Podcasts about Nigeria

In Nigeria, there was a factory. A factory of body parts, that once discovered in 2014, gave this entire area the name the Ibadan Forest of Horrors. Send your scary stories to: mikeohhello@gmail.com   Instagram: https://www.instagram.com/thatchapterpodcast   Business enquires : thatchapter@night.com Researched by Benj Button Merch : https://that-chapter-shop.fourthwall.com Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the writing skills I am asked about the most is, “How do I get emotion on the page?” People ask this no matter what genre they are writing, because no one wants to produce a manuscript that is flat and unengaging. Emotion is the key, but figuring out how to inspire your reader to feel something is a tricky thing to learn and an even trickier thing to master.In her debut novel, Slanting Towards the Sea (Simon & Schuster, July 2025), Lidija Hilje has mastered it. The story feels so raw and so real—and English is not even Lidija's first language! It's a remarkable achievement. I'm excited to speak with Lidija about her path to publication and how she figured out how to get the emotion of her characters onto the page.Links from the Pod:Article from Jane FriedmanGuide on Literary Fiction from LidijaLidija's website: www.lidijahilje.comAuthor Accelerator book coaches Barbara Boyd and Nita CollinsHey everyone, it's Jenny Nash. This episode happens to feature an Author Accelerator book coach. Author Accelerator is the company I founded more than 10 years ago to lead the emerging book coaching industry. If you've been curious about what it takes to become a successful book coach, which is to say, someone who makes money, meaning, and joy out of serving writers, I've just created a bunch of great content to help you learn more. You can access it all by going to bookcoaches.com/waitlist. We'll be enrolling a new cohort of students in our certification program in October, so now's a perfect time to learn more and start making plans for a whole new career.Transcript below!EPISODE 456 - TRANSCRIPTJennie NashHey everyone, it's Jennie Nash. This episode happens to feature an Author Accelerator book coach. Author Accelerator is the company I founded more than 10 years ago to lead the emerging book coaching industry. If you've been curious about what it takes to become a successful book coach—which is to say, someone who makes money, meaning, and joy out of serving writers—I've just created a bunch of great content to help you learn more. You can access it all by going to bookcoaches.com/waitlist. That's bookcoaches.com/waitlist. We'll be enrolling a new cohort of students in our certification program in October, so now's a perfect time to learn more and start making plans for a whole new career.Multiple Speakers:Is it recording? Now it's recording, yay. Go ahead. This is the part where I stare blankly at the microphone. I don't remember what I'm supposed to be doing. Alright, let's start over. Awkward pause. I'm going to rustle some papers. Okay, now one, two, three.Jennie NashHey writers, I'm Jennie Nash, and this is the Hashtag AmWriting podcast, the place where we talk about writing all the things; short things, long things, fiction, nonfiction, pitches, and proposals. Today I'm talking with Lidija Hilje, the author of the novel Slanting Towards the Sea. And what we're talking about is how to capture emotion on the page—the most elusive thing in the entire writing universe. Lidija lives in Croatia. She's a former lawyer who I know because she became a book coach through Author Accelerator. This is her first novel, and it's something else. As a longtime book coach, it's really hard for me to read for pleasure anymore, because it's so hard not to see the writer at work and the seams of the creation. But Slanting Towards the Sea—I saw none of that. I fell wholly into the story and became lost in it; the olive trees and the sea, the pain of these people and this love triangle, and also just the love that they had for life and each other. It's almost unbearably raw—the way life itself can feel sometimes. And yet, since I know Lidija and her story to becoming a writer, I also know how much work it took to create this feeling and emotion. I'm so excited to speak with Lidija today, and so excited for people to hear about her and her story. So welcome, Lidija. Thanks for coming onto the podcast.Lidija HiljeThank you so much for having me and for this incredible introduction. I'm so honored.Jennie NashWell, before we get started, I want to read the jacket copy for Slanting Towards the Sea, so that our listeners can hear the bones of the story that you wrote. Is that okay if I read it for our listeners?Lidija HiljeAbsolutely. Thank you so much.Jennie NashOkay.Ivona divorced the love of her life, Vlaho, a decade ago. They met as students at the turn of the millennium, when newly democratic Croatia was alive with hope and promise. But the challenges of living in a burgeoning country extinguished Ivona's dreams one after another—and a devastating secret forced her to set him free. Now Vlaho is remarried and a proud father of two, while Ivona's life has taken a downward turn. In her thirties, she has returned to her childhood home to care for her ailing father. Bewildered by life's disappointments, she finds solace in reconnecting with Vlaho and is welcomed into his family by his spirited wife, Marina. But when a new man enters Ivona's life, the carefully cultivated dynamic between the three is disrupted, forcing a reckoning for all involved. Set against the mesmerizing Croatian coastline, Slanting Towards the Sea is a cinematic, emotionally searing debut about the fragile nature of potential and the transcendence of love.That's it! What a—what a—what a summary, right? So I want to start by talking about the genre of this book, Lidija. As a book coach, you specialize in helping people write literary fiction. And you're extremely articulate about defining exactly what it is. And I'd like to just start there, by talking about how you see this novel, where it's positioned and, um, and your sense of it in, as a—in the genre, um, categories, if you will. Um, and I'll share with our listeners before you answer that English is not your first language—which is something we're going to talk about from a writing perspective, but just from a listening perspective, to give people some context for that. So let's talk about—let's talk about genre.Lidija HiljeYeah, well, genre is one of my favorite topics as a book coach, and so naturally it is something I love talking about. So the first book I ever wrote, which is now safely shelved in a drawer at the bottom of a drawer, was women's fiction. And the reason why it was women's fiction was that because I was learning how to write, I was learning how to weave a story together. And in doing so, I was trying to find some commonalities in stories—like how stories work, how you develop them, how you develop a character arc, how you wrap it up towards the end. And—but my intention always was to write literary. I was just not very good at doing it. And so I kind of—like all the feedback that I got throughout my—from developmental editors—it was like geared towards kind of channeling the book towards women's fiction. And this is something that really still strikes me as a book coach: how different it is to coach literary fiction as opposed to genre fiction, which is more formulaic. So basically, that first book is safely shelved. And when I started writing this book, I was working really hard at trying to make it not be formulaic. And actually, one of the book coaches from our community helped me. I had a conversation with Barbara Boyd where I outlined my story for her, and she said there was this moment where I kind of did something in my outline…what could basically be called a cop-out—so that… I killed a character, basically, so that the…you know, that the book would close neatly, right? And so she called me out on it and said—because I talked to her specifically because she coaches literary fiction but didn't like or coach women's fiction—and I thought that perspective was something I needed. And so she said, "Why are you killing that character?” And that was the wake-up moment for me, because that was the moment when I realized that in doing so, that was the typical moment where a writer kind of goes toward the genre. And where the interesting thing in the literary fiction genre lies is exploring, you know, what happens when you don't kill the character—when you don't take the easy way out. And so, genre-wise, what I, you know—I run a book club for writers, and we read a lot of literary fiction. And so, I was constantly trying to figure out, like, what is it about these books that, you know, define genre? And in studying these books, there are several things, and I could talk about this, I guess, for centuries, but I'll try to...Jennie NashI—I love it. Let's do it.Lidija HiljeSo basically, in literary fiction, there are many things that genre fiction also has. There are themes, there are character arcs—you know, a character might grow, though not necessarily. But basically, it's much less clear than in genre fiction. In genre fiction, for instance, you have—especially in women's fiction—you will have a woman who is shy and then she becomes confident toward the end. Or you have a horrible, you know, self-obsessed character who learns their lesson toward the end of the book. It's really clear-cut. The reader can latch on to what the problem is without thinking too much about it. And literary fiction does the opposite. It fans out a little bit. It touches on many different things that kind of seem unrelated, but they are related. And this is a problem in writing it, as well as coaching it, because as a coach or as a writer, you have to be aware of all these things. You have to beware of how these things tie together so that you have the idea of this through line that goes throughout the story, whereas the reader might not be catching on as fast but does have the confidence that you, as the writer, are going to get them there, if that makes sense.Jennie NashOh, it makes so much sense. So when you were working on—I actually remember reading some opening, maybe the opening chapters of the novel that has been shelved. When I read those pages, they struck me as if they had that feeling of literary fiction. Was that your intention with that novel as well?Lidija HiljeYes, it was. It was just that I was unable to... I came to writing late. I mean, I was always a writer in the sense that I was always writing something, but I came to writing fiction and specifically books very late. It was 2017 when I started writing that book in Croatian. And the first, you know, contact with any craft or writing happened in 2019 when I finished the draft and I translated that book into English, and I started looking for ways of pub... you know, publishing that book and realized that the first draft is not the last draft. Like that was the—like it was—sometimes it's so funny to think like how recently I didn't know anything about publishing or writing at all. So basically, I did want that book to be literary fiction. I always wanted to do, you know, to write the type of fiction that I wrote in Slanting [Slanting Towards the Sea], and obviously I hope to, you know, hone my craft in the future, but it wasn't—it wasn't on that level. And the first developmental editor that I worked with in 2019, she was giving me all the logical advice that you can give someone, which is... hone the character arc you are telling here, show, you know, all those things that we tell our clients when we work with them as book coaches. But what it did is it completely stripped the literary part from it, and it made me write in scene, which is not how literary fiction is written. You know, like, one of the differences between commercial fiction and literary fiction is that you don't necessarily write in scenes. You write in summaries, and you write in postcards, which is the type of a scene that goes deeper instead of forward, if that makes sense. So you're not kind of—nothing changes for the protagonist, the protagonist doesn't realize anything, they don't decide on a new course of action, nothing new happens, but the reader's understanding of the character happens. And this is also true when you're looking at the character arc on the, you know, scope of the whole novel. Like in literary fiction, it will often be that, you know, that the character doesn't change much in terms of, like what I said before—she was shy and she stopped being shy, right? It will just be that the reader's understanding of the character deepens. And so my first book was an attempt at literary fiction, but it was not an execution. You know, the execution didn't really match that, and I feel like the advice that I got from my early developmental editor was just kind of trying to put me in the confines of commercial fiction. Which is... you know... understandable. You know, and I'm great— I'm even, like, today—I'm grateful for it because you first have to learn how to walk and then you can run, right? So I did have to go through the process of learning how to write a good scene, of learning how not to tell, of learning how to hide the seams that you—that you were talking about—you need to hide your fingerprints as a writer. And that was my learning book. I learned a lot from writing it, but by the time I was done with it, it was not—it didn't—it was not a bad book, and I got a lot of full requests for it, but it was not—it did not end up being what I had hoped for it.Jennie NashSo, in 2017, when you started that book, you said you came to writing late. Do you mind sharing where you were in your life, if you want to share your age or what you were doing in your life, just to give us some context for what you mean by that—by coming to it late?Lidija HiljeSo yeah, so 2017 was one of the hardest years in my life, I think. I think it's just the moment where I was around 35, I think. I would have to do the math, but mid-30s. And I had just been fired for the second time after my second maternity leave. And, you know jobs in my profession, which is—I was an attorney—were scarce, and I opened my own law firm. And I sat there in my law office, you know, a woman working as an attorney in Zadar, Croatia. It was not, you know, I was not having like flocks of clients, you know, going through the door. And you had to sit there from 8am to 4pm, which is our work time. And I had, um, ii had um... I started writing basically to pass the time. And I was writing just the scenes that I was interested in that, you know, brought me joy and then I, you know, wrote the intermittent scene, and the book grew and grew. And by the time I had finished it, which was a year and a half later, you know, it became... It just became a thing that I was—it took over it took over my whole life. I could not, you know and financially it was a difficult time for us as well. We had reached—my husband and I, like I said mid 30's—and we had kind of peaked career wise here in Croatia. So basically, what people don't understand about Croatia is that even if you're a brain surgeon, or if you're