Podcasts about Nigerians

Whew! Finale episode of season 3 and we have out hosts discuss what it is like being the first son and daughter in a Nigerian homes, The pressure, black tax and lessons. Listen to Full Audio Version Here -- https://fanlink.tv/dueparentingpodcast Credit: Hosts: Linda Ejiofor Suleiman and Ibrahim Suleiman Producers: Chidinma Igbokweuche and Linda Ejiofor Suleiman DOP: Sammy Tobi MclarenEditor/Sound: Isaac Production Manager: Daniella Greg-ObiExecutive Producers: Ibrahim Suleiman and Chuka Ofili Special Thanks: StudiopediaFor Business Enquiries: Email us at dueparentingpod@gmail.comFollow us at https://www.instagram.com/dueparentingpod/https://www.instagram.com/ihuomalindaejiofor/https://www.instagram.com/ibrahimsuleimanofficial/https://twitter.com/dueparentingpodhttps://twitter.com/edomalohttps://twitter.com/Lindaejioforhttps://www.facebook.com/dueparentingpodMUSIC CREDIT Scandinavianz- Vacation (Vlog) D-L by Scandinavianz / scandinavianz Creative Commons — Attribution 3.0 Unported — CC BY 3.0 Free Download / Stream: https://bit.ly/_vacationMusic promoted by Audio Library • Vacation – Scandinavianz (No Copyrigh...

Most people know Meshkiey for his hilarious and sometimes chaotic skits. But this conversation showed a completely different side.In this episode of Stay By Plan, we sit down with the Nigerian creator to talk about:Ghana

Morse code transcription: vvv vvv Engelberg ski gondola crashes down mountain, killing one at Swiss resort PM swerves questions on whether he spoke to Mandelson over Epstein friendshp Urgent public health alert as Kent meningitis outbreak grows Fly tippers face punishment of clearing up rubbish Lancashire PC who binned mobile phone before arrest jailed King greets Nigerian president for first UK state visit in 37 years Cost of online passport application could rise to over 100 Body of 16 year old found after car entered River Nene Why is this meningitis outbreak so explosive Two Iranians charged under National Security Act

If you're living thousands of miles from home, how do you keep in touch, especially when your loved ones don't have reliable internet? There's a growing market across Africa and beyond for apps helping to cut the costs of international calls to older phones. And some operators have much grander ambitions. If you'd like to get in touch with the team, our email address is businessdaily@bbc.co.ukPresented and produced by Matthew KenyonBusiness Daily is the home of in-depth audio journalism devoted to the world of money and work. From small startup stories to big corporate takeovers, global economic shifts to trends in technology, we look at the key figures, ideas and events shaping business. Each episode is a 17-minute, daily deep dive into a single topic, featuring expert analysis and the people at the heart of the story.Recent episodes explore the weight-loss drug revolution, the growth in AI, the cost of living, why bond markets are so powerful, China's property bubble, and Gen Z's experience of the current job market.We also feature in-depth interviews with company founders and some of the world's most prominent CEOs. These include Google's Sundar Pichai, Wikipedia founder Jimmy Wales, and the CEO of Canva, Melanie Perkins.(Picture: Oluseyi Akinnibosun, Nigerian entrepreneur and app developer who's living in the Netherlands, about to make a call.)

In this episode of the Cha Cha Midweek Series, we break down the biggest stories shaking the African music industry this week.Ghanaian duo R2Bees make history as their 9-year-old hit “Over” tops the UK Afrobeats Chart, proving that timeless music never dies. Meanwhile, Nigerian and Ghanaian artists continue to dominate the Billboard U.S. Afrobeats charts, with names like Kidi, Kojo Blak, Oxlade, and Bayanni making major moves.We also dive into the controversy surrounding Crayon and Mavin Records, as allegations of unpaid royalties and label disputes spark conversations across the industry.Plus, we highlight the hottest songs you need to listen to right now — including new releases from Ayra Starr and rising star Mavo.If you’re into Afrobeats, Amapiano, and African music culture, this episode keeps you updated with everything you need to know.If you enjoyed this episode, don’t forget to: Follow the podcast, Share with your friends, Drop a rating/reviewLet me know which song are you feeling this week?

