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

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, Maria Callas's Lyric and Coloratura Arias (Bloomsbury, 2021) envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum. Ginger Dellenbaugh is a musician and historian who has written and lectured on music and politics, vernacular notation systems, and the cultural history of the voice. A trained opera singer, she performed for over a decade in Europe and the United States. Ginger is currently a lecturer at The New School in New York, USA and completing a PhD in musicology at Yale University, USA. She lives in New York City and Vienna, Austria. Ginger Dellenbaugh's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Elena Poniatowska, Mexico's most celebrated journalist and one of the most significant literary voices in the Spanish-speaking world, argues in this conversation that the crisis of contemporary journalism is inseparable from the collapse of critical reading—and that both are symptoms of a deeper cultural abandonment. Born in Paris in 1932 to a French-Polish father and Mexican mother, Poniatowska contends that her formation as a writer was shaped by displacement, by learning to listen to those rendered voiceless by history, and by understanding that journalism must be an act of solidarity before it is anything else. Widely credited with helping to establish the genre of testimonio in Latin American letters, she transformed the voices of the marginalised into literature that forced an entire nation to confront its own silence. She maintains that her landmark work La Noche de Tlatelolco was not a journalistic achievement but a moral obligation, and reflects on her decision to refuse the Xavier Villaurrutia Prize, asking who would award the dead. Poniatowska insists that the greatest threat to literature and journalism today is not artificial intelligence but the disappearance of patience—the willingness to sit with a text, a story, or a life long enough for meaning to emerge. At 94, she affirms her belief in the innate goodness of human beings as not a sentiment but a necessity.Elena Poniatowska, la periodista más célebre de México y una de las voces literarias más significativas del mundo hispanohablante, sostiene en esta conversación que la crisis del periodismo contemporáneo es inseparable del colapso de la lectura crítica—y que ambos son síntomas de un abandono cultural más profundo. Nacida en París en 1932 de padre franco-polaco y madre mexicana, Poniatowska afirma que su formación como escritora estuvo marcada por el desplazamiento, por aprender a escuchar a quienes la historia había silenciado, y por comprender que el periodismo debe ser ante todo un acto de solidaridad. Ampliamente reconocida por haber contribuido a establecer el género del testimonio en las letras latinoamericanas, transformó las voces de los marginados en literatura que obligó a una nación entera a confrontar su propio silencio. Sostiene que su obra emblemática La Noche de Tlatelolco no fue un logro periodístico sino una obligación moral, y reflexiona sobre su decisión de rechazar el Premio Xavier Villaurrutia, preguntando quién iba a premiar a los muertos. Poniatowska insiste en que la mayor amenaza para la literatura y el periodismo hoy no es la inteligencia artificial sino la desaparición de la paciencia—la disposición a permanecer con un texto, una historia o una vida el tiempo suficiente para que emerja el significado. A los 94 años, reafirma su creencia en la bondad innata de los seres humanos no como un sentimiento sino como una necesidad.English transcript:SAVAGE MINDS — Elena PoniatowskaJulian Vigo (00:00:15):Welcome to Savage Minds.Julian Vigo (00:00:26):I am your host, Julian Vigo.Julian Vigo (00:00:30):Today's guest is Elena Poniatowska Amor,Julian Vigo (00:00:33):daughter of a French father of Polish origin, Jean E.Julian Vigo (00:00:37):Poniatowski, and Mexican mother Paula Amor.Julian Vigo (00:00:41):She was born in Paris in 1932.Julian Vigo (00:00:46):She has practiced journalism since 1953 at the newspapers El Día, Excélsior, Novedades, and La Jornada.Julian Vigo (00:00:57):She is the first woman to receive the National Journalism Prize.Julian Vigo (00:01:02):Among her works is La Noche de Tlatelolco,Julian Vigo (00:01:05):a classic since its publication, for which she was awarded the Xavier Villaurrutia Prize,Julian Vigo (00:01:12):which she refused, asking who was going to award the dead.Julian Vigo (00:01:17):Her novels and stories include La Flor de Lis,Julian Vigo (00:01:20):De Noche Vienes and Tlapalería,Julian Vigo (00:01:24):Paseo de la Reforma,Julian Vigo (00:01:26):Hasta No Verte Jesús Mío,Julian Vigo (00:01:28):The Life of a Mexican Soldadera,Julian Vigo (00:01:31):Querido Diego Te Abraza Quiela, Tinísima, winner of the Mazatlán Prize in 1992, La Piel del Cielo,Julian Vigo (00:01:40):winner of the Alfaguara Novel Prize in 2001, and El Tren Pasa Primero,Julian Vigo (00:01:48):about the lives of Mexican railway workers,Julian Vigo (00:01:52):winner of the Rómulo Gallegos International Novel Prize in 2007. Leonora won the Premio Biblioteca Breve Seix Barral in 2011. El Universo o Nada (2013) is the biography ofJulian Vigo (00:02:07):astrophysicist Guillermo Haro. Ondas de la Niña Mala is her first poetry collection, andJulian Vigo (00:02:14):her children's books include Boda en Chimalistac, La Vendedora de Nubes,Julian Vigo (00:02:20):El Burro que Metió la Pata, Sansimonsi, illustrated by Rafael Barajas el Fisgón, and ElJulian Vigo (00:02:27):Niño Estrellero by Fernando Robles, and El Charito Cantor by Osvaldo Hernández.Julian Vigo (00:02:34):Her most recent novel, El Amante Polaco, portrays the last king of Poland, Stanisław AugustJulian Vigo (00:02:41):Poniatowski. Translated into 20 languages. Gabi Brimmer and Las Mil y Una, the story ofJulian Vigo (00:02:48):Paulina,Julian Vigo (00:02:49):address social issues.Julian Vigo (00:02:52):After receiving honorary doctorates from UNAM and UAM,Julian Vigo (00:02:57):she was awarded them from the University of Puebla,Julian Vigo (00:03:01):Sonora, Estado de México,Julian Vigo (00:03:04):Guerrero,Julian Vigo (00:03:06):Chiapas, and Puerto Rico.Julian Vigo (00:03:09):She also received honorary degrees from the New School for Social Research in New York,Julian Vigo (00:03:13):Manhattanville College, and Florida Atlantic University in the United States, and fromJulian Vigo (00:03:19):Paris 8,Julian Vigo (00:03:19):La Sorbonne, and Pau-Pyrénées, as well as the Maria Moors Cabot Prize for Journalism atJulian Vigo (00:03:27):Columbia University, New York, in 2004, and from the Universidad Complutense, Madrid, inJulian Vigo (00:03:32):2015.Julian Vigo (00:03:34):She received the French Legion of Honour at the rank of Officer, the Gabriela Mistral Prize from Chile, and inJulian Vigo (00:03:41):2006, the Courage Award from the International Women's Media Foundation.Julian Vigo (00:03:43):In 2013 she was awardedJulian Vigo (00:03:49):the Miguel de Cervantes Prize for literature in the Spanish language, and she received theJulian Vigo (00:03:55):Belisario Domínguez Medal in 2022.Julian Vigo (00:03:58):This is the highest honour granted by the Senate of the Mexican Republic, along with theJulian Vigo (00:04:05):Carlos Fuentes International Prize for Literary Creation in the Spanish Language in 2023.(00:04:12):I welcome Elena Poniatowska to Savage Minds.Julian Vigo (00:04:19):I wanted to begin with a memory I have of you.Julian Vigo (00:04:22):In 1993,Julian Vigo (00:04:25):I think,Julian Vigo (00:04:27):or 94 —Julian Vigo (00:04:28):one of those two years —Julian Vigo (00:04:29):I was in Puebla,Julian Vigo (00:04:31):Cholula,Julian Vigo (00:04:32):teaching at the Universidad de las Américas.Julian Vigo (00:04:35):Yes.Julian Vigo (00:04:36):And you came to give a talk at an observatory — I believe it was Tonantzintla.Elena Poniatowska (00:04:44):Yes, of course.Elena Poniatowska (00:04:46):Yes, I remember it, andJulian Vigo (00:04:49):you made a great impression on me that day. But I must confess that your entire life's work made a great impression on me — not only on me. I wanted to begin with your formation, your life, because you were born in France andJulian Vigo (00:05:12):how do you remember your childhood in France, and what elements of that world did you bring with you when you arrived in Mexico in 1942?Elena Poniatowska (00:05:21):Well, thank you very much for your interest.Elena Poniatowska (00:05:29):I can tell you that I was born in 1932 in Paris, France, because my mother Paula Amor marriedElena Poniatowska (00:05:42):Juan Poniatowski, who held a noble title — that of prince —Elena Poniatowska (00:05:54):because the last king of Poland was Stanisław Poniatowski, who was, I believe, one ofElena Poniatowska (00:06:07):the lovers —Elena Poniatowska (00:06:09):one of the younger lovers of the Empress of Russia, Catherine the Great.Elena Poniatowska (00:06:21):My mother was a woman born also in Paris, of Mexican origin, who leftElena Poniatowska (00:06:32):France because of the Mexican RevolutionElena Poniatowska (00:06:36):and went to live with her parents — Pablo Amor and Elena Iturbe de Amor — inElena Poniatowska (00:06:49):Biarritz, and they later moved to Paris. My mother always spoke Spanish with a French accent. She had two sisters who also lived in France for a long time,Elena Poniatowska (00:07:07):and they were rather Frenchified. She met my father Jean Poniatowski in Paris andElena Poniatowska (00:07:20):married him, and I was born in 1932 in Paris.Elena Poniatowska (00:07:25):I would like to knowJulian Vigo (00:07:31):more about this experience, because as you probably know — especially Americans and Canadians — they think everyone wants to come to their countries. But something they don't know until they travel is that in Mexico, Honduras, and all of Latin America there is a great deal of immigration, people from every country in the world. Why not?Elena Poniatowska (00:08:01):Her mother was in France; my mother was Mexican, born in France. Her family — she had a grandmother, my mother's great-grandmother, who was Russian, and in general her father was educated in England, so they wereElena Poniatowska (00:08:29):Mexicans — Amor is a Mexican surname — but they were very closely tied to Europe. For my mother, living in Europe was very natural becauseElena Poniatowska (00:08:49):she first attended a boarding school in Switzerland, in Lausanne,Elena Poniatowska (00:08:56):and then was in Paris. At a Rothschild ball she met my father JuanElena Poniatowska (00:09:07):Poniatowski and married him in 1931,Elena Poniatowska (00:09:17):or perhaps at the beginning of 1932, because I was born on the 19th of May 1932.Elena Poniatowska (00:09:29):My sister was born in 1933.Julian Vigo (00:09:34):As a child who spoke French and had to learn Spanish, in what way did language become your first tool for survival?Elena Poniatowska (00:09:47):Well, I also know English and French. Language, for me — learning Spanish in Mexico — was obviously about communicating with people in the streetElena Poniatowska (00:09:56):and with friends at school. But French remained my mother tongue, andElena Poniatowska (00:10:03):later I dedicated myself to speaking Spanish with the people at home, with the MexicansElena Poniatowska (00:10:14):I met at school.Elena Poniatowska (00:10:23):Curiously, I attended an English school called the Windsor School, but I learned SpanishJulian Vigo (00:10:38):in the street — one always learns Spanish better in the street. You learn so much from people in Mexico. I found people very warm and open. On the other hand, for Mexicans in my country, it's not the same at all.Julian Vigo (00:10:59):What was the first moment you felt that writing was the only possible way to understand the Mexico around you?Elena Poniatowska (00:11:11):Well, I would never say it was the only possible way.Elena Poniatowska (00:11:17):I think that at twenty,Elena Poniatowska (00:11:22):twenty-one years old, returning from studying at a convent of nuns, I had theElena Poniatowska (00:11:30):good fortune to be able to start writing at a newspaper called, at that time,Elena Poniatowska (00:11:42):Excelsior.Elena Poniatowska (00:11:43):They asked me to submit a daily article,Elena Poniatowska (00:11:48):an interview,Elena Poniatowska (00:11:51):a chronicle, and I did so with enormous enthusiasm and great pleasure, because it allowed meElena Poniatowska (00:12:00):to know Mexico much better, and also to meet great figures of Mexico such asElena Poniatowska (00:12:09):Diego Rivera,Elena Poniatowska (00:12:11):José Clemente Orozco, actresses like Dolores del Río and María Félix, architects likeElena Poniatowska (00:12:20):Luis Barragán, and writers — even writers of my own generation, or slightlyElena