a lawyer, or if you're a programmer—like my husband—the money you make is not much more than the average wage. And so, you know, we were at the top of our game professionally, but not earning enough to make ends meet. And so we had started thinking about moving to Ireland basically, which is the, you know, IT hub for the... in Europe. And in thinking about it, I was sitting in my law office and I was basically crying my eyes out thinking if I go there, I'm going to be stripped of my identity as an attorney. I had been working toward that for basically 15, 20 years. And in trying to get over that pain of working towards something that in Ireland, it's not going to mean anything because, you know, the legal system is so very different and my use of language was not, you know, it's still not really good. Like professional English is not the same as this spoken English, you know, everyday English. And so, in kind of trying to accept that we are going to move and I'm going to be stripped of that identity as a lawyer, I was, in a way, you know, to make it easier for myself, I started accepting all the things that I didn't want to look at, which is I hated my job.Jennie NashRight, right.Lidija HiljeI loved being in a courtroom, like that was a good part of it. But everything else, you know, the intellectual part of it, like thinking about law, applying law to a certain case was interesting to me. But everything else was horrible. And so, once I accepted that, and my husband got a job, you know, like working for... as a freelancer for an outside company, and we could stay in Croatia, I was like, "And what am I going to do now? I can't go back to being a lawyer." And so, because his wage was a little bit more than, you know, for the first time, he could afford for me to go, you know, to take a year off and to see what I could do. And so, for a while, I interned at a foreign literary agency—that didn't go anywhere. Then I wrote, you know, a copy for a startup that didn't end up, you know, paying me. So that was kind of like—I was at the end of my rope by the, you know, toward the end of that year. And then I encountered the Author Accelerator program for book coaches, and I had during that year I had connected with writers and I have realized that basically the legal knowledge really translates beautifully into book coaching. So it was kind of like, you know, working on a story, or if you're working on a case, or working on a book, it's kind of a similar thing, similar logic applies. And so it was a… you—you know, it was, I know I'm mixing a little bit the books coaching and legal and, you know, writing careers...Jennie NashNo, it's fascinating.Lidija HiljeBut they are so intertwined in my life, yeah.Jennie NashI mean, it's fascinating the way that you trained yourself on story, basically. And I remember the conversation when you approached Author Accelerator, because you were nervous about being able to meet the requirements of our program because of your language—that English is not your first language. But I, I mean, we have a system whereby it's you try it, you know, if—if you'd meet the requirements, you meet them and if you don't, you don't. And it struck me that your grasp of story was so profound. That I didn't know... you know, it was one conversation about your grasp of the written language. But, um, you were... you were very nervous about your ability to do the work of book coaching in another language. And it's just interesting from where we sit now, so I want to circle back to the book itself and the novel and what you accomplished in it, because it really does have the thing that so many writers are always trying to do, and they talk about it—it is so elusive. Which is this capturing this feeling, emotion, letting the reader sit in the mirror of what those characters are feeling, and you feel it your own self, and that it, you know, when it, when it works, it's, it's like a magic trick. And it strikes me that you came at that very deliberately. It was not accidental. Is that fair to say? Would you believe that?Lidija HiljeI think I always wanted to write about... I always wanted to write quiet stories. And for quiet stories to work, you have to make the quiet things loud in a way. And the loud things are the emotions. And so yes, yes, it was always my goal. I was not always good at it... in writing emotion. But yeah, like during that process of writing that first book, I struggled with it a lot. I struggled with what I guess happens a lot of the time when we are writing is that we're trying very hard for the reader to see things the way we are seeing them. And this counter-intuitively causes the very reverse effect. You know the reader—is the more you're trying to make them listen to you, the more you're trying to, you know, impose your view of things on them, the more they resist. So the trick is basically, and I'll make it sound very easy, it's not easy at all to execute, but the trick is to kind of, you know, to try to find a way and to deliver that emotion without judgment. Like, this is what I'm feeling, or this is what my character is feeling. And not trying to explain it, not trying to get compassion, not trying to get the reader to feel anything. Like, you're just putting things out in the ether, and you're allowing the reader to do their own math. And this is something you can do in literary fiction, which is more open-ended, right? And the readers of genre fiction, I do need more hand-holding in that sense that they will not maybe work as hard as the literary reader. So yeah, I did work very hard. And, you know, the first book, the “shelved” book, really got to a point where I couldn't do that work anymore. But when I started Slanting [Slanting Towards the Sea]… the literally... the first scene in Slanting [Slanting Towards the Sea], came out the way it did. Like that's…Jennie NashOh wow!Lidija HiljeIt didn't change. We had this meeting of writing friends and one of them said, let's exchange, like, let's read 500 new words and I was not working on anything. I had been focusing on book coaching at that moment—that was 2021. And I went to the moment in that room when she is thinking about her ex-husband, you know, when the protagonist is thinking about her ex-husband, and it just came out the way it is. I don't think I changed basically more than three words since that scene came out the way it is. And so...Jennie NashOh, that's amazing. I want to... I want to read some of the lines from that opening scene, if I can, to give the readers... I mean the listeners a sense of what we're talking about. So here's how Slanting Towards the Sea begins.I open his socials and sift through his photos. I know their sequence like I know the palm of my hand. Better even, because I can never memorize what my palm looks like, how the life line twirls into the love line, how it begins tight and uniform, but then turns ropey. It scares me to look at it, to trace the lines, to see where they might lead me in years to come. But I know Vlaho's photos by heart.And it goes on from there. It's, it's just, it's so haunting. And, and the whole, the whole novel is, is that, has that feel to it. So when did you, when did you know that with this story you had it? You knew with the other one that you couldn't get it back, or that it wasn't going to happen. When did you begin? Was it after the sharing of that scene where you thought, oh, I've got this?Lidija HiljeI knew that I could write a scene, but there's a difference, you know, a postcard. I would call this a postcard. This is the typical example of a postcard, a scene where nothing changes for the protagonist and she doesn't understand anything new, but it kind of deepens the reader's understanding of, you know, her situation. So I knew I could write it, which is something I struggled with, with the first book, but I—there's a long road from doing one good postcard and then, you know, writing an entire book, which in literary fiction you have this additional, you know, challenge. You do a ratio basically of normal scenes and summaries, and postcards, and you have to maintain that ratio throughout the book. So, um, yeah for the... relatively early in the book I had submitted that first scene for some competitions. And I got great feedback. It won a critique match, writing a competition in the literary fiction category. And it was long listed in the BPA Pitch Prize in the UK. So I knew that... you know... you know... that the opening of the book was working. So that was good. But from then on, it was such a struggle, because you read the book, and so you know, it has dual timelines; it spans 20 years. I was struggling so bad trying to figure out whether I should do, you know, the past in flashbacks? Whether I should alternate timelines? How do I set this massive story up, which has, you know, the past, and, you know, the present, which happens over a span of... I don't know... five or six months in the present timeline. So I struggled with it a lot. But the thing that I struggled with the most was accountability. So basically, for the first year and a half—for the first year—I wrote, I think, maybe 150 pages. They were not very well set up. I was unsure of them, and I would always push the book backwards to work on client stories. And so what really changed the game for me was when I—I have this program that I run in summertime and one of our book coaches was in that program, Nita Collins. And after the program ended, we partnered up. And so she was my accountability—you know partner, as well as…you know, feedback giver and cheerleader and all the things. And so, you know, I still struggled with how to set up all the things and how to build up the narrative, which I think is really hard for people to coach literary fiction, because you can basically only offer solutions that are kind of geared towards tropey, right? So the author really does have to do all the work, in that sense, but she was absolutely instrumental in terms of me getting the pages down and just seeing if the pages hit the mark or didn't, why they didn't, you know, talking to her, just voicing, talking about the book. And so this went on for a year and within one year I had a full first draft and from then on it was a quick revising process and within three months I had three agent offers. So it was a fast process from then on, from having the first draft, to getting an agent.Jennie NashWell, big shout out to Nita Collins and the Author Accelerator community. I love that a connection happened for you guys. It's really beautiful the way you describe it. So can you explain why you decided it was time to go out to agents? With the first book you decided... this is not going to go anywhere. I'm putting it aside. And with this one, very soon after you finished the first draft, you decided to pitch. What was that decision-making process like for you?Lidija HiljeSo I want to be completely honest. I didn't shelve the first project because I thought it was not, I could not get it to a level. I was convinced that it was on a level, and I had pitched it, but I had been rejected over 100 times. So basically the industry decided for me that it wasn't going to happen. And one of the things that was really hard for me in that first book is that I set it in the US, which I've never been to the US. So it made it very difficult, but I felt like if I set the book in Croatia, I would, like the cultural perspective would overpower the quiet narrative. And I thought that I couldn't do it. And so I, you know, in Slanting [Slanting Towards the Sea], this is the base of the book. Like, it's, you know, I've found a way to weave the cultural perspective as seamlessly as I could. But the pitching process—I basically... I had the first draft done when I had decided to pitch the book. It was a little bit—to be honest, I was a little bit hasty. I had applied for The Muse & the Marketplace conversation with agents. You could...Jennie NashLike the speed dating.Lidija HiljeYeah, like the speed dating. And so I purchased a few tickets for that. And this was done for two reasons. The first one was to, you know; give myself a goal to work towards—to kind of make it all go faster. And the second goal was to see how the industry looks at this. And if there are any issues that they have with the, you know, with the book or with how it's set up, I would rather know sooner than later. And so, because they were reading not just the pages—they were reading, like, 10 pages, a synopsis, and a query letter—which I would also wholeheartedly recommend writing during the writing phase. Preferably, you know, toward the end of the first draft, you would have to do the pitching materials, because they inform so much of... they make you really focus on what the book is about and kind of drawing out the themes and the plot and kind of parsing all those things out. So I told myself: if I go there, and if I get some, you know the best thing that could happen is I could get some full requests. The worst thing that could happen was they will tell me that I'm not there, that my writing is not there, and that the and/or that the book doesn't hold together. And so what happened is, I was... I had just finished my first draft, but I knew that the ending wasn't right. I had the wrong ending. So I knew I had to rewrite the last third of the book, at least. And I went on to that conference, and out of five agents I had talked to, four had requested a full manuscript—toward, like, when I had it. So it was a huge, you know, confidence builder, and that summer I really, really—I can't, it's really amazing what happened—I just, I was so energized, and I just, you know, I don't know, it's like a visit from the muse, even though it's just work. But it felt—I felt very inspired, and I completely rewrote the book, basically, and that gave it the ending that it needed to have, which was also one of the fights against the genre confinements which I had kind of put on myself. So yeah, so that was the decision that I should be doing that, and at the same time, I wanted to be, like, 100% sure that when I sent the manuscript out, it would be finished—that it would be the best that I can make it by myself, you know, and, you know, for Nita to read it, for a couple of beta readers that I've really trusted—and they have the same taste in books that I do—to read it. And only with that feedback was I really ready to send it out to agents.Jennie NashSo—the—we'll get to what happened with the agents in a minute. But I want to return to something that you said about the culture of Croatia and the role that it has in the story, and you called it foundational. And it really feels both the setting of the country, meaning the land, there's... there's a lot you write about, um, the sea, and the food that comes from the sea, and the winds that travel, um, both on the sea and on the land, and there's olive trees that play a large part in this story. So there is a lot about the country itself, and then there's, there is a lot about the, the culture and the, the changing bureaucracies and politics and things that are going on. And it's interesting that you spoke in your own life about contemplating leaving