Nigeria sorely needed the enormous oil refinery built by Aliko Dangote, who was already Africa's richest man. We ask what that new capacity means for him, for Nigeria and for the continent. We speak to the surprisingly large and diverse Iranian diaspora in Los Angeles. And how a cancer diagnosis seems to drive some people to a life of crime.  Guests and host:Ọrẹ Ogunbiyi – Africa correspondentAryn Braun – West Coast correspondentAinslie Johnstone – data journalist Rosie Blau, co-host of “The Intelligence”Jason Palmer, co-host of “The Intelligence”Topics covered: Aliko Dangote, Nigeria, oil, energy securityIran's diaspora, Californiacancer, crime, data Get a world of insights by subscribing to Economist Podcasts+. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

Nigeria sorely needed the enormous oil refinery built by Aliko Dangote, who was already Africa's richest man. We ask what that new capacity means for him, for Nigeria and for the continent. We speak to the surprisingly large and diverse Iranian diaspora in Los Angeles. And how a cancer diagnosis seems to drive some people to a life of crime.  Guests and host:Ọrẹ Ogunbiyi – Africa correspondentAryn Braun – West Coast correspondentAinslie Johnstone – data journalist Rosie Blau, co-host of “The Intelligence”Jason Palmer, co-host of “The Intelligence”Topics covered: Aliko Dangote, Nigeria, oil, energy securityIran's diaspora, Californiacancer, crime, data Get a world of insights by subscribing to Economist Podcasts+. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

What makes a character so compelling that readers will forgive almost anything about the plot? How do you move beyond vague flaws and generic descriptions to create people who feel pulled from real life? In this solo episode, I share 15 actionable tips for writing deep characters, curated from past interviews on the podcast. In the intro, thoughts from London Book Fair [Instagram reel @jfpennauthor; Publishing Perspectives; Audible; Spotify]; Insights from a 7-figure author business [BookBub]. This show is supported by my Patrons. Join my Community and get articles, discounts, and extra audio and video tutorials on writing craft, author business, and AI tools, at Patreon.com/thecreativepenn This episode has been created from previous episodes of The Creative Penn Podcast, curated by Joanna Penn, as well as chapters from How to Write a Novel: From Idea to Book. Links to the individual episodes are included in the transcript below. In this episode: Master the ‘Believe, Care, Invest' trifecta, how to hook readers on the very first page Define the Dramatic Question: Who is your character when the chips are down? Absolute specificity. Why “she's controlling” isn't good enough Understand the Heroine's Journey, strength through connection, not solo action Use ‘Metaphor Families' to anchor dialogue and give every character a distinctive voice Find the Diagnostic Detail, the moments that prove a character is real Writing pain onto the page without writing memoir Write diverse characters as real people, not stereotypes or plot devices Give your protagonist a morally neutral ‘hero' status. Compelling beats likeable. Build vibrant side characters for series longevity and spin-off potential Use voice as a rhythmic tool Link character and plot until they're inseparable Why discovery writers can write out of order and still build deep character Find the sensory details that make characters live and breathe More help with how to write fiction here, or in my book, How to Write a Novel. Writing Characters: 15 Tips for Writing Deep Character in Your Fiction In today's episode, I'm sharing fifteen tips for writing deep characters, synthesised from some of the most insightful interviews on The Creative Penn Podcast over the past few years, combined with what I've learned across more than forty books of my own. I'll be referencing episodes with Matt Bird, Will Storr, Gail Carriger, Barbara Nickless, and Sarah Elisabeth Sawyer. I'll also draw on my own book, How to Write a Novel, which covers these fundamentals in detail. Whether you're writing your first novel or your fiftieth, whether you're a plotter or a discovery writer like me, these tips will help you create characters that readers believe in, care about, and invest in—and keep coming back for more. Let's get into it. 1. Master the ‘Believe, Care, Invest' Trifecta When I spoke with Matt Bird on episode 624, he laid out the three things you need to achieve on the very first page of your book or in the first ten minutes of a film. He calls it “Believe, Care, and Invest.” First, the reader must believe the character is a real person, somehow proving they are not a cardboard imitation of a human being, not just a generic type walking through a generic plot. Second, the reader must care about the character's circumstances. And third, the reader must invest in the character's ability to solve the story's central problem. Matt used The Hunger Games as his primary example, and it's brilliant. On the very first page, we believe Katniss's voice. Suzanne Collins writes in first person with a staccato rhythm—lots of periods, short declarative sentences—that immediately grounds us in a survivalist mentality. We care because Katniss is starving. She's protecting her little sister. And we invest because she is out there bow hunting, which Matt pointed out is one of the most badass things a character can do. She even kills a lynx two pages in and sells the pelt. We invest in her resourcefulness and grit before the plot has even begun. Matt was very clear that this has nothing to do with the character being “likable.” He said his subtitle, Writing a Hero Anyone Will Love, doesn't mean the character has to be a good person. He described “hero” as both gender-neutral and morally neutral. A hero can be totally evil or totally good. What matters is that we believe, care, and invest. He demonstrated this beautifully by breaking down the first ten minutes of WeCrashed, where the characters of Adam and Rebekah Neumann are absolutely not likable, but we are completely hooked. Adam steals his neighbour's Chinese food through a carefully orchestrated con involving an imaginary beer. It's not admirable behaviour, but the tradecraft involved, as Matt put it—using a term from spy movies—makes us invest in him. We see a character trying to solve the big problem of his life, which is that he's poor and wants to be rich, and we want to see if he can pull it off. Actionable step: Go to the first page of your current work in progress. Does it achieve all three? Does the reader believe this is a real person with a distinctive voice? Do they care about the character's circumstances? And do they invest in the character's ability to handle what's coming? If even one of those three is missing, that's your revision priority. 