Poniatowska (00:12:31):older than me — such as Juan Rulfo,Elena Poniatowska (00:12:38):Rosario Castellanos, Carlos Fuentes, and of course Octavio Paz.Julian Vigo (00:12:46):What a rich life! María Félix — what a figure!Julian Vigo (00:12:52):How was your experience beginning in journalism in the early 1950s in a predominantly male environment?Elena Poniatowska (00:13:05):Well, I was truly very lucky, because people were very kind andElena Poniatowska (00:13:14):even affectionate towards me. No one ever refused me an interview. I was able to reach Alfonso Reyes, Octavio Paz,Elena Poniatowska (00:13:25):the great architect Luis Barragán, José Vasconcelos the philosopher, and all were veryElena Poniatowska (00:13:40):kind and cordial with me, as were important actors like Ignacio LópezElena Poniatowska (00:13:51):Tarso,Elena Poniatowska (00:13:52):and of course those I already mentioned — Dolores del Río, María Félix — and singers, and also many visitors who came from Europe, the United States, or Latin America to perform in Mexico.Elena Poniatowska (00:14:20):Did you know El Indio Fernández?Elena Poniatowska (00:14:23):Yes,Elena Poniatowska (00:14:24):of course —Elena Poniatowska (00:14:25):I interviewed him,Elena Poniatowska (00:14:26):I knew El Indio Fernández, who by ten in the morning was already offering me a tequila, whichElena Poniatowska (00:14:35):I did not drink, as I'm not accustomed to drinking. And also many otherElena Poniatowska (00:14:47):famous actors of that era, like the comedian Cantinflas, whoseJulian Vigo (00:14:56):real name was Mario Moreno. Cantinflas — I know his work. Wow. And you were in Mexico during the same period as Luis Buñuel?Elena Poniatowska (00:15:06):Yes, I ended up with Luis Buñuel — yes, we had a great friendshipElena Poniatowska (00:15:15):because out of affection he came to have lunch at my house several times, so I saw him on manyElena Poniatowska (00:15:24):occasions. We even went together to the prison of Lecumberri to visit, for example, aElena Poniatowska (00:15:33):Colombian who had committed an offence and was imprisoned — his name wasElena Poniatowska (00:15:42):Álvaro Mutis.Julian Vigo (00:15:45):And you have lived through and narrated great social transformations.Julian Vigo (00:15:51):Do you think that today's digital democratisation of public opinion helps social justice, or does it rather dilute real struggles into mere narratives of identity and likes?Elena Poniatowska (00:16:08):Well, I think the Mexican Revolution,Elena Poniatowska (00:16:15):led by a man like Emiliano Zapata, was extraordinary in redistributing the lands and haciendas of Mexico and in giving all MexicansElena Poniatowska (00:16:32):access to better education, better formation, a better life. I consider thatElena Poniatowska (00:16:46):Emiliano Zapata was one of the great heroes of Mexico, even though he personally took away the haciendas of my grandparents, the Amors and the Iturbes.Julian Vigo (00:17:06):What did you learn from the great intellectuals of your youth?Julian Vigo (00:17:08):You mentioned Juan Rulfo, Alfonso Reyes, and many others.Julian Vigo (00:17:15):What influenced your decision to dedicate your life to letters?Elena Poniatowska (00:17:20):No, they did not influence my decision to dedicate myself to letters.Elena Poniatowska (00:17:26):I met them later.Elena Poniatowska (00:17:30):I began as a journalist, a modest journalist, at the newspaper Excelsior in 1953 —Elena Poniatowska (00:17:42):I think 1952 or 1953. Very young. I had come from an education at a convent of nuns inElena Poniatowska (00:17:53):Philadelphia, and I decidedElena Poniatowska (00:17:57):to write chronicles and interviews to get to know Mexico better. I came to know those figures through my work as a journalist, and because I could question themElena Poniatowska (00:18:14):in the language I knew and had learned as a child — at ten years old — which is Spanish. My other languages until then had beenElena Poniatowska (00:18:22):English,Elena Poniatowska (00:18:27):and French, which is my mother tongue.Julian Vigo (00:18:32):You are known for the testimonio.Julian Vigo (00:18:36):At what exact point did you feel that traditional fiction was not sufficient to capture Mexican reality?Elena Poniatowska (00:18:47):As I mentioned, I began by engaging with many valuable MexicansElena Poniatowska (00:18:54):who received me in their homes, gave me their opinions. At the same time as I received what they wished to give me,Elena Poniatowska (00:19:04):I observed how their homes were, how they treated the people around them — their wives, their children, their servants — and all of that helped meElena Poniatowska (00:19:22):to know Mexico better. I also spent a great deal of time in the streets — that is, with the poorest people, whom I was able to reachElena Poniatowska (00:19:34):through my own nature and also with the help of a great Mexican illustrator, Alberto Beltrán. In the street he made sketches of everything the Mexicans did — the newspaper vendors,Elena Poniatowska (00:19:59):the taco sellers,Elena Poniatowska (00:20:03):the women making corn tortillas by hand,Elena Poniatowska (00:20:12):the bakeries, and then the hardware stores where everything was sold — from nails toElena Poniatowska (00:20:22):cleaning cloths — and all of that was a very vital andElena Poniatowska (00:20:32):generous apprenticeship in learning to see the lives of working Mexicans.Julian Vigo (00:20:40):But it is an art — to be able to listen to people, to their voices.Julian Vigo (00:20:53):How did you learn to listen to the voice of the other?Elena Poniatowska (00:20:58):Well, I think it is a natural inclination.Elena Poniatowska (00:21:03):It is not learned.Elena Poniatowska (00:21:05):It is not forced.Elena Poniatowska (00:21:06):It is a way of being.Elena Poniatowska (00:21:10):I am far more interestedElena Poniatowska (00:21:11):in speaking of what others do, how they do it, and who they are, than in speaking of myself, my sensations, my emotions. And I have done this from a very young age, so it has become a habit — it is part of my daily life.Julian Vigo (00:21:36):Do you believe that the testimonio is essentially an act of political resistance?Elena Poniatowska (00:21:44):I think so.Elena Poniatowska (00:21:45):It helps enormously to know the thinking of those who have no power, who are not in power, who do not consider themselves political, who are not leaders — although I did have the great privilege of interviewing leaders and very important figures in Mexico,Elena Poniatowska (00:22:14):such as, for example, the Spanish refugee of the Civil War, Luis Buñuel.Julian Vigo (00:22:26):And how was the process of gathering the voice of Jesusa Palancares?Julian Vigo (00:22:32):How long did it take you to absorb her story?Elena Poniatowska (00:22:38):Well, it was a privilege. I heard her — she was doing laundry in a popular building, a building where many Mexicans lived who had noElena Poniatowska (00:22:56):economic resources. Everything she said caught my attention enormously. I approached her and asked if I could visit her at her home,Elena Poniatowska (00:23:13):which was a very poor house, obviously far from the area where I lived. And so I went toElena Poniatowska (00:23:26):see her once a week. We became friends, and she began telling me her life. And that is howElena Poniatowska (00:23:36):the novel Hasta No Verte Jesús Mío came about. When it was published,Elena Poniatowska (00:23:43):she asked me to give her ten copies to give to her friends —Elena Poniatowska (00:23:52):the bricklayers or the people she had worked with.Julian Vigo (00:24:00):And why did she choose the testimonial genre for Hasta No Verte Jesús Mío?Julian Vigo (00:24:09):It is one of the testimonial novels because —Elena Poniatowska (00:24:16):She didn't really choose it — she didn't. It was I who gathered her words andElena Poniatowska (00:24:27):assembled them in the best way I could. But she did not choose it.Elena Poniatowska (00:24:34):She could not read or write. She did not know how to read or write. But she asked for the books, and I — the cover of the book, what goes on the outside, is the Santo Niño de Atocha, a small Christ child that she liked.Julian Vigo (00:25:08):And I saw it in the street, and so I put it there so she would be happy. But I was asking you about the testimonial genre — in 1969 it was not a common thing in literature.Julian Vigo (00:25:26):How was this novel received?Julian Vigo (00:25:30):I wonder if people were confused.Julian Vigo (00:25:32):Is it a true story or is it fiction?Elena Poniatowska (00:25:35):No, it was very well received. The book was greatly liked.Elena Poniatowska (00:25:41):Immediately many editions came out and it was translated into English and French.Julian Vigo (00:25:51):And I wonder if at that time — less so today — people were confused because they did not know if it was a completely real story or partly real. Because the novel Hasta No Verte Jesús Mío was categorised as a novel.Elena Poniatowska (00:26:16):Yes, that's right, that is what it was.Elena Poniatowska (00:26:19):It is a novel based on a character — a woman who was in the Mexican Revolution, the life of a soldadera. To what extent is Jesusa an invented character or a real woman? I have said it, I have written it many times: Jesusa is a real character. After that I wroteElena Poniatowska (00:26:49):other books about other women who were also real characters. I had the joy of knowing Jesusa in person, but for example Tina Modotti, the main character ofElena Poniatowska (00:27:08):the novel Tinísima, I did not know. And other novels about other women and other characters I also did not know.Julian Vigo (00:27:22):What lessons about the resilience of Mexican women did you learn from Jesusa that remain relevant today?Elena Poniatowska (00:27:31):All the women in Mexico whom I see and engage with and encounter in the streetElena Poniatowska (00:27:41):and who come to my house — they are women who have known how to struggle and continue to struggle. For example, one woman, Rosario Ibarra de Piedra, whose son was disappeared, and who searched all of Mexico — she is obviously one of the heroines who has most caught my attention.Julian Vigo (00:28:10):And especially in recent years — almost thirty years — the femicides and the disappearances of men and women. You are still fighting for your society, and I think literary words have the power to carry reality forward. I am thinking of La Noche de Tlatelolco — that was the first book of yours I read. It is incredible. I have no words. Thank you. It is one of the best books of the twentieth century, and I teach it. It is astonishing. Can you speak about why you began that work, and also for those listening now who do not know the history of what happened in Mexico?Elena Poniatowska (00:29:03):Well, in general I can tell you that I received letters from a prisoner in the jail — Jesús Sánchez García — and I began going to Lecumberri, which was called the Black Palace of Lecumberri. It was no palace — it was a prison with bars and cells. I asked permission from the prison director — I believe his name was Martín del Campo — and he gave it to me. That is how I went to gather life stories from men, and later, at the women's prison, from women who had nothing to do with my own life, who bore no resemblance to what I hadElena Poniatowska (00:30:03):lived or what I would go on to live.Elena Poniatowska (00:30:16):That was an enormous enrichment for me, and a knowledge of an unknown Mexico that also helped me understand MexicoElena Poniatowska (00:30:31):— a Mexico to which I owe a great deal.Elena Poniatowska (00:30:35):I think that everything I am I owe to the voice, and to the gift of their voice, that the poorest Mexicans gave me — those I was able to approach over years and years,Elena Poniatowska (00:30:52):going to the prison and sometimes going to their own very poor homes, called vecindades, which were located in the very neighbourhoods where the prisons were.Julian Vigo (00:31:11):How did you manage the pain and trauma of the testimonies you heard while assembling the book?Elena Poniatowska (00:31:22):Pain is not managed. To manage something is to seek something. Pain is simply assumed and lived. So the pain is in the words written in the book.Julian Vigo (00:31:46):And why did you choose the technique of a collage of voices rather than a linear, chronological narrative for this book?Elena Poniatowska (00:31:57):I have many other books that speak even of personal stories — books that contain much of biography.Julian Vigo (00:32:13):Yes, but it is very interesting how you wove those narratives together in this book. It is very beautiful, in fact.Julian Vigo (00:32:24):Was there any moment during the writing of La Noche de