the country, because your characters at some key points, contemplate leaving as well. So there's—there was very much about the constraints of the world of this place, and that's part of what the, you know, it's interesting that you talk about it as your concern was that it would overwhelm the story, but it's part of, for me, what the container in which that emotion happened. It felt not separate from the story, but a really critical component of it. The way these characters lived on the land, and in this place, and what that allowed them to do,—or to be—or not be and how they bumped up against it. It was... It's really like you have a historian's grasp of that, your world, was that something you were conscious of while you were writing as well?Lidija HiljeYes. I was always worried about writing, you know, a Croatian perspective. Like that was always a big concern for me because I, you know, when you're looking at literature and what interests readers, it's either, you know, the book set in the UK and US, which is kind of the clear narrative, it doesn't, it's, it's a pervasive culture that we all understand when it kind of becomes invisible, or, you know, a background noise, it doesn't really affect the narrative. Whereas the other interesting things that readers, when they want to travel somewhere, they will want to go somewhere exotic, you know, whether it's Nigeria or, you know, Eastern Asia, Japan, China, you know? So it felt like Croatia is different, but not different enough, you know? And so it's, it's kind of like almost like it makes the reader constantly forget that they're in Croatia, while at the same time kind of jarring them when you remind them of the differences, and this was one of the, one of the, you know, key points of my work with Nita, was when she would just notice things like, what is, you know, what is the, why are there, there are no dividers in the hospital between the beds? And it's just like... and now I realize that I have to explain how our hospitals look like, and it's not like yours. Or the difference in the tides, which in America are, you know, over, over, I don't know how many feet, and in Croatia they're just, um, and we talked about it when you were here in Zadar as well. So it's just like, it's very similar to America, but not quite. And that was very frustrating at times to try to depict. But on the other hand, in writing Ivona, I wanted to, I feel, I have felt and still feel a lot of frustration with my country. I love it, but I have been planning, like there have been multiple, you know, periods in my life when I had hoped to leave, just because how frustrating it is to live here sometimes with the bureaucracy and just the way the mentality is here and everything. So basically in writing her story, I wanted to air out those grievances in a way. To give them voice, to examine them, to see what they are, and like everything, you know, it's not black or white, it's the way we are here, and it's also the way I am, you know. I notice this when I interact with people from other areas, and they say that us Croats and, you know, Balkan people are very, you know, always like, always complaining about something, which is true, we are. And so, yeah, so it's difficult. It's difficult because I wanted that to be a part of the story. And at the same time, you know, there, you know, there is the possibility of the American reader who doesn't see that it's a part of the culture here, basically. That they could look at Ivona, and say, you know, why does she just not snap out of it?Jennie NashHmm…Lidija HiljeAnd, you know, it's almost like saying to me to snap out of the issues that I had as I was like, trying, you know, like banging my head against the wall, trying to get my career going, and t's not working. Like whatever you're, you're trying—like it's easier for me to make it in the US, never having set a foot there, than in Croatia.Jennie NashRight.Lidija HiljeI mean, my book is being published in the US; it's still not being published in Croatia, just for the record. So it's really hard, and it's really hard to make that a part of the book, but not have it, like, weigh the book all the way down. So it was a process. It's like all the things you try and miss and, you know, sometimes you go overboard, and then you have to pull back, and you have to be careful not to go too deeply into your own experience and just feel that the character is separate from you, and obviously she has some different issues than I had and a different occupation, but a lot of her grievances are mine as well.Jennie NashWell, that yearning and, can… I guess confusion really does come across. The how will I, how will I live? How will I love? How will I spend my days? I mean, these are the questions of our life, and they're the questions of this character in—as she goes through what she's experiencing. That they're, they're both mundane questions and, and, you know, the most profound. And, and the way you capture it... I mean, that was just to circle back to my initial idea of talking about how to capture emotion on the page, you know, which is the work of a novel. That's what it's for. That's its point. And it's just so hard to do. And you just did it on so many levels in a language that's not your first. And it really is just extraordinary and moving. And in preparing to talk to you today, I read a lot of the early reviews—people who got advanced readers copies, 'cause the book comes out in July, 2025, and we're speaking a few months before that time. So it's not fully out in the world, but it's enough that, um, I can see that reaction rippling through the readers and, and certainly through the, um, professional, um, colleagues and, you know, who've blurbed the book. But this idea of it being—the word people kept using was “moving.” And there was a lot of words like “tender” and “haunting,” you know, people really felt what it sounds like you intended them to feel. So how, from where you sit now, how does that—how does it feel to have gotten that feedback from some of the writers you admire? And to know that it did… it works doing what you want it to do? How does that feel?Lidija HiljeOh, it's, it's impossible to talk about that because I guess I'm typically Croatian in the way that it's easier for me to sit in my failures than to sit in my successes. So it's absolutely incredible. I mean, when you get a blurb from Claire Lombardo, who is, you know, I absolutely adore her books and I think she's insanely talented, you know, and for her, you know, she used the words “humane,” and that really—I was so moved by that. So my… kind of my goal is for, for people to see the humanity in these, these characters. And so it's really, it's really amazing. It's, it's beyond, you know, some of the, you know, I got really great blurbs from authors I really, really deeply admire: Thao Thai, Nguyễn Phan Quế Mai, Amy Lin, and Madeline Lucas, and as well, you know, Claire Lombardo, whom I mentioned. It's really incredible. It's so life affirming for me, you know, to be able to do that. But like I said, it's always, you know, when I'm reading the reviews, which I probably shouldn't be doing, I'm always focusing on the few that are not—just not feeling it. And then I have to remind myself it's not—this is not a book for anyone, for just everyone. And it's, you know, it's a journey. It's still, like you said, early days. I'm learning to be an author, to grow an even thicker skin in that sense. But yeah, it did feel great to get those beautiful reviews. And I'm so grateful to them for reading and donating their time to me.Jennie NashI mean, it's so not fair what I want to say. It's so not fair. But I want to ask anyway. Quite a few of the reviews said they can't wait for your next book, which, you know, it's like you're not a machine. You've just done this one. But are you thinking about that? Are you… do you have thoughts about that?Lidija HiljeYeah, I am trying to work on my new book. But, you know, I'm admiring the writers who put out a book a year. That's definitely not going to be me. There's an insane amount of work in putting the book out. You know, there's invisible work that goes behind the screen, you know, that people don't see, but it's happening and it takes up a lot of time. And there's also this emotional, you know, it's, it's—it's difficult sitting in, like… you're trying to make this your career. You wrote your heart on the paper and you're offering it to the world. And now you're suspended in this period when you put it out and you're waiting to see how it's received, whether someone tramples on it or whether it's upheld. And so it's a difficult, emotionally difficult place to be in, and I'm one of those writers who struggle to create when I'm not, you know, when I'm feeling… when I'm feeling stressed. So work on my second novel is going slowly. I've gotten to page 100, but then I realized it needed, you know, I needed to make some changes, so I'm back to page 30. So it's a, you know, it's a—it's a process. I think, you know, writing literary fiction takes time. It takes self-examination; it takes a lot of reading of other people who have done it successfully—the type of novel that you're trying to execute. So, so yeah, I'm trying to work on it, but, um, but it may, it may be a while.Jennie NashAll right. I know—that's why it wasn't fair to even ask. Um, so back to… I just want to pick up the story back to—you got the three or the four, um, agent requests, and you, you finished the novel, and, um, and you pitched to them. Can you just share what all unfolded? Because… it was pretty extraordinary.Lidija HiljeSo, basically, what happened was I didn't pitch all the four agents that had requested the pages. I had the first querying experience, which is what I said—you know 100 rejections. I took a long, hard look at it and realized that many of the time I was querying the wrong agents, genre-wise, which, you know, I was not aware of at the time. So a lot of those rejections were basically because I was querying a women's fiction book to literary agents. And that was one thing. And the other thing is… I was pretty, you know, unselective with whom I was querying the first time around. And the second time around, I was really intentional with the type of agent and their reputation and the connections within the industry—you know, just much more aware, approaching it much more professionally in terms of, you know, just wanting a good fit that would actually be able to do something for me, you know, to sell the book. And so a friend who had, you know, she had given me a referral to her agent—that didn't pan out. I gave that agent a month, an exclusive. And when that didn't pan out, I basically sent the query to my now agent, Abby Walters, at CAA. And, you know, it was a form on the website. I didn't even write her an email. It was just a form. So I didn't think that anyone would read it, basically. And I got—quickly I got like five or six requests, right out of the gate, those maybe first 10 days. And by the end of the second week I had gotten an offer of representation from Abby. And I followed up with the rest of the agents. The total, uh, the total number of, uh, full requests ended up being, I think, maybe nine out of 20, 25 queries. And, uh, I got three offers of representation, um, from fantastic agents. And, uh, deciding was hell. I was—I was—it was horrible to be in a position where you had to say no to an agent that you admire and that you would genuinely love to work with, but you know, for some reasons I chose Abby and I'm really happy with working with her. She's fantastic. I—I, you know, love her to death. And yeah, so that was the story of getting an agent. It was—it was—it was pretty quick and painless, I have to say, the second time around.Jennie NashRight, from 100 rejections with the first one to—to nine full requests and three offers on—on this one, that's an extraordinary swing, for sure. And I love the—the way that you approached it the second time with that intention. It just says everything about the kind of person and writer you are, and the book landed with Simon & Schuster and will be coming out soon, and I can't wait to share it with our listeners. It's a beautiful, beautiful novel. I just—I cherished reading every page, and we had the really great good fortune of my taking a vacation to Croatia and coming to your town and meeting you and walking through the town with you, and I treasure that for so many reasons. But having read the book, I felt like I could taste it and see it in a really special way, having had a tour of your city with you. So that, for me, was just a special—a special part of it too.Lidija HiljeThank you so much, Jennie. But actually, you kind of were a part of that, because when I thought about the places where Ivona would take a seer to, you know, to see, I had our tour in my—you know, on my mind, because I was thinking, like, what would she show someone who's from another place? Like, where would she take him? And it wouldn't be the things I showed you. I mean, I showed you some of the big things that you have to see when you're here. But I took you to the places that are more intimate to me, like more personally important to me.Jennie NashYeah.Lidija HiljeAnd so this is—this is what's behind the scene where she shows him her school. And, you know, so, yeah… you know, real life.Jennie NashOh, that's amazing. That's amazing. Well, yeah, I did get to see where you went to school and where the law office was. And—and one of the things that's really stayed with me was we went to a bookstore and it… Um, and it—just knowing what your life in books has been, Lidija, and how you've studied them and how you've worked to become a writer of the caliber that you are. And that bookstore was so small, and it had mostly books in Croatian, and it was not anything like the kind of bookstore that one would think would spark a major literary career. And it… that just has stuck with me, because you—you made your own bookstore, right? You found your own literary community. You found your own career and way, and it's just been a joy to watch and to cheer you on. And thank you for coming and talking with us today.Lidija HiljeThank you so much for having me, and all the encouragement over the years. I'm really grateful for that as well.Jennie NashAll right, well, until next time, for our listeners—keep your butt in the chair and your head in the game. Jess LaheyThe Hashtag AmWriting podcast is produced by Andrew Perella. Our intro music, aptly titled Unemployed Monday was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Canadian journalist Nora Loreto reads the latest headlines for Friday, July 11, 2025.TRNN has partnered with Loreto to syndicate and share her daily news digest with our audience. Tune in every morning to the TRNN podcast feed to hear the latest important news stories from Canada and worldwide.Find more headlines from Nora at Sandy & Nora Talk Politics podcast feed.Help us continue producing radically independent news and in-depth analysis by following us and becoming a monthly sustainer.Sign up for our newsletterLike us on FacebookFollow us on TwitterDonate to support this podcast