2. Define the Dramatic Question: Who Are They Really? Will Storr, author of The Science of Storytelling, came on episode 490 and gave one of the most powerful frameworks I've ever heard for character-driven fiction. He explained that the human brain evolved language primarily to swap social information—in other words, to gossip. We are wired to monitor other people, to ask the question: who is this person when the chips are down? That's what Will calls the Dramatic Question, and it's what he believes lies at the heart of all compelling storytelling. It's not a question about plot. It's a question about the character's soul. And every scene in your novel should force the character to answer it. His example of Lawrence of Arabia is unforgettable. The Dramatic Question for the entire film is: who are you, Lawrence? Are you ordinary or are you extraordinary? At the beginning, Lawrence is a cocky, rebellious young soldier who believes his rebelliousness makes him superior. Every iconic scene in that three-hour film tests that belief. Sometimes Lawrence acts as though he truly is extraordinary—leading the Arabs into battle, being hailed as a god—and sometimes the world strips him bare and he sees himself as ordinary. Because it's a tragedy, he never overcomes his flaw. He doubles down on his belief that he's extraordinary until he becomes monstrous, culminating in that iconic scene where he lifts a bloody dagger and sees his own reflection with horror. Will also used Jaws to demonstrate how this works in a pure action thriller. Brody's dramatic question is simple: are you going to be old Brody who is terrified of the water, or new Brody who can overcome that fear? Every scene where the shark appears is really asking that question. And the last moment of the film isn't the shark blowing up. It's Brody swimming back through the water, saying he used to be scared of the water and he can't imagine why. Actionable step: Write down the Dramatic Question for your protagonist in a single sentence. Is it “Are you ordinary or extraordinary?” or “Are you brave enough to love again?” or “Will you sacrifice your principles for survival?” If you can't answer this with specificity, your character might still be a sketch rather than a person. 3. Get rid of Vague Flaws, and use Absolute Specificity This was one of Will Storr's most important points. He said that vague thinking about characters is really the enemy. When he teaches workshops and asks writers to describe their character's flaw, most of them say something like “they're very controlling.” And Will's response is: that's not good enough. Everyone is controlling. How are they controlling? What's the specific mechanism? He gave the example of a profile he read of Theresa May during the UK's Brexit chaos. Someone who knew her said that Theresa May's problem was that she always thinks she's the only adult in every room she goes into. Will said that stopped him in his tracks because it's so precise. If you define a character with that level of specificity, you can take them and put them in any genre, any situation—a spaceship, a Victorian drawing room, a school playground—and you will know exactly how they're going to behave. The same applies to Arthur Miller's Willy Loman in Death of a Salesman, as Will described it: a man who believes absolutely in capitalistic success and the idea that when you die, you're going to be weighed on a scale, just as God weighs you for sin, but now you're weighed for success. That's not a vague flaw. That's a worldview you can drop into any story and watch it combust. Will made another counterintuitive point that I found really valuable: writers often think that piling on multiple traits will create a complex character, but the opposite is true. Starting with one highly specific flaw and running it through the demands of a relentless plot is what generates complexity. You end up with a far more nuanced, original character than if you'd started with a laundry list of vague attributes. Actionable step: Take your protagonist's flaw and pressure-test it. Is it specific enough that you could place this character in any situation and predict their behaviour? If you're stuck at “she's stubborn” or “he's insecure,” keep pushing. What kind of stubborn? What kind of insecure? Find the diagnostic sentence—the Theresa May level of precision. 4. Understand the Heroine's Journey: Strength Through Connection Gail Carriger came on episode 550 to discuss her nonfiction book, The Heroine's Journey, and it completely reframed how I think about some of my own fiction. Gail explained that the core difference between the Hero's Journey and the Heroine's Journey comes down to how strength and victory are defined. The Hero's Journey is about strength through solo action. The hero must be continually isolated to get stronger. He goes out of civilisation, faces strife alone, and achieves victory through physical prowess and self-actualisation. The Heroine's Journey is the opposite. The heroine achieves her goals by activating a network. She's a delegator, a general. She identifies where she can't do something alone, finds the people who can help, and portions out the work for mutual gain. Gail put it simply: the heroine is very good at asking for help, which our culture tends to devalue but which is actually a powerful form of strength. Crucially, Gail stressed that gender is irrelevant to which journey you're writing. Her go-to examples are striking: the recent Wonder Woman film is practically a beat-for-beat hero's journey—Gilgamesh on screen, as Gail described it. Meanwhile, Harry Potter, both the first book and the series as a whole, is a classic heroine's journey. Harry's power comes from his network—Dumbledore's Army, the Order of the Phoenix, his friendships with Ron and Hermione. He doesn't defeat Voldemort alone. He defeats Voldemort because of love and connection. This distinction has real practical consequences for writers. If you're writing a hero's journey and you hit writer's block, Gail said, the solution is usually to isolate your hero further and pile on more strife. But if you're writing a heroine's journey, the solution is probably to throw a new character into the scene—someone who has advice to offer or a skill the heroine lacks. The actual solutions to writer's block are different depending on which narrative you're writing. As I reflected on my own work, I realised that my ARKANE thriller protagonist, Morgan Sierra, follows a hero's journey—she's a solo operative, a lone wolf like Jack Reacher or James Bond. But my Mapwalker fantasy series follows a heroine's journey, with Sienna and her group of friends working together. I hadn't consciously chosen those paths; the stories led me there. But understanding the framework helps me write more intentionally now. Actionable step: Identify which journey your protagonist is on. Does your character gain strength by being alone (hero) or by building connections (heroine)? This will inform every plot decision you make, from how they face obstacles to how