Tlatelolco when you felt fear or censorship?Elena Poniatowska (00:32:33):Well, there was always the dread of entering terrain unknown to me.Elena Poniatowska (00:32:40):Ultimately, I was educated —Elena Poniatowska (00:32:45):I spent time in the United States at a convent to be educated, not to become a nun — it was called the Sacred Heart Convent.Elena Poniatowska (00:33:03):When I came out I was speaking English. My mother tongue is French. And when I left there, my strongest desire was truly to know Mexico — the country I had arrived in at the age of ten, but in which I had received an educationElena Poniatowska (00:33:30):in both English and French, not in Spanish.Julian Vigo (00:33:36):More than fifty years later, what impact do you think that book has on the collective memory of young Mexicans today?Elena Poniatowska (00:33:48):Well, I think that is a question that should be put to them.Elena Poniatowska (00:33:55):What I can say is that I have receivedElena Poniatowska (00:33:59):a great deal of affection from young people — many come to find me at my home, and I give lectures and talks with some frequency. Remember that I am already 94 years old and have lost the use of my left eye, which prevents me from seeing well. So within my limitations,Elena Poniatowska (00:34:27):I remain in contact with the people who want to see me, which for me produces great enthusiasm and which I experience as great support.Julian Vigo (00:34:42):The book you wrote is something very specific — evidently about Mexico — but it is still a book with which everyone can identify. If we look around today, where there are acts of political repression in almost every country in the world in one form or another — and I know your books are translated into many languages — I wonder whether the power of La Noche de Tlatelolco came from the form of the narration itself, not only from the fact that you confronted the government, the police, and justice. You narrated a story of the people seeking justice, yes, but literature itself was also seeking truth within its pages. There are wars everywhere, there is too much sadness. After the lockdown — which was less bad in Mexico than here in Italy — we are living through a very difficult moment. Do you sometimes think of this book as a model for dialogue, for collaboration, for moving forward together, the people united?Elena Poniatowska (00:36:09):Well, what I love about this book is that it has so many voices — many voices gathered from mothers of families, from children of political prisoners. For me it was a great learning experience to go to the prison in Mexico and see a world I did not know, to be accepted in that world, to go frequently to hear and gather the voices of political prisoners and of young people whoElena Poniatowska (00:36:52):didn't even have strong political ideas but were imprisoned because they had stolen something in a market. It meant entering a world I was completely unfamiliar with,Elena Poniatowska (00:37:13):to which I did not belong. And it was an enormous lesson — a very generous lesson — in how the lives of others can be. That is what I have dedicated myself to over many years, because I remain a journalist and continue writing about disasters such asElena Poniatowska (00:37:39):not only the massacre of the 2nd of October, but what the earthquake of 1985 meant for Mexico and the loss, for many Mexicans, of their families and their homes.Julian Vigo (00:37:59):Yes. You documented the earthquake of ‘85 — a moment when the Mexican government was completely paralysed and it was civil society that took control to rescue the city.Julian Vigo (00:38:15):Do you believe that peoples are still alone in the face of tragedy, or is that organic solidarity you described an invincible force?Elena Poniatowska (00:38:29):Yes,Elena Poniatowska (00:38:29):of course.Elena Poniatowska (00:38:30):I believe — that is why I believe in the invincible force of Mexicans, who help and support each other, who run to answer a cry for help. They are the ones who save themselves by saving others. I believe in that truth. It is a truth I lived, that I witnessed,Elena Poniatowska (00:38:57):and for me it is a lesson, a way of life.Julian Vigo (00:39:03):Does it reflect the structural abandonment of the seamstresses, the inhabitants, those who live in vecindades, and the poorest?Julian Vigo (00:39:13):How did you manage, in the midst of the chaos, the dust, and the mourning of those days, to earn the trust of people so that they would share their most painful and raw testimonies?Elena Poniatowska (00:39:30):Well, I have two physical advantages.Elena Poniatowska (00:39:32):I am small in stature. I frighten no one. No one is afraid of me. I can go anywhere. I am not someone who imposes anything at all, and I know how to listen. So by listening to others' voices, I gather them, I keep them, I memorise them,Elena Poniatowska (00:40:03):and then I put them on paper.Elena Poniatowska (00:40:06):That is the most solitary and difficult moment — writing about what happens to others,Elena Poniatowska (00:40:21):their sorrows,Elena Poniatowska (00:40:22):their joys,Elena Poniatowska (00:40:24):their defeats and also their triumphs —Elena Poniatowska (00:40:28):and making books and articles from them. Because I am also a journalist sinceElena Poniatowska (00:40:38):1953. I am now 94 years old.Julian Vigo (00:40:47):You're listening to Savage Minds.Julian Vigo (00:40:49):If you're enjoying the show, take a second to subscribe at savageminds.co.Julian Vigo (00:40:54):Feel free to comment below or drop us a line to share your thoughts.Julian Vigo (00:40:59):Support independent media today.Julian Vigo (00:41:01):Now, let's get back to it.Julian Vigo (00:41:15):Many consider that the earthquake of ‘85 not only brought down buildings but also toppled the myth of the Mexican State's absolute control — marking the true birth of modern citizenship in the country.Julian Vigo (00:41:33):From your perspective as a chronicler —Elena Poniatowska (00:41:40):I think Mexicans have always had enormous character and enormous capacity to defend themselvesElena Poniatowska (00:41:49):in spite of their own poverty, or in spite of the total absence of outside help.Elena Poniatowska (00:42:02):There was in Mexico a Mexican Revolution,Elena Poniatowska (00:42:08):a country conquered by very cruel conquerors, and yet the country has continued to forge ahead and has continued to demonstrate its bravery and courage in allElena Poniatowska (00:42:28):circumstances — one of which was, for example, the earthquake, in which the neighbours themselvesElena Poniatowska (00:42:37):helped each other before the State or the so-called government did anything.Elena Poniatowska (00:42:46):So I think it is a country with many very brave men, women, and children who save themselves, who know how to look after themselves.Elena Poniatowska (00:43:03):Of course there are people who don't know how to do it, and there are people who sometimes end upElena Poniatowska (00:43:12):in prison or in hospital. But in general Mexico is a country of very solidary people, people who help each other and defend themselves.Julian Vigo (00:43:31):What I love about your books in general is that you give voice — you shed light on the lives that are forgotten.Julian Vigo (00:43:42):Do you feel that in this book, for example, or in Nadie Me Verá Llorar, the author's voice becomes more present or closer to her characters than in your earlier works?Elena Poniatowska (00:43:56):No,Elena Poniatowska (00:43:57):I think that element is present in all my works — in Hasta No Verte Jesús Mío, in the book about the 2nd of October, in the earthquake — and it is always present in everything I still do at the newspaper where I work. I am in a certain way a chronicler and aElena Poniatowska (00:44:21):participant in the lives of other Mexicans.Julian Vigo (00:44:27):And I also notice that many of your works are about women — Tinísima, the life of Tina Modotti, a woman who lived so many lives in one. Leonora. And I wanted to ask — before we get to those books — about Querido Diego Te Abraza Quiela. Why did you choose that subject? Not only Diego Rivera but his first wife.Elena Poniatowska (00:44:59):I was moved to learn that in Paris, Angelina Beloff had gone to Mexico to seeElena Poniatowska (00:45:12):Diego Rivera, whom she had supported in Paris. He had lived with her and had livedElena Poniatowska (00:45:22):off her, because she was the one with a salary. He was a very young painter withoutElena Poniatowska (00:45:33):money, without resources. She helped him. And when she went to Mexico, she had also hadElena Poniatowska (00:45:42):the only male child that Diego Rivera ever had, who died of cold in Paris. And when she decided to go to Mexico — in a sense, to get to know the country of her lover — she decided to go to the Palacio de Bellas Artes because she knew that heElena Poniatowska (00:46:11):would be there. And he walked right past her — past the seat, one of those red velvet seats in the Palacio de Bellas Artes, called butacas, in which she was sitting — he walked past and did not even recognise her.Elena Poniatowska (00:46:40):That story struck me deeply, and that is why I decided to write the small book —Elena Poniatowska (00:46:55):it is not a very long book —Elena Poniatowska (00:46:58):called Querido Diego, Te Abraza Quiela.Julian Vigo (00:47:00):In Tinísima, what was it that drew you to the life of Tina Modotti?Elena Poniatowska (00:47:08):In reality it came from a request to make a film. The cinematographerElena Poniatowska (00:47:17):Gabriel Figueroa told me that a film was going to be made about Tina Modotti, the Italian woman who had been in Mexico. So I began interviewing all the people who had knownElena Poniatowska (00:47:38):Tina Modotti. And even when I was invited to France for a conference, I had theElena Poniatowska (00:47:47):opportunity to go to Udine in Italy to meet and get to know the siblings of Tina Modotti —Elena Poniatowska (00:48:00):to see them, interview them, speak with them.Elena Poniatowska (00:48:05):Then when I was told that the film about Tina Modotti in Mexico was no longer going to be made because there was no money, I — who had gone at my own expense to that conference in France and another writers' conference inElena Poniatowska (00:48:37):Italy — decided to launch into writing the novel called Tinísima, because I hadElena Poniatowska (00:48:48):interviewed many old communists whom I had gone to visitElena Poniatowska (00:48:56):in their various homes — generally very modest, very poor homes.Elena Poniatowska (00:49:03):I did not want to let them down, and so the novel Tinísima was published.Julian Vigo (00:49:10):And to what extent does Tina Modotti represent the struggle of the woman artist in the twentieth century?Elena Poniatowska (00:49:19):To the extent that she commits herself —Elena Poniatowska (00:49:23):she takes photographs of Mexico alongside Edward Weston, and then goes alongsideElena Poniatowska (00:49:33):Commander Carlos of the Fifth Regiment to Spain — she goes to the Spanish Civil War and becomes a nurse, caring evenElena Poniatowska (00:49:52):on the ground for the bodies that had fallen on the earth before taking them to the Red Cross — giving them first aid and dedicating herself to saving lives,Elena Poniatowska (00:50:08):or helping to save lives. I believe that many soldiers did not die thanks to the care of this womanElena Poniatowska (00:50:19):who was in the trench following the doctors.Julian Vigo (00:50:25):You have said that the writer must be a bridge.Julian Vigo (00:50:29):Between what worlds do you think it is most necessary to build bridges — or should we be breaking bridges today?Elena Poniatowska (00:50:38):No, I think one should never break a bridge, for anything.Elena Poniatowska (00:50:42):I think one mustElena Poniatowska (00:50:45):communicate — that the most important thing in the life of any human being is dialogue. Peoples too must dialogue with others in order to know each other. I think Mexico must have a dialogue with the United States, and that many Mexicans who have returned fromElena Poniatowska (00:51:09):the United States because TrumpElena Poniatowska (00:51:12):did not want to receive them, has rejected them — well, they nevertheless had, with another nation or with the inhabitants of another nation, knowledge and dialogue.Elena Poniatowska (00:51:28):And that I believe is what is called,Elena Poniatowska (00:51:34):within Catholicism if you like, or within any religion by whatever name it may be called — that is human fraternity. The otherElena Poniatowska (00:51:50):is the one who exists and who awaits you and whom you must help, because perhapsElena Poniatowska (00:51:58):one day you will need him to extend a hand