Diane Montagna on discrepancies in the reasons given by Pope Francis & the Vatican to crack down on the Traditional Latin Mass. Robert Royal & Fr. Gerald Murray on the fallout from the TLM controversy, and post-Francis synodality. Nina Shea & Steven Wagner discuss the violent persecution of Christians in Nigeria.

Réagissez à l'actualité de votre choix avec Juan Gomez. RFI vous donne la parole. L'occasion d'aborder des thèmes qui ne font pas toujours la Une des médias français et internationaux.

"Nollywood - Nigeria's Mirror" takes us to Lagos, the third largest film industry in the world. Scholars Jonathan Haynes and Onookome Okome serve as guides as we negotiate the intricacies and eccentricities of Nollyood's past and digital future. Nollywood films dramatize key tensions in contemporary Nigerian life, such as the relationship between tradition and cosmopolitanism. Distributed through pirate DVD networks across Africa, the Caribbean and the Diaspora at large, Nollywood films are a global phenomenon - and we'll find out why. We'll also be joined by Christopher Kirkley of the Sahel Sounds blog, who transports us to northern Nigeria and into the electronic sound world of Hausa film music. APWW #646

The farmer-herder conflict in Nigeria is a long-running and deadly struggle over land and resources, primarily between nomadic herders—mostly from the Fulani ethnic group—and settled farming communities. Driven by factors such as desertification, population growth, and shrinking grazing land, herders increasingly move south in search of pasture, leading to violent clashes with farmers over farmland and water access. The conflict has intensified in recent years, contributing to insecurity and displacement, particularly in Nigeria's Middle Belt region. It was there, in the middle of the night on June 13th, that an unknown group attacked the village of Yelewata. An estimated 200 people were killed, mostly farmers and their families, in what is considered the single deadliest massacre of its kind. The attack sparked a massive public outcry over the government's apparent inability to prevent such violence. Joining me to discuss what is driving this conflict—and why Nigerians are increasingly losing confidence in the government's ability to provide security in the Middle Belt region—is Isaac Albert, a professor of African History, Peace, and Conflict Studies at the University of Ibadan in Nigeria. We begin by discussing the recent attack on Yelewata before taking a broader look at what his research suggests is fueling this conflict—and what may be done to prevent massacres like this in the future.

Nigeria police arresting a man with a freshly cut female breasts in Asaba, Essentials for job hunting in Lagos, a walk down History lane, Banks resuming international transactions on Naira cards, Nigerian artist Olaolu Akeredolu-Ale, AKA Slawn makes history as the first artist to have his artwork featured on a Formula 1 race car, 2baba's interview, and other news that made the rounds this week.OUTLINE00:00 - Introduction03:08 - Fan Mails10:15 - Catch Up21:40 - X of the week29:59 - Believe it or not https://www.pulse.ng/articles/lifestyle/relationships-and-weddings/why-is-paternity-fraud-high-in-nigeria-the-answer-to-this-is-complex-202408012205313789153:53 - Weekly Essentials01:21:40 - Once upon a time in Nigeria01:50:58 - Prop and flop of the week02:03:50 - Sign Out

Au sommaire de Radio Foot – Jeudi 10 juillet 2025. À 16h10 TU & 21h10 TU sur RFI : Mondial des clubs : le PSG étrille le Real Madrid (4-0) et file en finale ! ; - CAN Féminine 2025 – Zambie et Maroc frappent fort, Nigeria et Algérie en embuscade ; - Ligue 1 – Une nouvelle chaîne TV pour relancer le championnat. Mondial des Clubs : le PSG étrille le Real Madrid (4-0) et file en finale ! Prestation XXL des Parisiens à New York : doublé de Fabián Ruiz, but de Dembélé et Ramos pour conclure. Le Real, dépassé à tous les étages, inquiète. Cap désormais sur une finale européenne face à Chelsea. Débat : Mbappé et Vinícius, vrais problèmes ou simples victimes d'un Real sans repères ? ⸻ CAN Féminine 2025 – Zambie et Maroc frappent fort, Nigeria et Algérie en embuscade La Zambie surprend le Sénégal (3-2), le Maroc confirme face à la RDC (4-2). La phase de groupes s'anime, les ambitions se précisent. Retour sur les temps forts ! Euro Féminin 2025 – Les Bleues battent le pays de Galles (4-1), les quarts à portée Deux victoires en deux matchs, dont un succès d'entrée contre l'Angleterre : la France trace sa route. Un nul contre les Pays-Bas suffira pour voir les quarts. Débat : les Bleues ont-elles enfin les moyens de leur ambition ? ⸻ Ligue 1 – Une nouvelle chaîne TV pour relancer le championnat La LFP lance «Ligue 1 Plus» dès le 15 août : 8 matchs par journée en direct, beIN conserve le 9e. Objectif : reconquête et financement. Débat : cette chaîne peut-elle devenir l'un des moteurs économiques du foot français en panne d'argent frais ? ⸻ Présentation : Annie Gasnier Édition : David Fintzel TCR : Laurent Salerno Consultants : Étienne Moatti, Patrick Juillard, Saïd Amdaa.