your story ends. 5. Use ‘Metaphor Families' to Anchor Dialogue and Voice One of the most practical techniques Matt Bird shared on episode 624 is the idea of assigning each character a “metaphor family”—a specific well of language that they draw from. This gives each character a distinctive voice that goes beyond accent or dialect. Matt explained how in The Wire, one of the most beloved TV shows of all time, every character has a different metaphor family. What struck him was that Omar, this iconic character, never utters a single curse word in the entire series. His metaphor family is pirate. He talks about parlays, uses language that feels like it belongs in Pirates of the Caribbean, and it creates this incredible ironic counterpoint against his urban setting. It tells us immediately that this is a character who sees himself in a tradition of people that doesn't match his immediate surroundings. Matt also referenced the UK version of The Office, where Gareth works at a paper company but aspires to the military. So all of his language is drawn from a military metaphor family. He doesn't talk about filing and photocopying; he talks about tactics and discipline and being on the front line. This tells us that the character has a life and dreams beyond the immediate scene—and it's the gap between aspiration and reality that makes him both funny and believable. He pointed out that a metaphor family sometimes comes from a character's background, but it's often more interesting when it comes from their aspirations. What does your character want to be? What world do they fantasise about inhabiting? That's where their language should come from. In Star Wars, Obi-Wan Kenobi is a spiritual hermit, but his metaphor family is military. He uses the language of generals and commanders, and that ironic counterpoint is part of what makes him feel so rich. Actionable step: Assign each of your main characters a metaphor family. It could be based on their job, their background, or—more interestingly—their secret aspirations. Then go through your dialogue and make sure each character is consistently drawing from that well of language. If two characters sound the same when you strip away the dialogue tags, this is the fix. 6. Find the Diagnostic Detail: The Diagonal Toast Avoid clichéd character tags—the random scar, the eye patch, the mysterious limp—unless they serve a deep narrative purpose. Matt Bird on episode 624 was very funny about this: he pointed out that Nick Fury, Odin, and eventually Thor all have eye patches in the Marvel Cinematic Universe. Eye patches are done, he said. You cannot do eye patches anymore. Instead, look for what I'm calling the “diagonal toast” detail, after a scene Matt described from Captain Marvel. In the film, Captain Marvel is trying to determine whether Nick Fury is who he says he is. She asks him to prove he isn't a shapeshifting alien. Fury shares biographical details—his history, his mother—but then she pushes further and says, name one more thing you couldn't possibly have made up about yourself. And Fury says: if toast is cut diagonally, I can't eat it. Matt said that detail is gold for a writer because it feels pulled from a real life. You can pull it from your own life and gift it to your characters, and the reader can tell it's not manufactured. He gave another example from The Sopranos: Tony Soprano's mother won't answer the phone after dark. The show's creator, David Chase, confirmed on the DVD commentary that this came from his own mother, who genuinely would not answer the phone after dark and couldn't explain why. Matt's practical advice was to keep a journal. Write down the strange, specific things that people do or say. Mine your own life for those hyper-specific details. You just need one per book. In my own writing, I've used this approach. In my ARKANE thrillers, my character Morgan Sierra has always been Angelina Jolie in my mind—specifically Jolie in Lara Croft or Mr and Mrs Smith. And Blake Daniel in my crime thriller series was based on Jesse Williams from Grey's Anatomy. I paste pictures of actors into my Scrivener projects. It helps with visuals, but also with the sense of the character, their energy and physicality. But visual details only take you so far. It's the behavioural quirks—the diagonal toast moments—that make a character feel genuinely alive. That said, physical character tags can work brilliantly when they serve the story. As I discuss in How to Write a Novel, Robert Galbraith's Cormoran Strike is an amputee, and his pain and the physical challenges of his prosthesis are a key part of every story—it's not a cosmetic detail, it's woven into the action and the character's psychology. My character Blake Daniel always wears gloves to cover the scars on his hands, which provides an angle into his wounded past as well as a visual cue for the reader. And of course, Harry Potter's lightning-shaped scar isn't just a mark—it's a direct connection to his nemesis and the mythology of the entire series. The rule of thumb is: if the tag tells us something about the character's interior life or connects to the plot, it's earning its place. If it's just there to make the character visually distinctive, it's probably a crutch. Game of Thrones takes character tags further with the family houses, each with their own mottos and sigils. The Starks say “Winter is coming” and their sigil is a dire wolf. Those aren't just labels—they're worldview made visible. Actionable step: Start a “diagonal toast” notebook. Every time you notice something strange and specific about someone's behaviour—something that feels too real to be made up—write it down. Then gift it to a character who needs more texture. 7. Displace Your Own Trauma into the Work Barbara Nickless shared something deeply personal on episode 732 that fundamentally changed how I think about putting pain onto the page. While starting At First Light, the first book in her Dr. Evan Wilding series, she lost her son to epilepsy—something called SUDEP, Sudden Unexplained Death in Epilepsy. One day he was there, and the next day he was gone. Barbara said that writing helped her cope with the trauma, that doing a deep dive into Old English literature and the Viking Age for the book's research became a lifeline. But here's what's important: she didn't give Dr. Evan Wilding her exact trauma. Evan Wilding is four feet five inches, and Barbara described how he has to walk through a world that won't adjust to him. That's its own form of learning to cope when circumstances are beyond your control. She displaced her genuine grief into the character's different but parallel struggle. When I asked her about the difference between writing for therapy and writing for an audience, she drew on her experience teaching creative writing to veterans through a collaboration between the US Department of Defense and the National Endowment for the Arts. She said she's found that she can pour her