to you.Julian Vigo (00:52:05):Trump is certainly a character, but I see the situation as too tragic for Americans — the United States, still my country — because the reality is that a large part of the Western world has absolutely no idea of the immense cultural, intellectual, and spiritual richness of Mexico.Julian Vigo (00:52:30):For me, it's not only Trump —Julian Vigo (00:52:32):but Americans, Canadians, etc.Julian Vigo (00:52:35):know nothing about the sharpest chroniclers of this country. If you had to open the eyes of an international audience completely unaware of Mexico's depth, what would you say is the most valuable treasure of Mexican identity that the rest of the world is missing?Elena Poniatowska (00:53:01):Well, I must say that many North Americans have come and written about Mexico — anthropologists and sociologists. We have Oscar LewisElena Poniatowska (00:53:17):and many others who have written about the poorest Mexicans, starting in Tepoztlán, a city near Mexico City, following them to the vecindades in the city where they took refuge and found very modest work. So yes, there have been North AmericansElena Poniatowska (00:53:44):who have written about the richness and beauty of Mexico, and their books areElena Poniatowska (00:53:53):translated into Spanish and are admired and appreciated by Mexicans who are grateful that attention is paid to them. So one cannot say that no one who has come from outside has cared about Mexico — in archaeology, in anthropology, as well as figures like Frances Toor, who was a North American woman who created a magazineElena Poniatowska (00:54:39):called Mexico Today and wrote extensively about Mexican customs and lived in Taxco.Elena Poniatowska (00:54:41):For example, a certain William Spratling enriched himself personally but helped many Mexicans inElena Poniatowska (00:54:51):Taxco to learn how to work silver and sell silver. And still today many foreigners and tourists go to buy silver objectsElena Poniatowska (00:55:10):that come from a mine discovered by foreigners — and clearly alsoElena Poniatowska (00:55:20):plundered, one might say, by foreigners.Julian Vigo (00:55:30):Because not everything is entirely good or entirely bad. But I was referring to the fact that — as you know, having been in the United States and many other countries — Trump and far too many people insufficiently educated about Mexico think that all Mexicans want to invade the United States. But the reality is otherwise. In Mexico there was a great cinematic tradition, for example. Mexican cinema has greatly influenced Hollywood — not only today but throughout history. The Oscar statuette itself was modelled on the body of El Indio Fernández. People do not know the depth of Mexican philosophy. I am thinking of Sor Juana, who contributed so much to poetry, theatre, even science — if we think of her letter to Sor Filotea, who was actually Manuel Fernández de Puebla. That dialogue was very important. Western feminists know nothing of these exchanges between those two figures. But for me Mexico has an enormous and very important force in the history of philosophy, science, and feminism. And I am thinking of Octavio Paz's book on Sor Juana Inés de la Cruz, called Sor Juana Inés de la Cruz, or The Traps of Faith. You knew Paz closely. Did you have conversations with him about his perspective on this book — especially regarding the power dynamics of the Church and the silencing she suffered as an intellectual woman?Elena Poniatowska (00:58:09):No, but I think you are mixing very many topics into one question, and it isElena Poniatowska (00:58:18):difficult to answer you because you are speaking of very diverse things that evenElena Poniatowska (00:58:27):happened in different centuries.Elena Poniatowska (00:58:30):Sor Juana — there have always been in Mexico,Elena Poniatowska (00:58:34):before Octavio Paz, people who dedicated themselves to reading,Elena Poniatowska (00:58:40):studying, and getting to know Sor Juana Inés de la Cruz.Elena Poniatowska (00:58:45):I will not add more names to those you mentioned, but there are many studies and many Sor Juana scholars in Mexico, as well as at the University of SantaElena Poniatowska (00:59:01):Barbara, California, in Paris, in France —Elena Poniatowska (00:59:04):there are many studies on the great figures of Mexico — not only The Traps of Faith by the Mexican poet Octavio Paz. So these are studies that will continue and do continue. In California, for example, Sara Poot HerreraElena Poniatowska (00:59:32):is dedicated to studying Sor Juana Inés de la Cruz, along with many other scholars — I don't know if she is still living — whose name was Rivers. All of these are studies that have been carried out in Mexico and outside Mexico.Julian Vigo (00:59:55):No, I was asking specifically about Paz's book because you knew him and —Elena Poniatowska (01:00:03):I knew him,Elena Poniatowska (01:00:04):I admired him, and I also wrote about him. I have a book about him. I admired him,Elena Poniatowska (01:00:12):I knew him, his poetry dazzled me. And he is a man whom I have admired since getting to know him, and whom I also hold with affection.Julian Vigo (01:00:29):I asked about your relationship with him because sometimes it happens to me too — with other writers — one asks or someone asks me, “Why did you do that?” It is a dialogue. Because that book, The Traps of Faith, had something very important — not only for Mexico but it placed the image of Sor Juana before the world. Many people began to ask who this nun was because it is very important. I was asking about the presentation Paz gave of her — whether you had any dialogues with Paz from your own perspective.Elena Poniatowska (01:01:20):Well, yes, of course. But there were others who also spoke at great length about Sor Juana de la Cruz — other Mexicans before Octavio Paz, other Mexicans who, for example, also concerned themselves with indigenous peoples, such as a priest — Ángel María Garibay — who was also a Sor Juana scholar. So there are many studies on Sor Juana Inés de la Cruz and there are Sor Juana scholars in Santa Bárbara, for example, such as Doctor Sara Poot Herrera and others — a woman by the name of Rivers and many more.Julian Vigo (01:02:16):You have dedicated your life to listening and giving voice to those who have none, through the chronicle and literature.Julian Vigo (01:02:26):Today,Julian Vigo (01:02:27):with social media,Julian Vigo (01:02:28):it seems that everyone has a platform for opinions.Julian Vigo (01:02:32):But are we really listening?Julian Vigo (01:02:36):What happens to the power of the word when it becomes a constant noise, as in social media?Elena Poniatowska (01:02:45):I don't know.Elena Poniatowska (01:02:46):I suppose it loses efficacy.Elena Poniatowska (01:02:49):But that depends on the activity of each human being.Elena Poniatowska (01:02:58):There are people — elderly people, for example, people already old — for whom life,Elena Poniatowska (01:03:08):even in institutions, in care homes, means turning the television on from morning until night and being entertained — that is, entertained without making the least effort of criticism or thought in front ofElena Poniatowska (01:03:29):the television.Elena Poniatowska (01:03:31):I have seen that this has been very important in keeping the elderly calm andElena Poniatowska (01:03:41):allowing them to die little by little in institutions called health facilities, where they have thisElena Poniatowska (01:03:52):constant and rather sad entertainment. ButElena Poniatowska (01:03:59):as they say in Mexico: no hay de otra — there is no other option, or no other option has been found, or there are not enough people willing to dedicate themselves to attending to and caring for others. So I see it as an end of lifeElena Poniatowska (01:04:28):for an individual who was once a thinking individual, who knew how to act,Elena Poniatowska (01:04:37):who knew how to elevate himself,Elena Poniatowska (01:04:41):to become a better human being. And I find it sad.Julian Vigo (01:04:46):Today, and for twenty years now, I have noticed as a university professor that students are reading less and less. Today, with so-called artificial intelligence — so-called because intelligence it is not — students are not reading. How can literature or journalism restore the true value and depth of words when we are in a world full of social media, opinions, and videos of a cat doing something funny?Elena Poniatowska (01:05:31):Your question is very difficult because I don't have the answer.Elena Poniatowska (01:05:37):What I can say is that ultimately it depends on the teachers.Elena Poniatowska (01:05:44):It depends on students having a good teacher,Elena Poniatowska (01:05:49):because even I have seen in classes —Elena Poniatowska (01:05:54):in different classes —Elena Poniatowska (01:05:57):that many young people continue looking at their phones while the teacher is writing onElena Poniatowska (01:06:07):the board, or speaking, or giving a class.Elena Poniatowska (01:06:13):So we shall see whether the destiny of young people will depend on what theyElena Poniatowska (01:06:21):learn from their phone. I don't have a phone —Elena Poniatowska (01:06:27):I never bought one,Elena Poniatowska (01:06:28):never got one. Or whether they will be able to go beyond themselvesElena Poniatowska (01:06:37):and beyond above all what the phone wants to give you or teach you or not teach youElena Poniatowska (01:06:46):or distract you from — because ultimately it is a distraction. Yes.Julian Vigo (01:06:53):Writing something to share — in quotation marks — they are sharing nothing in the end. I have noticed that many people are sharing articles they have not read. Young people are embracing identity politics and cancel cultureJulian Vigo (01:07:16):in the absence of any engagement with material reality today.Julian Vigo (01:07:21):That is my fear —Julian Vigo (01:07:23):that the millennials,Julian Vigo (01:07:26):this generation of thirty-year-olds,Julian Vigo (01:07:31):are fixated on pronounsJulian Vigo (01:07:36):but do nothing to help their neighbour.Julian Vigo (01:07:41):They do nothing to fight for living wages.Elena Poniatowska (01:07:46):Well, not all of them.Elena Poniatowska (01:07:49):It's a generalisation, of course.Elena Poniatowska (01:07:54):But I think you are right.Elena Poniatowska (01:07:58):It is a generalisation, because in any case there are human beings who live for others.Julian Vigo (01:08:08):We are in two camps today, because during the lockdown I noticed that many people — even on the right — were fighting for the poor in the United States, where I published. I could not publish a single article questioning the lockdown. That is when I started Savage Minds, because I was asking: what is happening? I no longer recognise this world in which the left is pushing people not to speak. We weren't talking about the lockdown, and the right was speaking very openly. And I see that politically, left and right — there is no longer that dichotomy, so to speak.Elena Poniatowska (01:09:02):Yes,Elena Poniatowska (01:09:03):I thank you greatly for your interest and I thank you enormously for this conversation. I feel animated,Elena Poniatowska (01:09:11):I feel glad to hear what you are saying.Elena Poniatowska (01:09:19):But I do feel that,Elena Poniatowska (01:09:22):as you say,Elena Poniatowska (01:09:23):the speed,Elena Poniatowska (01:09:26):the pace of all events,Elena Poniatowska (01:09:29):the television —Elena Poniatowska (01:09:32):it sets critical thinking and reflection on events to one side,Elena Poniatowska (01:09:41):because everything must be immediate, mustn't it?Elena Poniatowska (01:09:46):That is to say, everything ends in a second. Even the deepest interests sometimes last onlyElena Poniatowska (01:09:56):a few — one might even think, as we say in Mexico,Elena Poniatowska (01:10:01):un ratito — just a little while. There is no continuity in ideas orElena Poniatowska (01:10:12):even in purposes. There is something we all know called habit, and each personElena Poniatowska (01:10:21):lives according to the habits they have established in order to keep going —Elena Poniatowska (01:10:28):to keep existing, if you will. To make it to night, fall asleep, and know that you will wake the following day. Or perhaps you won't wake, because — well, for example, IElena Poniatowska (01:10:45):am a person of 94 years old and I have no certainty that I will see the following morning. ButElena Poniatowska (01:10:55):what I do believe is thatElena Poniatowska (01:10:58):I believe in the innate goodness of every human being.Elena Poniatowska (01:11:03):I have to believe in it, because I need that hope.(01:12:02): Get full access to Savage Minds at www.savageminds.co/subscribe