Au sommaire de Radio Foot – Jeudi 10 juillet 2025. À 16h10 TU & 21h10 TU sur RFI : Mondial des clubs : le PSG étrille le Real Madrid (4-0) et file en finale ! ; - CAN Féminine 2025 – Zambie et Maroc frappent fort, Nigeria et Algérie en embuscade ; - Ligue 1 – Une nouvelle chaîne TV pour relancer le championnat. Mondial des Clubs : le PSG étrille le Real Madrid (4-0) et file en finale ! Prestation XXL des Parisiens à New York : doublé de Fabián Ruiz, but de Dembélé et Ramos pour conclure. Le Real, dépassé à tous les étages, inquiète. Cap désormais sur une finale européenne face à Chelsea. Débat : Mbappé et Vinícius, vrais problèmes ou simples victimes d'un Real sans repères ? ⸻ CAN Féminine 2025 – Zambie et Maroc frappent fort, Nigeria et Algérie en embuscade La Zambie surprend le Sénégal (3-2), le Maroc confirme face à la RDC (4-2). La phase de groupes s'anime, les ambitions se précisent. Retour sur les temps forts ! Euro Féminin 2025 – Les Bleues battent le pays de Galles (4-1), les quarts à portée Deux victoires en deux matchs, dont un succès d'entrée contre l'Angleterre : la France trace sa route. Un nul contre les Pays-Bas suffira pour voir les quarts. Débat : les Bleues ont-elles enfin les moyens de leur ambition ? ⸻ Ligue 1 – Une nouvelle chaîne TV pour relancer le championnat La LFP lance «Ligue 1 Plus» dès le 15 août : 8 matchs par journée en direct, beIN conserve le 9e. Objectif : reconquête et financement. Débat : cette chaîne peut-elle devenir l'un des moteurs économiques du foot français en panne d'argent frais ? ⸻ Présentation : Annie Gasnier Édition : David Fintzel TCR : Laurent Salerno Consultants : Étienne Moatti, Patrick Juillard, Saïd Amdaa.

Expanding into emerging markets? Finance teams face a whole new level of risk and opportunity. In this episode of Corporate Finance Explained, we reveal how multinational companies manage currency risk, political instability, and regulatory complexity when operating in fast-growing economies.Learn how Tesla structured its China expansion, how Coca-Cola hedges naira risk in Nigeria, and how Unilever handles pricing and compliance in India.

Ghanaian authorities have rescued more than 70 young men from a trafficking ring in Nigeria. The men thought they were heading for football contracts or overseas opportunities. Why has football become a gateway for trafficking?Leaders from five African countries - Gabon, Guinea-Bissau, Liberia, Mauritania, and Senegal - have been invited to a meeting with US President Donald Trump at the White House. What will they discuss?And we hear how women in Morocco are keeping the art of rug-weaving alive, and how traditional rugs are a symbol of cultural identity.Presenter: Charles Gitonga Producers: Nyasha Michelle, Yvette Twagiramariya, Alfonso Daniels and Sunita Nahar in London. Blessing Aderogba in Lagos Technical Producer: Pat Sissons Senior Journalists: Karnie Sharp and Patricia Whitehorne Editors: Andre Lombard and Karnie Sharp

Ghanaian authorities have rescued more than 70 young men from a trafficking ring in Nigeria. The men thought they were heading for football contracts or overseas opportunities. Why has football become a gateway for trafficking? Leaders from five African countries - Gabon, Guinea-Bissau, Liberia, Mauritania, and Senegal - have been invited to a meeting with US President Donald Trump at the White House. What will they discuss? And we hear how women in Morocco are keeping the art of rug-weaving alive, and how traditional rugs are a symbol of cultural identity. Presenter: Charles Gitonga Producers: Nyasha Michelle, Yvette Twagiramariya, Alfonso Daniels and Sunita Nahar in London. Blessing Aderogba in Lagos Technical Producer: Pat Sissons Senior Journalists: Karnie Sharp and Patricia Whitehorne Editors: Andre Lombard and Karnie Sharp

Kristin and Molly discuss how Ozoz Sokoh, an Ontario-based professor of food tourism and culinary anthropologist, went about creating her new book that explores the vastness that is Nigerian food. Ozoz shares her thoughts on Nigerian cuisine, why she loves it and where the inspiration for making this book a 'bridge' came from along with the trepidation she had for writing the proposal and the challenges of writing a project of this scope. We ask her about her audience, publishing in multiple markets and how she landed on the format and the language for the recipe titles and she speaks on how she changed over the course of the book's creation, the photography process and what she hopes to work on next.Hosts: Kate Leahy + Molly Stevens + Kristin Donnelly + Andrea NguyenEditor: Abby Cerquitella MentionsOzoz SokohWebsiteBlog: Kitchen ButterflyInstagramFeast AfriqueJourney By Plate Tedx Talk James Ransom photographyAnne McBrideEnid Blyton, British children's author Visit the Everything Cookbooks Bookshop to purchase a copy of the books mentioned in the showChop Chop: Cooking the Food of Nigeria, by Ozoz SokohMallory Towers, by Enid Blyton

Funom Samson Kas is a Principle archaeologist at the Institute of Archaeology and Museum Studies, Jos, Nigeria. In this episode we discuss archaeology in Nigeria and the way in which the past relates to the present and what meaning people gain from the past.TranscriptsFor rough transcripts of this episode go to https://www.archpodnet.com/anarchaeologist/24ContactTwitter: @AnarchaeologistDiscord: ArchaeoWavePit and Pod Blogtristan@archaeologypodcastnetwork.comArchPodNetAPN Website: https://www.archpodnet.comAPN on Facebook: https://www.facebook.com/archpodnetAPN on Twitter: https://www.twitter.com/archpodnetAPN on Instagram: https://www.instagram.com/archpodnetAPN ShopAffiliatesMotion

He is one of Nigeria's most recognisable faces.The laughter, the energy, the viral “I don port o” ad that shifted culture.But behind the comedy is a man who has lived many lives.In this moving conversation, Afeez Oyetoro, popularly known as Saka, lets us into the parts of his story we don't always see.He tells us about his growing up how his uncle beats him which eventually turned him into a loner.He speaks about teaching as a lecturer and as an actor, the fulfilment that comes from doing both.And then he tells us about love.About the one decision that changed his life more than fame ever could: marrying his wife.He says, “That's the best decision I've ever made.”He reflects on how one MTN advert changed everything.How it took him from ‘that funny man' to a national icon.But even that success came with a price.This is a story about perseverance, love and resilience. It's about finding peace, not just in applause, but in family.This is Afeez Oyetoro like you've never seen him before.Only on watch.withChude.com Hosted on Acast. See acast.com/privacy for more information.

In this episode of 4th Republic, we're joined by Ayo Adio, who is currently running for Local Government Chairman of Eti Osa in Lagos. His campaign is unconventional, youth-led, and rooted in the belief that real change begins at the local level.Adio walks us through the motivations behind his candidacy, the barriers he's navigating as a first-time contender without political godfathers, and what he's learning about the way local governance actually works in Nigeria.This conversation is a crash course in political courage, civic engagement, and the complexities of running for office in a system that often discourages independent thought.

For our landmark 150th episode, we explore one of humanity's most enduring questions: What is a  witch? Far from being about broomsticks and cauldrons, the witch serves as a cultural mirror, reflecting society's deepest anxieties about power, gender, and the unknown.A witch is a designation that reveals more about the society doing the naming than about the accused. Throughout history, this label has been weaponized against the vulnerable, marginalized, and powerless as a means of social control.Yet in contemporary Western contexts, "witch" has become a self-claimed identity representing alternative spirituality, feminist empowerment, and connection to nature. This reclamation represents a deliberate rejection of patriarchal control and embrace of personal agency.We'll examine how the witch has served as both society's scapegoat and its rebel. What does it mean when an identity once used to destroy women becomes a source of empowerment? Join us as we explore this complex figure that continues to captivate and challenge us today.Make a Donation Read Report: Legislative Approaches to Harmful Practices Related to Witchcraft Accusations and Ritual Attacks, A Global ReviewThe International Network Against Witchcraft Accusations and Ritual AttacksAdvocacy for Alleged WitchesBuy the book: The Ruin of All WitchesListen to the episode: Malcolm Gaskill on the Ruin of All WitchesListen to the episode: Francis Young on Witchcraft and The Modern Roman Catholic ChurchListen to the episode: Legal Perceptions of Witch Hunting in India with Riya A Singh and Amit AnandWitchcraft Accusations in Listen to the episode: Nigeria with Dr. Leo IgweThe Thing About Salem Website⁠The Thing About Salem YouTube⁠The Thing About Salem Patreon⁠The Thing About Witch Hunts YouTube⁠⁠The Thing About Witch Hunts Website

We've heard all the usual suspects when it comes to remote engagement—Slack check-ins, virtual happy hours, maybe an annual engagement survey if we're lucky. But what if the problem isn't the tools, but the assumptions? In this episode, David Rice sits down with Dr. Adora Ikwuemesi, whose recent qualitative study of remote workers in Nigeria reveals a much deeper, more nuanced picture of what truly drives—or erodes—remote engagement.Adora walks us through her seven-part framework that emerged from conversations with 24 remote workers. Spoiler: it's not just about more communication; it's about better connection. From the physical realities of working without reliable electricity, to the surprising role that fun plays in fostering commitment, this conversation strips engagement down to its real-world components—beyond perks and policies. If you think your team is “fine,” you may just be missing the silence before the storm.Related Links:Join the People Managing People community forumSubscribe to the newsletter to get our latest articles and podcastsConnect with Dr. Adora on LinkedInCheck out Dr. Adora's website and Kendor Consulting LtdSupport the show

In episode 215, host Galit Friedlander and guest Stephanie Scull (dancer for Pharrell, Usher, America's Got Talent and founder of her own successful styling/costuming brand) get into the real-talk intersection of dance, identity, and personal style. Stephanie shares how her path took her from competitive dance and the fashion world to working major jobs in LA and what made her say yes to pivoting towards her own business. From audition looks to headshot rules to what “comfortable” really means when you're getting dressed for a career-defining moment, this one is full of practical gems and big-picture energy. We talk about boundaries, burnout, why dancers often forget their power, and how to use clothes to show the world who you are, before you even move. Follow Galit: Instagram - https://www.instagram.com/gogalit Website - https://www.gogalit.com/ Fit From Home - https://galit-s-school-0397.thinkific.com/courses/fit-from-home You can connect with Stephanie Scull on Instagram at https://www.instagram.com/scullysculls/. Stephanie's website is https://www.scullystyles.com. Listen to DanceSpeak on Apple Podcasts and Spotify.