heartache into her characters and process it through them, even when writing professionally, and that the genuine emotion is what touches readers. We've all been through our own losses and griefs, so seeing how a character copes can be deeply meaningful. I've always found that putting my own pain onto the page is the most direct way to connect with a reader's soul. My character Morgan Sierra's musings on religion and the supernatural are often my own. Her restlessness, her fascination with the darker edges of faith—those come from me. But her Krav Maga fighting skills and her ability to kill the bad guys are definitely her own. That gap between what's mine and what's hers is where the fiction lives. Barbara also said something on that episode that I wrote down and stuck on my wall. She said the act of producing itself is a balm to the soul. I've been thinking about that ever since. On my own wall, I have “Measure your life by what you create.” Different words, same truth. Actionable step: If you're carrying something heavy—grief, anger, fear, regret—consider how you might displace it into a character's different but emotionally parallel struggle. Don't copy your exact situation; transform it. The emotion will be genuine, and the reader will feel it. 8. Write Diverse Characters as Real People When I spoke with Sarah Elisabeth Sawyer on episode 673—Sarah is Choctaw and a historical fiction author honoured by the Smithsonian's National Museum of the American Indian—she offered a perspective that every fiction writer needs to hear. The key message was to move away from stereotypes. Don't write your American Indian character as the “Wise Guide” who exists solely to dispense mystic wisdom to the white protagonist. Don't limit diverse characters to historical settings, as though they only exist in the past. Place them in normal, contemporary roles. Your spaceship captain, your forensic scientist, your small-town baker—any of them can be American Indian, or Nigerian, or Japanese, and their heritage should be a lived-in part of their identity, not the sole reason they exist in the story. I write international thrillers and dark fantasy, and my fiction is populated with characters from all over the world. I have a multi-cultural family and I've lived in many places and travelled widely, so I've met, worked with, and had relationships with people from different cultures. I find story ideas through travel, and if I set my books in a certain place, then the story is naturally populated with the people who live there. As I discuss in my book, How to Write a Novel, the world is a diverse place, so your fiction needs to be populated with all kinds of people. If I only populated my fiction with characters like me, they would be boring novels. There are many dimensions of difference—race, nationality, sex, age, body type, ability, religion, gender, sexual orientation, socio-economic status, class, culture, education level—and even then, don't assume that similar types of people think the same way. Some authors worry they will make mistakes. We live in a time of outrage, and some authors have been criticised for writing outside their own experience. So is it too dangerous to try? Of course not. The media amplifies outliers, and most authors include diverse characters in every book without causing offence because they work hard to get it right. It's about awareness, research, and intent. Actionable step: Audit the cast of your current work in progress. Have you written a mono-cultural perspective for all of them? If so, consider who could bring a different background, perspective, or set of cultural specifics to the story. Not as a token addition, but as a real person with a real life. 9. Respect Tribal and Cultural Specificity Sarah Elisabeth Sawyer on episode 673 was emphatic about one thing: never treat diverse groups as monolithic. If you're writing a Native American character, you must research the specific nation. Choctaw is not Navajo, just as British is not French. Sarah described the distinct cultural markers of the Choctaw people—the diamond pattern you'll see on traditional shirts and dresses, which represents the diamondback rattlesnake. They have distinct dances and songs. She said that if she saw someone in traditional dress at a distance, she would know whether they were Choctaw based on what they were wearing. She encouraged writers who want to write specifically about a nation to get to know those people. Go to events, go to a powwow, learn about the individual culture. She noted that a big misconception is that American Indians exist only in the past—she stressed that they are still here, still living their cultures, and fiction should reflect that present reality. I took a similar approach when writing Destroyer of Worlds, which is set mostly in India. I read books about Hindu myth, watched documentaries about the sadhus, and had one of my Indian readers from Mumbai check my cultural references. For Risen Gods, set in New Zealand with a young Maori protagonist, I studied books about Maori mythology and fiction by Maori authors, and had a male Maori reader check for cultural issues. Research is simply an act of empathy. The practical takeaway is this: if you're going to include a character from a specific cultural background, do the work. Use specific cultural details rather than generic signifiers. Sarah talked about how even she fell into stereotypes when she was first writing, until her mother pointed them out. If someone from within a culture can fall into those traps, the rest of us certainly can. Do the research, try your best, ask for help, and apologise if you need to. Actionable step: If you're writing a character from a specific culture, identify three to five sensory or behavioural details that are particular to that culture—not the generic version, but the real, researched, lived-in version. Consider hiring a sensitivity reader from that community to check your work. 10. Give Your Protagonist a Morally Neutral ‘Hero' Status Matt Bird was clear about this on episode 624: the word “hero” simply means the protagonist, the person we follow through the story. It's a functional role, not a moral label. We don't have to like them. We don't even have to root for their goals in a moral sense. We just have to find them compelling enough to invest our attention in their problem-solving. Think of Succession, where every member of the Roy family is varying degrees of awful, and yet the show was utterly compelling. Or WeCrashed, where Adam Neumann is a narcissistic con artist, but we can't look away because he's trying to solve the enormous problem of building an empire from nothing, and the tradecraft he employs is fascinating. As I wrote in How to Write a Novel, readers must want to spend time with your characters. They don't have to be lovable or even likable—that will depend on your genre and story choices—but they have to be captivating enough that