Unlike most rich countries or advanced economies the US does not define healthcare, including long term care, as a universal social risk – despite the fact we all get sick, no one knows their health status tomorrow, approximately 85% of Medicare beneficiaries have at least one chronic condition and life expectancy at birth is approximately 79 years. Medicare does not provide long term care, Social Security replaces just 43% of the average workers' wages and only approximately 40% of retirees receive income from some form of employer or personal retirement plan. With me to discuss Prof. Ghilarducci's book is her colleague Ms. Jessica Forden an economics Ph.D. candidate at the New School's Schwartz Center for Economic Policy Analysis. Information on Prof. Teresa Ghilarducci's book is at: https://press.uchicago.edu/ucp/books/book/chicago/W/bo212888995.html. The New School's Schwartz Center for Economic Policy (SCEPA) research publications are at: https://www.economicpolicyresearch.org/research.Jessica Forden's LinkedIn page is at: https://www.linkedin.com/in/jessica-forden-88b265131/. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.thehealthcarepolicypodcast.com

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, Maria Callas's Lyric and Coloratura Arias (Bloomsbury, 2021) envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum. Ginger Dellenbaugh is a musician and historian who has written and lectured on music and politics, vernacular notation systems, and the cultural history of the voice. A trained opera singer, she performed for over a decade in Europe and the United States. Ginger is currently a lecturer at The New School in New York, USA and completing a PhD in musicology at Yale University, USA. She lives in New York City and Vienna, Austria. Ginger Dellenbaugh's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, Maria Callas's Lyric and Coloratura Arias (Bloomsbury, 2021) envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum. Ginger Dellenbaugh is a musician and historian who has written and lectured on music and politics, vernacular notation systems, and the cultural history of the voice. A trained opera singer, she performed for over a decade in Europe and the United States. Ginger is currently a lecturer at The New School in New York, USA and completing a PhD in musicology at Yale University, USA. She lives in New York City and Vienna, Austria. Ginger Dellenbaugh's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, Maria Callas's Lyric and Coloratura Arias (Bloomsbury, 2021) envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum. Ginger Dellenbaugh is a musician and historian who has written and lectured on music and politics, vernacular notation systems, and the cultural history of the voice. A trained opera singer, she performed for over a decade in Europe and the United States. Ginger is currently a lecturer at The New School in New York, USA and completing a PhD in musicology at Yale University, USA. She lives in New York City and Vienna, Austria. Ginger Dellenbaugh's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, Maria Callas's Lyric and Coloratura Arias (Bloomsbury, 2021) envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum. Ginger Dellenbaugh is a musician and historian who has written and lectured on music and politics, vernacular notation systems, and the cultural history of the voice. A trained opera singer, she performed for over a decade in Europe and the United States. Ginger is currently a lecturer at The New School in New York, USA and completing a PhD in musicology at Yale University, USA. She lives in New York City and Vienna, Austria. Ginger Dellenbaugh's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

More than 40 years after her death, the legend of Maria Callas, "La Divina Assoluta," remains unsurpassed. Much has been written about her sensational opera career and fraught private life, from her definitive mastery of iconic opera roles to her love affairs and tantrums. The prototype for the 20th century celebrity diva, Callas emblematizes the cliche of tormented talent - genius in the ring with catastrophe. Her extraordinary voice, in particular, has become an object of cult-like adoration and cultural significance almost with a life of its own: as fetish object, as sophisticated sonic signifier, and most recently, as the lifeblood for a Callas hologram. Such adoration is not without consequences. When Callas is transformed into a vessel for such transcendent magic, it overshadows what is perhaps her most superhuman ability - the masterful technique she deployed to shape and craft her astounding instrument. Singing bodies are working bodies, enacting an intimate and complex form of artistic labor and cultural signification. Using one of Callas's first recital recordings from 1954, Maria Callas's Lyric and Coloratura Arias (Bloomsbury, 2021) envisions each aria as a lens to examine various aspects of vocalization and cultural reception of the feminized voice in both classical and pop culture, from Homer's Sirens to Star Trek. With references to works by Marina Abramovic, Charles Baudelaire, Michel Chion, Wayne Koestenbaum, Greil Marcus, and Farah Jasmine Griffin, as well as films by Pier Paolo Pasolini, Jonathan Demme, and Rainer Werner Fassbinder, each chapter explores phenomena unique to the singing voice, including the operatic screaming point, the politics of listening, and the singing simulacrum. Ginger Dellenbaugh is a musician and historian who has written and lectured on music and politics, vernacular notation systems, and the cultural history of the voice. A trained opera singer, she performed for over a decade in Europe and the United States. Ginger is currently a lecturer at The New School in New York, USA and completing a PhD in musicology at Yale University, USA. She lives in New York City and Vienna, Austria. Ginger Dellenbaugh's website. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America (Backbeat Books, 2021), Frank Zappa's America (LSU Press, 2025), and U2: Until the End of the World (Gemini Books, 2025). He manages partnerships on behalf of CHIRP Radio 107.1 FM and is the director of its music film festival. Bradley on Facebook and Bluesky. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