*Disclaimer: The audio quality in this episode is unfortunately below our standards but we felt that the content was too valuable not to share it* In episode 215, host Galit Friedlander and guest Stephanie Scull (dancer for Pharrell, Usher, America's Got Talent and founder of her own successful styling/costuming brand) get into the real-talk intersection of dance, identity, and personal style. Stephanie shares how her path took her from competitive dance and the fashion world to working major jobs in LA and what made her say yes to pivoting towards her own business. From audition looks to headshot rules to what “comfortable” really means when you're getting dressed for a career-defining moment, this one is full of practical gems and big-picture energy. We talk about boundaries, burnout, why dancers often forget their power, and how to use clothes to show the world who you are, before you even move. Follow Galit: Instagram - https://www.instagram.com/gogalit Website - https://www.gogalit.com/ Fit From Home - https://galit-s-school-0397.thinkific.com/courses/fit-from-home You can connect with Stephanie Scull on Instagram at https://www.instagram.com/scullysculls/. Stephanie's website is https://www.scullystyles.com. Listen to DanceSpeak on Apple Podcasts and Spotify.

Text a Message to the ShowToday we're talking to Jake, the International Security Specialist Guy… which may or may not be his real name.  Jake has 25 years experience in law enforcement as an American cop; now he lives in Thailand and trains people who are traveling internationally into high threat environments.  Jake trains them and helps to manage crises while they're in-country, assisting them with any kind of emergency that would cause them to be ejected from that nation, from war to crime to earthquakes and other natural disasters.Traveling internationally might be the only time that many American police officers are unarmed.  They carry a gun and knife on duty and off duty but not while traveling to foreign countries, which can leave you feeling pretty exposed.  Jake is going to talk to us about how not to get kidnapped while traveling in a foreign country.  He's going to cover all kinds of scenarios including carjacking, pickpockets, and dealing with scams while traveling.Resources:The UK travel advise site: https://www.gov.uk/foreign-travel-adviceThe US travel advise site: travel.state.govMusic is by National Sweetheart and by Chris HaugenHey Chaplain Podcast Episode 117Tags:Police, Assault, Bags, Budget, Carjacking, Guns, Kidnapping, Motorcycles, Pickpocketing, Robbery, Safety, Scams, Taxis, Trains, Transportation, Travel, Bangladesh, Djibouti, Ethiopia, France, Haiti, India, Kenya, Lebanon, Mexico, Nigeria, Philippines, Poland, Romania, St Maarten, Syria, Thailand, Uganda, Ukraine, YemenSupport the showThanks for Listening! And, as always, pray for peace in our city.Subscribe/Follow here: Apple Podcasts: https://podcasts.apple.com/us/podcast/hey-chaplain/id1570155168 Spotify: https://open.spotify.com/show/2CGK9A3BmbFEUEnx3fYZOY Email us at: heychaplain44@gmail.comYou can help keep the show ad-free by buying me a virtual coffee!https://www.buymeacoffee.com/heychaplain

There is a crisis in Nigeria's Middle Belt region. Christians there have endured wave after wave of persecution at the hands of Fulani militants and Islamists. Perhaps you've heard of this crisis, but know little about how this situation came about. When did violent persecution arise in Nigeria? Who usheredin this dark period? Why did things spiral so badly? What can believers around the world do in the face of this evil?Joining the Christian Emergency Podcast to answer thesequestions and more is Steven Kefas. Steven is a Nigerian Christian who became a citizen journalist “accidentally.” Years ago, he realized that troubles were brewing, but the truth was not being shared by media outlets. Steven wanted toknow what was actually happening, and he wanted to share those insights with others. On this episode, you will glean valuable insights into a dire situation that others refuse to report on, or worse, misrepresent. If you find this episode helpful, please give us a positive rating and review wherever you listen to your favorite podcasts. Also share this episode with a friend so they too can be blessed by these insights. To learn more about resources mentioned in this episode, see the following:Steven Kefas (X / Twitter): @SKefason Middle Belt Times (News Website): https://middlebelttimes.com/ Christian Emergency Alliance (Website): https://www.christianemergency.com/ Christian Emergency Alliance (Twitter / X): https://x.com/ChristianEmerg1 Christian Emergency Alliance (Facebook): https://www.facebook.com/christianemergency Christian Emergency Alliance (Instagram): https://www.instagram.com/christianemergencyalliance/ The Christian Emergency Podcast is a production of the Christian Emergency Alliance.Soli Deo Gloria

Shawn Okpebholo is a Grammy Nominated Nigerian-American classical composer. He combines his classical training with his African roots. His music has been described as “devastatingly beautiful” and “fresh, new and fearless”. He was named 2024 Chicagoan Of The Year in classical music. He's won numerous awards. His music has involved themes of Negro Spirituals and stories of enslaved resistance and resilience. He's had commissions from the Chicago Symphony, the United States Air Force and others. His songs have been performed by the Los Angeles, Fort Worth, Portland and Des Moines Operas. And he's conducted Master Classes in Nigeria. My featured song is “Return Voyage” from the 1996 Prisoners Of Love album by The Robert Miller Group. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH SHAWN:www.shawnokpebholo.com_______________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.comFollow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

July's Sneak Attack!!! Giant Masks and Tiny Hippos in NigeriaJoin Sneak for facts about our next Storypillar destination and kid-approved jokes that will make you laugh your face off! Region: NigeriaFacts: Igbo culture, Ijele masks, yamsAnimals: Worm lizards and pygmy hipposJokes: Yams and spots!Links for Kids: -Giante Ijele Masks-Yam vs Sweet Potato-Pygmy Hippo Facts-Worm Lizard Facts-World Wildlife Fund Action Center LinkMake a donation! Support Storypillar!https://ko-fi.com/storypillar Shop at: storypillarstore.threadless.comInfo/Get in Touch: Website: www.storypillar.com Instagram: @storypillar Join our mailing list. Created, Written, and Produced by: Meg Lewis Storypillar Theme Song: Lyrics by Meg Lewis Music by Meg Lewis, Andy Jobe and Suzanna BridgesProduced by Andy Jobe Episode Cover Art: Mackenzie Allison and Meg LewisSound Effects and Additional Music: -https://freesound.org/ -Joke Time Song: https://freesound.org/people/BlondPanda/sounds/659889/ -Silly Country Rhyme Song: BackgroundMusicforVideo-Pixabay Artists: AudioCoffee; John Bartman; Angel4leonKnow a kid with great advice for Sticky Situations? Shoot us an email at info@storypillar.com.© 2025 PowerMouse Press, LLC

Bonjour les amis, nous sommes le lundi 7 juillet, voici le programme de Radio Foot à 16h10 TU & 21h10 TU sur RFI : - Top départ de la CAN féminine 2025, le Maroc commence par un match nul face à la Zambie. Victoires pour le Sénégal, le Nigeria et l'Algérie. ; - Mondial des Clubs : le PSG c'est fort, beaucoup trop fort !  Top départ de la CAN féminine 2025, le Maroc commence par un match nul face à la Zambie. Victoires pour le Sénégal, le Nigeria et l'Algérie. Nous ferons un point sur le début de la compétition avec nos consultants, dès le début de l'émission.   Mondial des Clubs : le PSG c'est fort, beaucoup trop fort ! Les joueurs de la capitale poursuivent leur saison exceptionnelle, après la victoire 2 buts à 0 face au Bayern (à 9 contre 11). Est-ce la meilleure équipe de cette compétition ? Musiala gravement blessé, une mauvaise publicité pour le Mondial des Clubs. Le Real Madrid, prochain adversaire de Paris en demi-finale. Gonzalo Garcia -Kylian Mbappé, le ticket gagnant ? Surplus de motivation pour le capitaine des Bleus face au PSG ? Chelsea-Fluminense: Voie royale pour les Blues ? Présentation : Hugo Moissonnier | Édition : Saliou Diouf | TCR : Laurent Salerno | Consultants : Éric Rabesandratana, David Lortholary, Patrick Juillard.