we want to spend time with them. A character who is trying to solve a massive problem will naturally draw investment from the audience, even if we wouldn't want to have tea with them. Will Storr extended this idea by pointing out that the audience will actually root for a character to solve their problem even if the audience doesn't actually want the character's goal to be achieved in the real world. We don't really want more billionaires, but we invested in Adam Neumann's rise because that was the problem the story posed, and our brains are wired to invest in problem-solving. This connects to something deeper: what does your character want, and why? As I explore in How to Write a Novel, desire operates on multiple levels. Take a character like Phil, who joins the military during wartime. On the surface, she wants to serve her country. But she also wants to escape her dead-end town and learn new skills. Deeper still, her father and grandfather served, and by joining up, she hopes to finally earn their respect. And perhaps deepest of all, her father died on a mission under mysterious circumstances, and she wants to find out what happened from the inside. That layering of motivation is what turns a flat character into a three-dimensional one. The audience doesn't need to be told all of this explicitly. It can emerge through action, dialogue, and the choices the character makes under pressure. But you, the writer, need to know it. You need to know what your character really wants deep down, because that desire—more than any external plot device—is what drives the story forward. And your antagonist needs the same depth. They also want something, often diametrically opposed to your protagonist, and they need a reason that makes sense to them. In my ARKANE thriller Tree of Life, my antagonist is the heiress of a Brazilian mining empire who wants to restore the Earth to its original state to atone for the destruction caused by her father's company. She's part of a radical ecological group who believe the only way to restore Nature is to end all human life. It's extreme, but in an era of climate change, it's a motivation readers can understand—even if they disagree with the solution. Actionable step: If you're struggling to make a morally grey character work, make sure their problem is big enough and their methods are specific and interesting enough that we invest in the how, even if we're ambivalent about the what. 11. Build Vibrant Side Characters Gail Carriger made a point on episode 550 that was equal parts craft advice and business strategy. In a Heroine's Journey model, side characters aren't just fodder to be killed off to motivate the hero. They form a network. And because you don't have to kill them—unlike in a hero's journey, where allies are often betrayed or removed so the hero can be further isolated—you can pick up those side characters and give them their own books. Gail said this creates a really voracious reader base. You write one series with vivid side characters, and then readers fall in love with those side characters and want their stories. So you write spin-offs. The romance genre does this brilliantly—think of the Bridgerton books, where each sibling gets their own novel. The side character in one book becomes the protagonist in the next. Barbara Nickless experienced this firsthand with her Dr. Evan Wilding series. She has River Wilding, Evan's adventurous brother, and Diana, the axe-throwing research assistant, and her editor has already expressed interest in a spin-off series with those characters. Barbara described creating characters she wants to spend time with, or characters who give her nightmares but also intrigue her. That's the dual test: are they interesting enough for you to write, and interesting enough for readers to demand more? As I wrote in How to Write a Novel, characters that span series can deepen the reader's relationship with them as you expand their backstory into new plots. Readers will remember the character more than the plot or the book title, and look forward to the next instalment because they want more time with those people. British crime author Angela Marsons described it as readers feeling like returning to her characters is like putting on a pair of old slippers. Actionable step: Look at your supporting cast. Is there a side character who is vivid enough to carry their own story? If not, what could you add—a specific hobby, a distinct voice, a compelling backstory—that would make readers want more of them? 12. Use Voice as a Rhythmic Tool Voice is one of the most important elements of novel writing, and Matt Bird helped me think about it in a technical, mechanical way that I found really useful. He pointed out that the ratio of periods to commas defines a character's internal reality. A staccato rhythm—lots of periods, short sentences—suggests a character who is certain, grounded, or perhaps survivalist and traumatised. Katniss in The Hunger Games has a period-heavy voice. She's in survival mode. She doesn't have time for complexity or qualification. A flowing, comma-heavy style suggests someone more academic, more nuanced, or possibly more scattered and manipulative. The character who qualifies everything, who adds sub-clauses and digressions, is a different kind of person from the character who speaks in declarations. This is something you can actually measure. Pull up a passage of your character's dialogue or internal monologue and count the periods versus the commas. If the rhythm doesn't match who the character is supposed to be, you've found a mismatch you can fix. Sentence length is the heartbeat of your character's persona. And voice extends beyond rhythm to the words themselves. As I discussed in the metaphor families tip, each character should draw from a distinctive well of language. But voice also encompasses their relationship to silence. Some characters talk around the thing they mean; others say it straight. Some are self-deprecating; others are blunt to the point of rudeness. All of these choices are character choices, not just style choices. I find it useful to read my dialogue aloud—and not just to check for naturalness, but to hear whether each character sounds distinct. If you could swap dialogue lines between two characters and nobody would notice, you have a voice problem. One practical test: cover the dialogue tags and see if you can tell who's speaking from the words alone. Actionable step: Choose a key passage from your protagonist's point of view and read it aloud. Does the rhythm match the character? A soldier under fire should not sound like a philosophy professor at a wine tasting. Adjust the ratio of periods to commas until the voice feels right. 