We invite you this episode to jump into The Wayback Machine with us to that hallowed year of 2019. Back before a global pandemic but not quite before global dread, to a time when two albums were released. One was by a band that was celebrating 50 years of music, the other was barely past its second decade. And yet, symmetry exists between these two musical entities and we're going to examine it in this, episode 249, The New School Meets The Old School!   FULL VIDEO EPISODES! That's right folks, you can see our bright smiling idiotic faces in full color on our YouTube channel. Full episodes available as well as clips.   LINKS OF INTEREST: - Here's where you can find Lettuce online - Here's where you can find Tower of Power online   ...AND ANOTHER THING: The Man They Call Tim suggests listening to Lettuce's 2012 album "Fly" Uncle Todd suggests listening to Lettuce's 2015 album "Crush"   FOLLOW US ON THE SOCIAL MEDIAS: Facebook - http://facebook.com/freerangeidiocy Instagram - http://instagram.com/freerangeidiocy YouTube - http://youtube.com/@freerangeidiocy

Jon Mills, a philosopher, psychoanalyst, and clinical psychologist, joins Michael Shermer to discuss how social justice ideology has moved from a concern with fairness and equal treatment into a rigid moral framework built around oppressors and victims, privilege and disadvantage, good and evil. Their conversation focuses on the tension between compassion and truth: how to take injustice seriously without reducing people to identity categories, what happens when clinicians bring activism into the therapy room, why biological reality has become politically charged, and whether "wokeness" is beginning to lose its hold on public life. Jon Mills is a Canadian philosopher, psychoanalyst, and clinical psychologist. He is Honorary Professor, Department of Psychosocial & Psychoanalytic Studies, University of Essex, UK, on faculty in the Postgraduate Programs in Psychoanalysis & Psychotherapy, Gordon F. Derner School of Psychology, Adelphi University, USA, and on faculty and a Supervising Analyst at the New School for Existential Psychoanalysis, USA. Recipient of numerous awards for his scholarship including 5 Gradiva Awards, he is the author and/or editor of over 35 books in psychoanalysis, philosophy, psychology, and cultural studies including most recently End of the World: Civilization and Its Fate. In 2015 he was given the Otto Weininger Memorial Award for Lifetime Achievement by the Canadian Psychological Association.

Alexandra is an artist, educator, and somatic guide working with movement as a way to access creative authority, embodied clarity, and deep personal voice. Her work supports artists, teachers, activists, facilitators, and guides to strengthen their inner compass while leading, creating, and communicating. She is fascinated by how decision-making lives in the body: how gesture holds belief, habit becomes pedagogy, and intuition is a fluent language.She is a choreographer, director, and educator working at the intersection of dance, theater, and somatics and was a member of the Bill T. Jones/Arnie Zane Dance Company from 1995–2001. She founded Alexandra Beller/Dances in 2002, creating more than forty dance-theater works across the U.S., Europe, and Asia.Her theater credits include Off-Broadway productions of Sense and Sensibility (Folger Shakespeare, A.R.T., Portland Center Stage; Helen Hayes Award, Lortel nomination), How to Transcend a Happy Marriage (Lincoln Center Theater), and The Mad Ones, as well as regional work with Hudson Valley Shakespeare Festival, La MaMa, La Jolla Playhouse, Milwaukee Rep, and The Goodman Theatre. Her directing credits include Macbeth (Theater Row) and A Midsummer Night's Dream (92Y).She has taught at institutions including Barnard, SUNY Purchase, Rutgers, UC Santa Barbara, the University of Michigan, The New School, and Princeton University, where she taught for seven years. Alexandra currently serves on faculty at the Laban Institute for Movement Studies and Gibney Dance Center and teach internationally through residencies and master classes. Her forthcoming books are The Embodied Conductor: A Somatic Approach with Laban and Bartenieff (Meredith Music, 2025) and The Anatomy of Art: Unlocking the Creative Process for Theater and Dance (Bloomsbury, 2026). You can get her books at alexandrabellerdances.org.This was an inspired episode. Give it a listen!This episode, like all episodes of If This Is True, brings forth what drives creatives to do what they do. For more of this content and interaction, you can also go to my substack, coolmite25.substack.com. Hosted on Acast. See acast.com/privacy for more information.

What becomes possible when we understand social and political harm not only as injustice, but as expressions of collective trauma? In this conversation, Kazu Haga—activist, trainer, and author of Fierce Vulnerability: Healing from Trauma, Emerging Through Collapse—joins host Serena Bian to explore why healing is so essential to radically reimagining the worlds we wish to build in the midst of collapse. This conversation explores the possibility that the work of social transformation cannot be separated from the work of inner transformation. Rather than reinforcing the familiar patterns of opposition of “us and them,” “right and wrong," Kazu invites us to consider pathways of change that are rooted in relationship, spiritual practice, and the long arc of healing. Drawing from decades of work in nonviolence, restorative justice, and Buddhist practice, Kazu reflects on the limitations of movement strategies that mirror the very dynamics they seek to transform. What might it mean to respond to harm in ways that do not escalate division, but instead create the conditions for healing, within ourselves, our communities, and the larger body politic? *** The New School is Commonweal's learning community and podcast — we offer conversations, workshops, and other events in areas that Commonweal champions: finding meaning, growing health and resilience, advocating for justice, and stewarding the natural world. We make our conversations into podcasts for listeners world wide and have been doing this since 2007. Please like/follow our SoundCloud channel for access to our library of more than 400 great podcasts.

Get Huel today with this exclusive offer for New Customers of 15% OFF with code alexoconnor at https://huel.com/alexoconnor (Minimum $50 purchase).For early, ad-free access to videos, and to support the channel, subscribe to my Substack: https://www.alexoconnor.com.Simon Critchley is a British philosopher, author and professor at The New School in New York. He is best known for his work on existentialism, mysticism, ethics and continental philosophy, and is the author of books including The Book of Dead Philosophers, Faith of the Faithless and Mysticism.Get Simon's book Mysticism here.TIMESTAMPS:0:00 - Is Mysticism Always Religious?7:52 - What is Mysticism?18:58 - Unification With the Divine29:58 - Mysticism and the Self40:38 - Why Are So Many Mystics Women?48:41 - The Limits of Language59:54 - Was Pascal a Mystic?01:03:21 - Where Does Simon Stand on Mysticism?01:11:22 - Where Should We Start With Learning About Mysticism?01:15:36 - Imagery in Simon's Book - CONNECTMy Website: https://www.alexoconnor.comTwitter: http://www.twitter.com/cosmicskepticFacebook: http://www.facebook.com/cosmicskepticInstagram: http://www.instagram.com/cosmicskepticTikTok: @CosmicSkeptic - CONTACTBusiness email: contact@alexoconnor.comBrand enquiries: David@modernstoa.co

Big Truss Tuesday Here in Aotearoa and many parts of the world, music brings people together, it heals, it comforts... Jordan had a breakthrough moment while in the shower where he wanted to put his own twist to NZ Music Month that happens every May to showcase kiwi artists and music, although he wanted to him a TMS twist on it and do a battle, OLD kiwi bangers vs NEW kiwi bangers to see who comes out on top!... Being an adult doesn't void you from taking L' s at anytime, any day, anywhere!... Here are some adult L's to help you watch yourself!... It's our second day here in the amazing Red Bull Studio and Matua is already stitching Brook up... Be a part of our group on the StrideKick App by entering this code into the 'Challenge Column: 96WPG7G3DM Hit that link below to stay caught up with anything and everything TMS: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.facebook.com/groups/3394787437503676/⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ We dropped some merch! Use TMS for 10% off. Here is the link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://youknowclothing.com/search?q=tms⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thank you to the team at Chemist Warehouse for helping us keep the lights on, here at The Morning Shift: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.chemistwarehouse.co.nz/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ 00:00 - Intro 3:55 - Check In (Matua Stitched Brook Up) 8:30 - Daily Bread 21:46 - Old Bangers VS New Bangers - NZ Edition 38:37 - Adulthood L's 50:27 - Outro Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us Fan MailJessica Rigal is a seasoned clinical social worker with over 20 years of experience specializing in trauma care, particularly in hospitals. Raised amidst a milieu of activism and scientific inquiry in New York City during the 60s and 70s, Jessica was introduced to meditation early on, a practice that has become central to her professional and personal life. She studied pre-med and journalism and holds an advanced degree from the New School of Social Research. Jessica is an advocate of blending meditation with Ashtanga yoga, and she actively practices and teaches these methods, emphasizing their therapeutic benefits.Visit Jessica here: https://yogabyjessica.com/Key Takeaways:Jessica Rigal's life reflects a unique blend of activism, scientific curiosity, and holistic healing practices.Meditation and yoga are central to Jessica's approach, offering profound tools for recovery and personal growth.Listening to the body and maintaining a mindfulness practice can be crucial in overcoming physical limitations and improving mental health.Jessica emphasizes a flexible approach to both yoga and life, focusing on finding joy in the present and accepting each moment as it comes.The idea of practice as a reflection of daily life, rather than a set series of poses, invites listeners to integrate mindfulness into every aspect of their being.Thanks for listening to this episode. Check out:

We're back with more amazing "IBRT Mysteries" from Jeffrey Adams and Icebox Radio Theater! This week:  The Scoop Sisters: New School Blues Part 2!

Send us Fan MailIn this conversation, Thomas's guest shares his journey through Jiu-Jitsu, discussing the evolution of training styles, the significance of community, and the balance between tradition and innovation in martial arts. The discussion touches on the challenges of parental involvement in youth sports and the need for a supportive environment that fosters growth and enjoyment. It also touches on the complexities of competition, the pain of losing, and the growth that comes from it, emphasizing the importance of maintaining a healthy ego, the role of playfulness in learning Jiu-Jitsu.Here is The RŌL Radio with the man known as the General in the Coachella Valley Jiu-Jitsu community, and a NOGI instructor at Hurricane Jiu-Jitsu in Palm Springs, California, Christopher Powell.www.rolacademy.tv 30% discount with ROLRADIO code at checkout. Over 1600 videos for your Jiu-Jitsu journey.FREE Access to ROL TV - https://rolacademy.tv/yt/269-the-rol-radiohttp://www.therolradio.comhttps://www.instagram.com/therolradiohttps://www.facebook.com/therolradio/https://www.hurricanebjj.com/https://www.instagram.com/the_generalbjj/Episode Highlights:2:23 Old School Nicknames6:39 Old School, New School, and Tradition16:08 Christopher Starts Jiu-Jiitsu20:03 The Challenge of Retention25:48 Guiding and Motivating Students34:53 Parents Coaching 38:34 Personal Growth Through Losing49:51 The Role of Videos in Learning Jiu-Jitsu54:48 Power Dynamics and Misconduct1:02:06 The Complexity of Technique and RanksSupport the show