In the fertile central region, the fights between herders and farmers for land access has become violent. We go to one village where over 160 people were killed in what villagers say was an effort to drive them off their farms.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

In this episode, Flo is joined by Cheick, Grant, Obi, and Mo for a group episode. They recap Reps Capital launch weekend and everyone's highlights from the different events. They recap their Nigeria trip in December, from the parties to the wholesome moments. They then talk about friendship, what makes the group special, give advice to those looking to make friends, and much more!!TIME STAMPS:Start-6:42   Group intros  6:42-18:32   Reps Capital Launch weekend recap 18:32   Nigeria Recap 42:30-End     F is for friends CREDITS:Hosted by Folarin OkulajaProduced by Folarin OkulajaEngineered by Folarin OkulajaSubscribe to Go With the Flo on Apple Podcasts, Spotify, or wherever you get your podcasts!https://www.youtube.com/channel/UCeheP4nl7aAFDmC8QgV-LUQhttps://open.spotify.com/show/0TCIEfodZuvVgnOVsho4lj?si=N3Pvw2hpR7u4979mwAZ5lQ&dl_branch=1https://podcasts.apple.com/us/podcast/go-with-the-flo/id1551569516

Bonjour les amis, nous sommes le lundi 7 juillet, voici le programme de Radio Foot à 16h10 TU & 21h10 TU sur RFI : - Top départ de la CAN féminine 2025, le Maroc commence par un match nul face à la Zambie. Victoires pour le Sénégal, le Nigeria et l'Algérie. ; - Mondial des Clubs : le PSG c'est fort, beaucoup trop fort !  Top départ de la CAN féminine 2025, le Maroc commence par un match nul face à la Zambie. Victoires pour le Sénégal, le Nigeria et l'Algérie. Nous ferons un point sur le début de la compétition avec nos consultants, dès le début de l'émission.   Mondial des Clubs : le PSG c'est fort, beaucoup trop fort ! Les joueurs de la capitale poursuivent leur saison exceptionnelle, après la victoire 2 buts à 0 face au Bayern (à 9 contre 11). Est-ce la meilleure équipe de cette compétition ? Musiala gravement blessé, une mauvaise publicité pour le Mondial des Clubs. Le Real Madrid, prochain adversaire de Paris en demi-finale. Gonzalo Garcia -Kylian Mbappé, le ticket gagnant ? Surplus de motivation pour le capitaine des Bleus face au PSG ? Chelsea-Fluminense: Voie royale pour les Blues ? Présentation : Hugo Moissonnier | Édition : Saliou Diouf | TCR : Laurent Salerno | Consultants : Éric Rabesandratana, David Lortholary, Patrick Juillard.

The Doctor goes home to Lagos, Nigeria, and finds themself trapped in a barbershop. In a powerful script by Inua Ellams, Ncuti Gatwa's portrayal of the Doctor is equalled by Ariyon Bakare as the Barber. There's much to like in this story, but Jo Martin was underused in her cameo — RTD, just give Martin her own series already. We thought shoehorning in Mrs Flood in this story was a tad lame. We'd have enjoyed seeing her wandering the Lagos marketplace ala Marcus Brody (Denholm Elliot) in Raiders of the Lost Ark. Also, we missed Varada Sethu as Belinda, but aside from a few grumbles, we quite liked this episode. Opening and closing music is "Aké" by Blick Bassy. We recorded this episode on 13 May 2025.

Wir haben es immer schon geahnt: Das Leben ist weder Ponyhof noch Kindergeburtstag. Sätze wie diese fallen ja immer dann, wenn etwas schief geht oder etwas Gravierendes passiert, Verlust, Trauer, Schmerz gehören für uns alle dazu, auch das ist bekannt. In diesen Momenten hoffen wir auf Beistand mit unserem ganz individuellen Leid, auf jemanden, der uns heilt und hilft. Wer aber schützt und stützt all die Menschen in den Regionen weltweit, in denen es zu Naturkatastrophen und Kriegen kommt? Wer fährt in die Krisengebiete und setzt dabei sein eigenes Leben auf das Spiel? Die ehrenamtlichen Mitarbeiter der medizinischen Hilfsorganisation "Ärzte ohne Grenzen" beispielsweise, deren Vorstandsvorsitzende Parnian Parvanta heute unser Gast ist. Sie kam 1982 in Kabul zur Welt, inmitten der Wirren des Afghanistankrieges, und hatte als 8jähriges Mädchen das Glück, mit ihrer Familie über Umwege nach Deutschland fliehen zu können. Immer schon wollte Parnian Parvanta Ärztin werden, sie wurde es, genauer: Fachärztin für Gynäkologie und Geburtshilfe. Nach Einsätzen z.B. in Indien, Nigeria und im Irak wurde sie 2023 zur Vorstandsvorsitzenden von "Ärzte ohne Grenzen" gewählt. Playlist: Shakira - Whenever wherever Grohe Baran - Kabul Jan Fettes Brot - Jein Freundeskreis - Mit Dir Ashiqi 2 - Tum Hi Ho Fairuz - Ya ana ya ana Shervin Hajipour - Barraye Rahat Fateh Ali Khan & Momina Mustehsan - Afareen Afareen Diese Podcast-Episode steht unter der Creative Commons Lizenz CC BY-NC-ND 4.0.

Topics: History Segment, People Are Lost, Glasses, Love Your Enemies, Singing & Skipping, Social Tip, The Vision For Life, Non-Anxious Voice, Prayers of Nigeria, I Corinthians 13, Welcome To The Show BONUS CONTENT: Toxic   Quotes: “Here's the guy who never figured it out.” “We're called to actual compassion for people.” “You don't see many people angrily skipping.” “We are all friends walking together in the same direction.” . . . Holy Ghost Mama Pre-Order! Want more of the Oddcast? Check out our website! Watch our YouTube videos here. Connect with us on Facebook! For Christian banking you can trust, click here!

Starting pistol fired ahead of Nigeria's 2027 elections. Two main opposition leaders form alliance in bid to unseat President Bola Tinubu and the ruling party.We meet a Kenyan breastmilk champion -who is donating litres of breast milk to families in need.Plus, what are natural assets and why do we need to value them in Africa?Presenter : Charles Gitonga Producers: Blessing Aderogba in Lagos, Sunita Nahar in London, and Richard Kagoe in Nairobi. Technical Producer: Philip Bull Senior Producer: Paul Bakibinga Editors: Andre Lombard and Alice Muthengi

Hop aboard the Culture Train with Asher, Kristen and their special guest Robin as they take young listeners on an immersive journey to Ipoh, Malaysia! In this colorful and educational episode, our hosts explore geology, language, and—of course—food. Discover why this vibrant city is famous for feasting and adventure! Meet Our Local Friend, Robin! • Born and raised in Ipoh, Robin shares insider secrets—from culinary tastes to cultural traditions. • He opens up about Malaysia's 135+ languages, and how locals naturally switch between Malay, English, Mandarin, Tamil, and more! • Kristen explains how Ipoh is nestled between Kuala Lumpur and Penang, surrounded by limestone hills. • Asher's super-relatable curiosity helps kids picture river valleys, caves, and temples! 2. Foodie Fun! • Ever seen muscle-y bean sprouts? Kids learn how Ipoh's mineral-rich spring water makes them fat, plump, and super juicy. • We try Bean Sprout Chicken (Nga Choy Kai)—crunchy sprouts meet tender chicken in a flavorful harmony. • And the star: Kai See Hor Fun, a silky, smooth flat noodle soup made with luxe local water—perfect for slurping (it's polite in Malaysia!). 3. Cultural Etiquette & Fun Facts • Slurping—when polite, fun, and part of the experience! • Language switching is like changing TV channels—Malaysia's linguistic magic revealed. 4. Cave Temples Teaser • Robin teases a visit to Kek Lok Tong, a secretive limestone cave temple with golden statues, peaceful gardens, and magical acoustics. Please support our mission! Website: http://culturekidsproductions.org/support ⭐ Rate & Subscribe to help us grow and reach kids around the world ⏭️ Next stop: The ARCTIC, Nigeria, Italy, and more—don't miss our upcoming Culture Train adventures!

Dr. Fenwa Milhouse is a board-certified, fellowship-trained urologist and specialist in Female Pelvic Medicine and Reconstructive Surgery (also known as Urogynecology). Originally born in Nigeria, her family immigrated to the US when she was a young child. She grew up in Texas and ended up at the University of Texas at Houston for medical school. It was there she discovered Urology for the first time and found her niche. She trained at the University of Chicago for Urology residency. Thereafter, she completed her fellowship in female pelvic medicine and reconstructive surgery.Dr. Milhouse is a distinguished recipient of the 2023 Healthcare Impact Award by Top Docs. Additionally, she was named Top Urologist in Chicago in 2023 by Women in Medicine. She currently works in Chicagoland as a pelvic floor surgeon and sexual medicine specialist. She was recently appointed to the board of the Chicago Urological Society. She is a wife and motherof 3. She is passionate about introducing the public to the world of urology. She uses social media to destigmatize pelvic floor & sexual conditions, as well as demonstrate the importance of representation in Urology. How can I cope with sexual pain? How to cope with hormonal fluctuations? What does testosterone and estrogen do to your health? What are the tools to cope with daily sexual health issues? How can challenge sexual taboos? How to have better sex? Best ways to get treatment for sexual health issues. How to Cope with High Functioning Depression.Follow Dr. Fenwa Milhouse MD Dr. Milhouse Instagram https://yourfavoriteurologist.com/ Dr. Milhouse Website https://www.instagram.com/drmilhouse/?hl=en Dr. Milhouse Youtube https://www.youtube.com/channel/UCWEyLre9xoD6Ltxaw-97p-A Follow Dr. Judith:Instagram: https://instagram.com/drjudithjoseph TikTok: https://www.tiktok.com/@drjudithjoseph Facebook: https://www.facebook.com/drjudithjoseph Website: https://www.drjudithjoseph.com/Sign up for my newsletter here: https://www.drjudithjoseph.com/newsletter-sign-upDisclaimer: You may want to consider your individual mental health needs with a licensed medical professional. This page is not medical advice.

This episode of the Only Business podcast explores how gratitude can be a powerful tool for business growth. It breaks down eight practical ways gratitude impacts client loyalty, team morale, decision-making, and long-term success. Listeners will learn how to apply gratitude as a mindset and strategy to stay focused, build stronger relationships, and move through difficult seasons with clarity and purpose.