13. Link Character and Plot Until They're Inseparable Will Storr made the case on episode 490 that the number one problem he sees in the writing he encounters—in workshops, in submissions, even in published books—is that the characters and the plots are unconnected. There's a story happening, and there are people in it, but the story isn't a product of who those people are. He said a story should be like life. In our lives, the plots are intimately connected to who we are as characters. The goals we pursue, the obstacles we face, the same problems that keep recurring—these are products of our personalities, our flaws, our specific ways of being in the world. His framework is that your plot should be designed specifically to plot against your character. You've got a character with a particular flaw; the plot exists to test that flaw over and over until the character either transforms or doubles down and explodes. Jaws is the perfect example. Brody is afraid of water. A shark shows up in the coastal town he's responsible for protecting. The entire plot is engineered to force him to confront the one thing he cannot face. Will pointed out that the whole plot of Jaws is structured around Brody's flaw. It begins with the shark arriving, the midpoint is when Brody finally gets the courage to go into the water, and the very final scene isn't the shark blowing up—it's Brody swimming back through the water. Even a film that's ninety-eight percent action is, at its core, structured around a character with a character flaw. This is the standard I aspire to in my own work, even in my action-heavy thrillers. The external plot should be a mirror of the internal struggle. When those two are aligned, the story becomes irresistible. Will also made an important point about series fiction, which is where most commercial authors live. I asked him how this works when your character can't be transformed at the end of every book because there has to be a next book. His answer was elegant: you don't cure them. Episodic TV characters like Fleabag or David Brent or Basil Fawlty never truly change—and the fact that they don't change is actually the source of the comedy. But every episode throws a new story event at them that tests and exposes their flaw. You just keep throwing story events at them again and again. That's a soap opera, a sitcom, and a book series. As I wrote in How to Write a Novel, character flaws are aspects of personality that affect the person so much that facing and overcoming them becomes central to the plot. In Jaws, the protagonist Brody is afraid of the water, but he has to overcome that flaw to destroy the killer shark and save the town. But remember, your characters should feel like real people, so never define them purely by their flaws. The character addicted to painkillers might also be a brilliant and successful female lawyer who gets up at four in the morning to work out at the gym, likes eighties music, and volunteers at the local dog shelter at weekends. Character wounds are different from flaws. They're formed from life experience and are part of your character's backstory—traumatic events that happened before the events of your novel but shape the character's reactions in the present. In my ARKANE thrillers, Morgan Sierra's husband Elian died in her arms during a military operation. This happened before the series begins, but her memories of it recur when she faces a firefight, and she struggles to find happiness again for fear of losing someone she loves once more. And then there's the perennial advice: show, don't tell. Most writers have heard this so many times that it's easy to nod and then promptly write scenes that tell rather than show. Basically, you need to reveal your character through action and dialogue, rather than explanation. In my thriller Day of the Vikings, Morgan Sierra fights a Neo-Viking in the halls of the British Museum and brings him down with Krav Maga. That fight scene isn't just about showing action. It opens up questions about her backstory, demonstrates character, and moves the plot forward. Telling would be something like: “Morgan was an expert in Krav Maga.” Showing is the reader discovering it through the scene itself. Actionable step: Look at the main plot events of your novel. For each major turning point, ask: does this scene specifically test my protagonist's flaw? If not, can you redesign the scene so that it does? The tighter the connection between character and plot, the more powerful the story. 14. The ‘Maestra' Approach: Write Out of Order If you're a discovery writer like me, you may feel like the deep character work I've been describing sounds more suited to plotters. But Barbara Nickless gave me a beautiful metaphor on episode 732 that reframes it entirely. Barbara described her evolving writing process as being like a maestra standing in front of an orchestra. Sometimes you bring in the horns—a certain theme—and sometimes you bring in the strings—a certain character—and sometimes you turn to the soloist. It's a more organic and jumping-around process than linear writing, and Barbara said she's only recently given herself permission to work this way. When I told her that I use Scrivener to write in scenes out of order and then drag and drop them into a structure later, she was genuinely intrigued. And this is how I've always worked. I'll see the story in my mind like a movie trailer—flashes of the big emotional scenes, the pivotal confrontations, the moments of revelation—and I write those first. I don't know how they hang together until quite late in the process. Then I'll move scenes around, print the whole thing out, and figure out the connective tissue. The point is that discovery writers can absolutely build deep characters. Sometimes writing the big emotional scenes first is how you discover who the character is before you fill in the rest. You don't need a twenty-page character worksheet or a 200-page outline like Jeffery Deaver. You need to be willing to follow the character into the unknown and trust that the structure will emerge. As Barbara said, she writes to know what she's thinking. That's the discovery writer's credo. And I would add: I write to know who my characters are. Actionable step: If you're stuck on your current chapter, skip it. Write the scene that's burning in your imagination, even if it's from the middle or the end. That scene might be the key to unlocking who your character really is. 15. Use Research to Help with Empathy Research shouldn't just be about factual accuracy—it's a tool for finding the sensory details that create empathy. Barbara Nickless described research as almost an excuse to explore things that fascinate her, and I feel exactly the same way. I would go so far as to say that writing is an excuse for me to explore the things that interest me. Barbara and I both travel for our stories. For her Dr. Evan Wilding books, she did deep research into Old English literature and the Viking Age. For my thriller End of Days, I transcribed hours of video from Appalachian snake-handling churches on YouTube to understand the worldview of the worshippers, because my antagonist was brought up