Welcome to The Times of Israel's Daily Briefing, your 20-minute audio update on what's happening in Israel, the Middle East and the Jewish world. US reporter Luke Tress joins host Jessica Steinberg for today's episode. Following Thursday's demonstration at The New York Times building regarding the Nicholas Kristof column about alleged systematic sexual abuse of Palestinian inmates in Israel, Tress notes that protestors discussed concerns about slanted coverage that can instigate violence against Jews or Israel-related targets. As New York's New School student government tries to defund its local Hillel chapter, accusing it of violent international crimes following recent student trips to Israel, Tress discusses the dispute and the trend toward colleges attempting to exclude chapters of the international Jewish student organization. An anti-Israel protest held in Midwood, a predominantly Jewish neighborhood in Brooklyn, showed the ability to get more personal and ugly than those held at public spaces, reports Tress. The presence of swastika graffiti has become more prevalent around New York City, notes Tress, and comes from both the far left, who want to demonize Israel and from far-right pro-Nazi movements. Check out The Times of Israel's ongoing liveblog for more updates. For further reading: Jews protest at New York Times office against column alleging systematic sexual abuse of Palestinians Accused of ‘blood libel,’ NYT defends column alleging Israeli rape of Palestinian inmates Citing Israel’s ‘international crimes,’ NYC student government trying to defund Hillel Anti-Zionist protesters march through NYC Jewish neighborhood, chanting for intifada On synagogues, playgrounds: In NY, swastika graffiti is increasingly common and rarely prosecuted Subscribe to The Times of Israel Daily Briefing on Apple Podcasts, Spotify, YouTube, or wherever you get your podcasts. This episode was produced by Ari Schlacht. IMAGE: Military correspondent Emanuel Fabian joins host Amanda Borschel-Dan for today's Daily Briefing. (ToI)See omnystudio.com/listener for privacy information.

Join Michael Lerner in a spiritual biography conversation with Robert Mulhall—Commonweal board member, former president of Kripalu Center for Yoga & Health, and a consultant whose work sits at the intersection of leadership development, organizational health, and human potential. *** The New School is Commonweal's learning community and podcast — we offer conversations, workshops, and other events in areas that Commonweal champions: finding meaning, growing health and resilience, advocating for justice, and stewarding the natural world. We make our conversations into podcasts for listeners world wide and have been doing this since 2007. Please like/follow our YouTube channel for access to our library of more than 400 great podcasts. tns.commonweal.org

In this NBN episode, host Hollay Ghadery speaks with poet Sharon Israel about her poetry collection, Voice Lesson (Post Traumatic Press). Sharon Israel's poems are full of song and detail, movement and color; the pleasures she brings to the page are many and varied. We are as likely to find Israel's speaker sighting owls in the Catskills, or helping in her dad's butcher shop, as in the world of music implied by the title. In Voice Lesson, Israel's urge is alchemical, so that when she's behind the counter, “scoop[ing] shiny brains into plastic bags” she is also arranging them “carefully like pale jewels.” She's after a kind of transformation, and urges us, “Always make room/for that singing thing/inside you.”  —Daisy Fried, author of Women's Poetry: Poems and Advice Sharon Israel, Sephardic American poet and soprano, was an early recipient of Brooklyn College's Leonard Hecht Poetry Explication Award, was nominated for “Best of the Net” 2016 and won Four Lines' 2020 winter poetry challenge. Her chapbook Voice Lesson was published by Post Traumatic Press. Her work has most recently appeared in Loud Coffee Press among other journals (print and on-line) and anthologies. . Sharon hosts the radio show and podcast, Planet Poet-Words in Space, on WIOX 91.3 FM in the Catskills. All podcast episodes are available on YouTube Music, Spotify and Apple. Sharon is a member of the sound/poetry duo OrphicMix with composer Robert Cucinotta. Sharon has also collaborated with Cucinotta on works for voice, live instruments, and electronics and has premiered several of his works in New York.Sharon has a B.A. from Brooklyn College and an M.S. from the New School of Social Research. She was a local news reporter, feature writer and music critic for Courier-Life publications, Women's ENews and for the late, lamented Brooklyn Phoenix; she worked as a shoe saleswoman, microbiology lab technician, secretary, had a short stint as a municipal bond salesperson, and worked over two decades as a grant writer and development director. 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

Goldylocks Productions presents Musical Life with Elif AhmadElif Ahmad studied classical piano starting at an early age at the New School of Music in Cambridge, Massachusetts, along with one year of duet at the Longy School of Music in Cambridge, Massachusetts. Including in her ten years of music education, Elif also included 3 years of singing. Then, at the age of 17, after performing at the honor's recital at the New School of Music, Elif's life took a drastic turn resulting in her inability to continue playing piano. It was only during the covid pandemic that Elif made the decision to return to playing piano after continuous “pulls” from her soul. Currently, Elif studies under the care of the Music Director of the First Congregational Church of Madison, in Connecticut. Elif is also a Reiki Master Teacher and has incorporated Sound Healing into her Reiki Sessions, using tuning forks, and Tibetan Bowls to help people with their own healing. https://www.facebook.com/musicalLife2025 Goldylocks Productions: http://www.goldylocksproductions.com Receive links and updates for our Shows, Special Events and Sales! Subscribe to The Goldylocks Zone Blog: https://www.whitesagewoman.me Join us on Telegram: https://t.me/+YSquH-U8Vib501QU Hosted on Acast. See acast.com/privacy for more information.

In this NBN episode, host Hollay Ghadery speaks with poet Sharon Israel about her poetry collection, Voice Lesson (Post Traumatic Press). Sharon Israel's poems are full of song and detail, movement and color; the pleasures she brings to the page are many and varied. We are as likely to find Israel's speaker sighting owls in the Catskills, or helping in her dad's butcher shop, as in the world of music implied by the title. In Voice Lesson, Israel's urge is alchemical, so that when she's behind the counter, “scoop[ing] shiny brains into plastic bags” she is also arranging them “carefully like pale jewels.” She's after a kind of transformation, and urges us, “Always make room/for that singing thing/inside you.”  —Daisy Fried, author of Women's Poetry: Poems and Advice Sharon Israel, Sephardic American poet and soprano, was an early recipient of Brooklyn College's Leonard Hecht Poetry Explication Award, was nominated for “Best of the Net” 2016 and won Four Lines' 2020 winter poetry challenge. Her chapbook Voice Lesson was published by Post Traumatic Press. Her work has most recently appeared in Loud Coffee Press among other journals (print and on-line) and anthologies. . Sharon hosts the radio show and podcast, Planet Poet-Words in Space, on WIOX 91.3 FM in the Catskills. All podcast episodes are available on YouTube Music, Spotify and Apple. Sharon is a member of the sound/poetry duo OrphicMix with composer Robert Cucinotta. Sharon has also collaborated with Cucinotta on works for voice, live instruments, and electronics and has premiered several of his works in New York.Sharon has a B.A. from Brooklyn College and an M.S. from the New School of Social Research. She was a local news reporter, feature writer and music critic for Courier-Life publications, Women's ENews and for the late, lamented Brooklyn Phoenix; she worked as a shoe saleswoman, microbiology lab technician, secretary, had a short stint as a municipal bond salesperson, and worked over two decades as a grant writer and development director. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

After more than a year of both internal and external discussions, McComb Local Schools are moving forward with plans for construction of a new, single building district campus (at 14:39) --- As we mentioned yesterday, Denver is one of the trendiest vacation destinations this summer... What is there to do in the Mile High City when there's no snow on the ground? Plenty (at 25:40) --- To Your Health: May is Bladder Cancer Awareness Month... One of the most common, yet least-talked about forms of the disease (at 31:46) --- What's Happening: Highlighting the nutrition services of 50 North, including new things happening at their Marathon Cafe (at 49:57)

We're back with more amazing "IBRT Mysteries" from Jeffrey Adams and Icebox Radio Theater! This week:  The Scoop Sisters: New School Blues Part 1!

Australian-born, California-raised Rob Machado is known for many things, but perhaps most of all he's known for making it look easy. After an accomplished amateur career, Machado, a member of the New School generation, joined the world tour in 1993. He rose to second overall in 1995, the year he famously high-fived Kelly Slater in the semifinals of the Pipe Masters with the title on the line. He finished in the top 16 in following years, including number three in 2000, the same year he won the Pipe Masters.  But a broken wrist caused him to drop to 46th in 2001. He hoped to get the injury wild card into the 2002 season. But he didn't. At the time, after almost a decade on the world tour and numerous event wins, it felt like a slight. Now it looks like divine intervention. Machado set off on the path that he's been on for the last 20-plus years. Free surfing. Board exploration. Far-flung travel. One of the world's best surfers unshackled from the constraints of competition and let loose. Machado's been featured in many surf films, including Momentum in 1992, What's Next? in 1996, Thicker Than Water in 1999, Shelter in 2001, and The Drifter in 2009. He founded the Rob Machado Surf Classic in 1997. He's thrown the first pitch at more than one Padres game. He's jammed onstage with Eddie Vedder and Jack Johnson. The list goes on and on. In this episode of Soundings, Machado talks with Jamie Brisick about stepping away from competition, unlocking states of bliss in the water, the peak moments of his career, desire, creativity in surfing, and his high-five with Kelly Slater in the channel at Pipe. Presented by Rainbow® Sandals. Produced by Jonathan Shifflett. Music by PazKa (Aska Matsumiya & Paz Lenchantin). Become a TSJ member at surfersjournal.com.

XC racing has evolved fast. Technical tracks, aggressive riding styles, modern bikes and a new generation bringing personality back into the sport. Cannondale Factory riders Luca Martin and Charlie Aldridge join the podcast to talk racing, training, gravity riding and life behind the scenes of World Cup XC. Their fun, aggressive approach to racing has even caught the attention of Monster Energy, with both riders becoming new signings for the iconic brand as XC continues to evolve into one of the most exciting disciplines in mountain biking. From flat pedals and e-bikes to nearly missing race starts and accidentally brushing teeth with denture glue… this one goes everywhere.  