Have you ever considered that the most profound creative education might not happen in a classroom? What if it unfolds in the buzz of a print shop or behind the lens at a world-changing cultural event? In this episode, I sit down with legendary photographer Roy Lewis, whose journey is a powerful testament to learning by doing. Roy shares how his early days in a Mississippi print shop ignited his creative spark, leading to an unconventional path where Ebony and Jet magazines became his university. He offers a firsthand account of documenting FESTAC '77, the monumental gathering of Black artists and intellectuals in Lagos, Nigeria, and explains how these experiences shaped his iconic eye. This conversation is an intimate look into a life spent capturing our stories, reminding us that the richest lessons often come from the journey itself, not a predetermined map. Chapters   00:00 Introduction to Roy Lewis and His Journey 02:53 Early Influences and First Steps in Photography 06:03 Building Relationships in the Photography World 08:59 Finding His Voice as a Photographer 11:37 The Significance of Festac 1977 14:46 Experiences and Memories from Festac 18:00 Reflections on Cultural Impact and Legacy Learn more about Roy: https://www.thehistorymakers.org/biography/roy-lewis-40   Support the Show Website: www.martineseverin.comFollow on Instagram: @martine.severin | @thisishowwecreate_ Subscribe to the Newsletter: www.martineseverin.substack.com This is How We Create is produced by Martine Severin. This episode was edited by Daniel Espinosa.   Subscribe wherever you get your podcasts Leave a review Follow us on social media Share with fellow creatives  

SIGN UP for our SIP & PAINT!

In this episode, Kyle breaks down the most important SCOTUS decision handed down this term. Also, in the Quick Hitters segment, he discusses the 12-Day War with the USA and Israel vs. Iran, New York City likely electing a bonafide Communist to be their next mayor, Muslim Fundamentalists killing over 200 Christians in Nigeria, a child therapist pleading guilty to distributing videos of infants being raped, the American Medical Association doubling down on their commitment to transing the kids, the UK decriminalizing abortion, a US Congresswomen using her baby boy as a prop, Kyle landing in Instagram jail, the lesson we can learn from the Oklahoma City Thunder winning the NBA championship. Let's get into it… Episode notes and links HERE. Donate to support our mission of equipping men to push back darkness. Learn more about your ad choices. Visit megaphone.fm/adchoices

07-03-25 - Entertainment Drill - Toledo Pulls Up Cost Of Living From Zillow And Currency Exchange Rate For Nigeria - BOSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today's show brings you flavorful food from across the globe. We discuss a new book with special Asian-style barbecue recipes. Also, a look at the healthy “African heritage diet” that can boost the immune system and reduce inflammation. And, a cookbook that's been hailed as the first comprehensive guide to home cooking from all six regions of Nigeria. Plus, attempts to grow food — in space!Listen to today's Music Heard on Air. Learn about your ad choices: dovetail.prx.org/ad-choices

Jihadist militants have launched a series of simultaneous attacks on military posts across numerous towns in Mali. It's the third major assault on Mali's army over the last month. Why is there an increase in these attacks, and what's the impact on neighbouring countries? Also, the kidnapping epidemic in Nigeria that's got many living in fear.And did you know that Ghana shares an old friendship with India? But how does the recent visit by India's Prime Minister benefit Ghana?Presenter: Charles Gitonga Producers: Yvette Twagiramariya and Tom Kavanagh Technical Producer: Philip Bull Senior Journalists: Karnie Sharp and Patricia Whitehorne Editors: Andre Lombard and Alice Muthengi

Tune in for another episode of Give The People What They Want! with Zoe Alexandra, Indian journalist Prasanth R and Roger McKenzie, international editor of Morning Star, as they discuss Donald Trump's 'big, beautiful' bill, Francesca Albanese's UN report on what economic powers and corporations are behind the Genocide in gaza, trafficking of Ghanaians to Nigeria, the intensification of the blockade on Cuba as well as the repression of demonstrations marking one year of the protests against the Finance Bill in Kenya.

The attack in democracy under President Donald Trump in the United States is both broader and deeper than you think. In this timely conversation with Carl LeVan, Professor and Chair of Politics, Governance, and Economics at American University – but speaking only in his personal capacity – we hear about the way that the government has attempted to silence critical voices by intimidating a remarkably wide range of institutions from law firms to universities and on to civil society groups and the media. This new challenge has led to the emergence of fresh sites of resistance, with new alliances and coalitions being formed outside of old structures. This podcast is therefore an essential guide not only to size and scale of the threat to democracy in Africa today, but also to the shape of the fightback to come. Guest: A. Carl LeVan is Professor and Chair of Politics, Governance, and Economics at American University. A policy engaged researcher who has experience on both sides of the divide, Carl's research centers on political institutions, democratization, and governance. He authored Contemporary Nigerian Politics: Competition in a Time of Transition and Terror (Cambridge 2019) and co-edited The Oxford Handbook of Nigerian Politics (2018). His work also includes Constituents before Assembly (2017) and studies on Boko Haram, East African power-sharing, and U.S. political trust. LeVan is a Research Associate at the University of Pretoria's Centre for the Study of the United States and serves on the editorial boards of Governance and Journal of Modern African Studies. Before his PhD from UC San Diego, he advised Nigeria's National Assembly and worked in the U.S. Congress, giving him distinctive insights into the most important political struggles of our time. Presenter: Dr Nic Cheeseman is the Professor of Democracy and International Development at the University of Birmingham and Founding Director of CEDAR. The People, Power, Politics podcast brings you the latest insights into the factors that are shaping and re-shaping our political world. It is brought to you by the Centre for Elections, Democracy, Accountability and Representation (CEDAR) based at the University of Birmingham, United Kingdom. Join us to better understand the factors that promote and undermine democratic government around the world and follow us on Twitter at @CEDAR_Bham! 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

07-03-25 - Entertainment Drill - Toledo Pulls Up Cost Of Living From Zillow And Currency Exchange Rate For Nigeria - BOSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week's episode of the Parsing Immigration Policy podcast explores a topic rarely covered in the media: marriage fraud. Guest host Marguerite Telford, the Center's Director of Communications, sits down with Richard Lee, a former USCIS Immigration Officer and author, to discuss how sham marriages are orchestrated to gain a green card—and eventually citizenship—often then bringing extended family members through chain migration. They also examine how existing U.S. laws and loopholes make it easier for bad actors to exploit the system, in part, by sharing real-life stories.Key topics:What is marriage fraud? A marriage entered with the primary intention of securing immigration benefits—green cards, citizenship, and eventual chain migration.Types of marriage fraudSingle scheme marriage (friendship marriages)Single scheme one sided marriage (U.S. citizen used and defrauded)Arranged marriage (a paid broker is used and includes fraud rings)Cases of marriage fraudThe Numbers: Rich Lee draws on his USCIS experience in Atlanta, where he uncovered approximately 3,000 marriage-fraud cases over three years, primarily involving immigrant communities common to the region – the two most common foreign nationals involved were from Nigeria and Ghana.Where do brokers find the U.S. citizens to exploit?Lee discusses how homeless people are preyed upon.VAWA fraudAliens exploit the Violence Against Women Act, a federal law that provides protection for victims of domestic violence. The law provides an easy pathway to a green card due to a huge bias towards the alien, who can claim abuse and then self-petition for a green card, all without any in-person interview. This claim of abuse often takes place without the alleged abuser's knowledge. No evidence or information can be taken from the alleged abuser or his family.Telford questions whether it would be a good idea to amend the law so abuse can be contested – maybe adding an adversarial proceeding before an immigration judge.Lee believes that VAWA cases should be taken away from the Vermont Service Center.Lee also believes that in-person interviews should be required to safeguard against fraudulent misuse.USCIS cultureLee explains that he experienced a shift in the agency's culture during his time as an immigration officer. USCIS is now focused almost exclusively on serving immigrants with little support provided to U.S. citizens.Victims are encouraged to report fraud on the ICE tipline:1-866-DHS-2-ICE or ICE.gov/tiplineHostMarguerite Telford is the Director of Communications at the Center for Immigration Studies.GuestRichard Lee is a former USCIS Immigration Officer and author.RelatedAfter the Border: 42 Eye-Opening, Shocking, Crazy, Happy & Fun Stories from a Retired U.S. Immigration OfficerIntro MontageVoices in the opening montage:Sen. Barack Obama at a 2005 press conference.Sen. John McCain in a 2010 election ad.President Lyndon Johnson, upon signing the 1965 Immigration Act.Booker T. Washington, reading in 1908 from his 1895 Atlanta Exposition speech.Laraine Newman as a "Conehead" on SNL in 1977.Hillary Clinton in a 2003 radio interview.Cesar Chavez in a 1974 interview.House Speaker Nancy Pelosi speaking to reporters in 2019.Prof. George Borjas in a 2016 C-SPAN appearance.Sen. Jeff Sessions in 2008 comments on the Senate floor.Candidate Trump in 2015 campaign speech.Charlton Heston in "Planet of the Apes".

Associate editor at The Free Press Madeleine Kearns recently wrote a piece called 'As Christians Are Slaughtered, the World Looks Away.' She retells the horrific events in which Islamist militants massacred over 200 people in Yelwata, Nigeria. Men, women, and children fell victim to the heinous incident, and it received very little media coverage. Madeleine describes eyewitness reports and examines Western media's reaction to the massacre. She also points out that Pope Leo XIV has spoken out about the crisis, suggesting ways he could bring attention to these incidents.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

The National Security Hour with Blanquita Cullum – We expose the ongoing tragic genocide against Christians in Nigeria, from Boko Haram's kidnapping and human trafficking of young women to brutal campaigns by radicalized bandits. With four ISIS-style insurgencies, limited media coverage, and fear of retaliation, this broadcast reveals the international stakes and hidden forces driving violence in Nigeria...