Dr. Nicole LePera is the New York Times bestselling author of How to Do the Work and How to Be the Love You Seek, as well as the workbook How to Meet Your Self. She was trained in clinical psychology at Cornell University and the New School for Social Research and studied at the Institute for Modern Psychoanalysis of Philadelphia. She is a holistic psychologist whose work addresses the connections among the mind, body, and soul, incorporating overall lifestyle and psychological wellness practices. She is the creator of the #SelfHealers movement where people from around the world are joining together in community to take healing into their own hands. Today on the show we discuss: how childhood patterns silently shape your adult relationships, why awareness without action keeps people trapped in self-sabotage, the connection between nervous system regulation and emotional healing, how overachievement and people pleasing are often survival responses, the dangerous trap of relying on external validation for self-worth, and what it actually takes to build healthy relationships through honesty, boundaries and self-connection and much more. ⚠ WELLNESS DISCLAIMER ⚠ Please be advised; the topics related to health and mental health in my content are for informational, discussion, and entertainment purposes only. The content is not intended to be a substitute for professional advice, diagnosis, or treatment. Always seek the advice of your health or mental health professional or other qualified health provider with any questions you may have regarding your current condition. Never disregard professional advice or delay in seeking it because of something you have heard from your favorite creator, on social media, or shared within content you've consumed. If you are in crisis or you think you may have an emergency, call your doctor or 911 immediately. If you do not have a health professional who is able to assist you, use these resources to find help: Emergency Medical Services—911 If the situation is potentially life-threatening, get immediate emergency assistance by calling 911, available 24 hours a day. National Suicide Prevention Lifeline, 1-800-273-TALK (8255) or https://suicidepreventionlifeline.org.  SAMHSA addiction and mental health treatment Referral Helpline, 1-877-SAMHSA7 (1-877-726-4727) and https://www.samhsa.gov Learn more about your ad choices. Visit megaphone.fm/adchoices

Host Scott Tong is reporting from China this week as President Trump and Chinese President Xi Jinping prepare for a high-profile summit in Beijing. He joins us from Shanghai to share his first impressions of the country since the last time he was there.Then, the summit is set for later this week. Senior research fellow Yu Jie from Chatham House explains the power dynamic going into the meeting.And, Russia held its annual Victory Day parade on Saturday. It was scaled back compared to previous years, with the country's military might displayed not in person but on giant TV screens, out of fear of a possible attack from Ukraine. Nina Khrushcheva, New School professor and great-granddaughter of Soviet premier Nikita Khrushchev, details Russian President Vladimir Putin's hold on power.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

The anxiety you carry, the way you go silent in conflict, the relentless drive that never quite feels like enough, these didn't start with you. They started much earlier, in relationships and environments your body learned to survive before you had words for any of it. And according to Dr. Nicole LePera, until you understand what your nervous system actually encoded in those years, you'll keep bumping into the same walls, the same patterns, the same exhaustion.Dr. Nicole LePera is a clinical psychologist trained at Cornell University and the New School for Social Research, a New York Times bestselling author, and the founder of the global SelfHealers community. Her new book, Reparenting the Inner Child, brings together neuroscience, attachment research, and epigenetics to explain not just why we are the way we are, but how real change actually happens in the body, not just the mind.In this conversation, you'll explore:Why your childhood adaptations were brilliant at the time, and how they became the patterns holding you back nowWhat the inner child actually is (the science, not the cliche), and why insight alone isn't enough to change itThe neuroscience of emotional flooding: what's happening in your body when you can't just calm down, no matter how much you want toWhy midlife is often the moment these old patterns finally surface, and why that's not regression, it's readinessThe epigenetics of stress: how your ancestors' survival adaptations may be running your nervous system todayWhere to actually begin if you want to do this work without needing to excavate everything that happened to you as a childIf you've spent years doing the work and still find yourself reacting in ways that don't feel like you, this conversation will help you understand why, and what to do next.You can find Nicole at: Website | Instagram | Episode TranscriptNext week, we're sharing our conversation with Jon Acuff about why procrastination is not actually your problem and the surprising permission shift that happens when you finally finish what matters most. Follow Good Life Project wherever you get your podcasts so you never miss an episode.Check out our offerings & partners: Join My New Writing Project: Awake at the WheelVisit Our Sponsor Page For Great Resources & Discount Codes Hosted on Acast. See acast.com/privacy for more information.

This morning reminded me that your parenting will always be challenged in real time. A real-life story about parenting, emotional control, and self-awareness. How do you respond in the moment?Stay connected:* YouTube - https://www.youtube.com/@shannoncasonstoryteller* Instagram - https://www.instagram.com/shannoncason/* Twitter - https://twitter.com/shannoncason* Facebook - https://www.facebook.com/ShannonCasonTalks* TikTok - https://www.tiktok.com/@shannoncasonSupport the stories:* Patreon - https://www.patreon.com/shannoncason* CashApp - https://cash.app/$ShannonCason* PayPal - https://www.paypal.com/paypalme/homemadestories1* Merch & more - https://www.shannoncason.com/Supporters get a mention on the next Homemade Stories Podcast! Hosted on Acast. See acast.com/privacy for more information.

Planet Poet-Words in Space – NEW PODCAST!  LISTEN to my WIOX show (originally aired April 21st, 2026) featuring returning guest, award-winning poet, teacher, mentor and editor, Geoffrey Nutter, who'll read from his Long-form Poem Emissaries, and share his thoughts on the importance of sound and dreams in poems and the emergence of AI.  Pamela Manché Pearce, Planet Poet's erudite Poet-at-Large, also joins us later in the program. Geoffrey Nutter is originally from Sacramento, California, but has lived in New York City for many years. He is the author of Giant Moth Perishes (Wave Books, 2021), A Summer Evening (winner of the 2001 Colorado Prize), Water's Leaves & Other Poems (Winner of the 2004 Verse Press Prize), Christopher Sunset (winner of the 2011 Sheila Motton Book Award), The Rose of January (Wave Books, 2013), and Cities at Dawn (Wave Books, 2016). He has taught poetry at several schools, including Princeton, Columbia, University of Iowa, NYU, and the New School; and currently teaches Greek and Latin Classics at Queens College. He runs the Wallson Glass Poetry Seminars in New York City, where he conducts day-long writing sessions for people from all over the world, and also does private consultations Visit:  Wallsonglass.com,   pamelampearce.com, sharonisraelpoet.com Praise for Geoffrey Nutter “With exquisite detail and humble sensibilities, Geoffrey Nutter's sixth collection of poetry, Giant Moth Perishes, offers myriad delights in language and the imagination. In cityscapes, nature, books, and color, we find respite in the complexities of the commonplace—from clocks to teardrops to moths. Here are poems that teach us how to live in the world with curious attention. And at the heart of this daydreaming is a spectacular earnestness, firmly embedded in the idea that the landscape of poetry is limitless and wild.” – Wave Books “Geoffrey Nutter is a celebrated poet, educator and mentor who works inspires audiences across generations.  Known to many as the “Poet Dad of TikTok,” he has become a symbol of the enduring power of poetry and creativity.  His daughter, Elaine, created a platform through her knowledge of social media, captivating audiences by portraying his life through her eyes…” --Tegan Gould, K Magazine article “Poet Dad of TikTok – How Geoffrey Nutter Redefines Modern Creativity” 

What is healing, really—below the story or journey, and even beyond any meaning? After Dr. Cynthia Li experienced a radical healing firsthand, she began studying the science of physiological coherence, and deepening in her practice of embodied flow. Since then, she has been supporting others in activating their body's peak healing state: for personal healing, for thriving amid life's inevitable challenges, for collective healing, and to allow healing to happen in a more effortless and playful way. Host Serena Bian will be in conversation with Cynthia for the first hour (part 1), followed by an hour of experiential play (part 2). To activate healing, flow has to be embodied. So join us in simple methods to activate what Cynthia calls "the golden triad:" mind empty, heart open, and body inhabited. These will include movement, sound, writing, and whatever emerges collectively (surprise is a quality of flow!). *** The New School is Commonweal's learning community and podcast — we offer conversations, workshops, and other events in areas that Commonweal champions: finding meaning, growing health and resilience, advocating for justice, and stewarding the natural world. We make our conversations into podcasts for listeners world wide and have been doing this since 2007. Please like/follow our YouTube channel for access to our library of more than 400 great podcasts. tns.commonweal.org

What is healing, really—below the story or journey, and even beyond any meaning? After Dr. Cynthia Li experienced a radical healing firsthand, she began studying the science of physiological coherence, and deepening in her practice of embodied flow. Since then, she has been supporting others in activating their body's peak healing state: for personal healing, for thriving amid life's inevitable challenges, for collective healing, and to allow healing to happen in a more effortless and playful way. Host Serena Bian will be in conversation with Cynthia for the first hour (part 1), followed by an hour of experiential play (part 2). To activate healing, flow has to be embodied. So join us in simple methods to activate what Cynthia calls "the golden triad:" mind empty, heart open, and body inhabited. These will include movement, sound, writing, and whatever emerges collectively (surprise is a quality of flow!). *** The New School is Commonweal's learning community and podcast — we offer conversations, workshops, and other events in areas that Commonweal champions: finding meaning, growing health and resilience, advocating for justice, and stewarding the natural world. We make our conversations into podcasts for listeners world wide and have been doing this since 2007. Please like/follow our YouTube channel for access to our library of more than 400 great podcasts. tns.commonweal.org

What if your health struggles didn't start with your habits—but with your childhood? In this episode of The Natural Heart Doctor Show Podcast, Dr. Nicole LePera explains how trauma, stress, and nervous system patterns shape your physical health, emotional reactions, and ability to create lasting change.- - - - -About the Guest:Dr. Nicole LePera is a holistic psychologist trained at Cornell University, The New School for Social Research, and the Philadelphia School of Psychoanalysis. She is the founder of the Global Healing Community Self Healer Circle and the author of multiple New York Times bestselling books, including How to Do the Work, How to Meet Yourself, and How to Be the Love You Seek.With over 9 million followers worldwide, she has become a leading voice in bridging psychology, nervous system regulation, and holistic health. Her work focuses on helping individuals understand how early life experiences shape behavior, emotional patterns, and physical health, while offering accessible tools for lasting transformation.Social Handles:Website: https://theholisticpsychologist.com/Instagram: https://www.instagram.com/the.holistic.psychologist/- - - - -Jack Wolfson, DO, FACCWebsites: ⁠⁠⁠https://drjackwolfson.com/⁠⁠⁠; ⁠⁠⁠https://naturalheartdoctor.com/⁠⁠⁠LinkedIn: ⁠⁠⁠https://www.linkedin.com/in/drjackwolfson⁠Ready to move past the confusion and fear of typical heart health approaches? Visit ⁠naturalheartdoctor.com/discovery⁠ to schedule your free discovery call and start your journey toward a 100-year heart with real, evidence-based answers.- - - - -PODCAST Thank you for listening. Please subscribe and share. This podcast is produced by DrTalks.com ⁠https://drtalks.com/podcast-service/