in that tradition. I couldn't just make that up. I had to hear their language, feel their conviction, understand why they would hold venomous serpents as an act of faith. Barbara also mentioned getting to Israel and the West Bank for research, and I've been to both places too. Finding that one specific sensory detail—the smell of a particular location, the specific way an expert handles a tool, the sound of a particular kind of music—makes the character's life feel lived-in. It's the difference between a character who is described as living in a place and a character who inhabits it. As I wrote in How to Write a Novel, don't write what you know. Write what you want to learn about. I love research. It's part of why I'm an author in the first place. I take any excuse to dive into a world different from my own. Research using books, films, podcasts, and travel, and focus particularly on sources produced by people from the worldview you want to understand. Actionable step: For your next piece of character research, go beyond reading. Watch a documentary, visit a location, talk to someone who lives the experience. Find one sensory detail—a smell, a sound, a texture—that you couldn't have invented. That detail will make your character feel real. Bonus: Measure Your Life by What You Create In an age of AI and a tsunami of content, your ultimate brand protection is the quality of your human creation. Barbara Nickless said that the act of producing itself is a balm to the soul, and I believe that with every fibre of my being. Don't be afraid to take that step back, like I did with my deadlifting. Take the time to master these deeper craft skills. It might feel like you're slowing down or going backwards by not chasing the latest marketing trend, but it's the only way to step forward into a sustainable, high-quality career. Your characters are your signature. No AI can replicate the specificity of your lived experience, the emotional truth of your displaced trauma, or the sensory details you've gathered from a life of curiosity and travel. Those are yours. Pour them into your characters, and they will resonate for years to come. Actionable Takeaway: Identify the Dramatic Question for your current protagonist. Can you state it in a single sentence with the kind of specificity Will Storr described? Is it as clear as “Are you ordinary or extraordinary?” or “Are you the only adult in the room?” If you can't answer it with that kind of precision, your character might still be a sketch. Give them a diagonal toast moment today. Find the one hyper-specific detail that proves they are not an imitation of life. And then ask yourself: does your plot test your character's flaw in every major scene? If you can align those two things—a precisely defined character and a plot that exists to test them—you will have a story that readers cannot put down. References and Deep Dives The episodes I've referenced today are all available with full transcripts at TheCreativePenn.com: Episode 732 — Facing Fears, and Writing Unique Characters with Barbara Nickless Episode 673 — Writing Choctaw Characters and Diversity in Fiction with Sarah Elisabeth Sawyer Episode 624 — Writing Characters with Matt Bird Episode 550 — The Heroine's Journey with Gail Carriger Episode 490 — How Character Flaws Shape Story with Will Storr Books mentioned: The Secrets of Character: Writing a Hero Anyone Will Love by Matt Bird The Science of Storytelling by Will Storr The Heroine's Journey by Gail Carriger How to Write a Novel: From Idea to Book by Joanna Penn You can find all my books for authors at CreativePennBooks.com and my fiction and memoir at JFPennBooks.com Happy writing! How was this episode created? This episode was initiated created by NotebookLM based on YouTube videos of the episodes linked above from YouTube/TheCreativePenn, plus my text chapters on character from How to Write a Novel. NotebookLM created a blog post from the material and then I expanded it and fact checked it with Claude.ai 4.6 Opus, and then I used my voice clone at ElevenLabs to narrate it. The post Writing Characters: 15 Actionable Tips For Writing Deep Character first appeared on The Creative Penn.

The United States and Israel have now been at war with Iran for two weeks, since 28th February. In that time, there have been over 1200 civilian deaths in Iran, including 168, most of them children, at a girls' school in Minab, central Iran. Supreme Leader Ali Khamenei, who had ruled Iran for over forty years, was killed on the first day of the war. There have been wider casualties throughout the region. Iran has fired missiles at neighbouring countries, including Dubai, Kuwait, Turkey, Saudi Arabia, UAE, Qatar, Bahrain and Israel. For journalists at BBC Persian, reporting on the war from outside of the country has been incredibly difficult. The internet has been shut down on the 90 million people living inside Iran, making it difficult for people to get information on what is happening round them and which locations are being hit by bombing. It is also extremely difficult for Iranians outside the country to contact those inside. BBC Persian's Ghoncheh Habibiazad and Taraneh Fathalian; and BBC Monitoring's Sarbas Nazari, discuss what is known about the situation within Iran. This edition was recorded on 12th March 2026. The Fifth Floor is at the heart of global storytelling on the BBC World Service, bringing you the best stories from journalists in the BBC's 43 language services. We're here to help you make sense of the stories making headlines around the world; to excite your curiosity and to get to grips with the facts.   Recent episodes have investigated Russia's youth armies and how they make soldiers of Ukrainian children; featured the BBC team who were the first journalists to the site of the Nigerian school kidnappings and reflected the effects of internet blackouts in Iran, Uganda and India.   If you want to know more about Venezuela's acting president, Delcy Rodriguez, and the legacy of Hugo Chavez; or how Vladimir Putin's network of deep cover spies operates; or why Donald Trump signed an executive order granting white South Africans asylum in the US, we have all those stories and more. Presented by Faranak Amidi. Produced by Caroline Ferguson and Laura Thomas(Photo: Faranak Amidi. Credit: Tricia Yourkevich.)

We sit down with Olusola Sowemimo, a lawyer-turned-farmer and founder of Ope Farms in Nigeria, to unpack how grief became a blueprint for organic, traceable, and profitable agriculture. Her catalyst was a cancer conference in California where survivors only ate what they could trace—an idea that reshaped how she thinks about soil, inputs, and integrity. Back home, the early days were rough: antibiotic-laced manure wiped out hundreds of tomato plants, a strong tobacco extract burned cucumbers, and buyers were nowhere in sight. What changed? Relentless record keeping, strict organic standards, and smart design—corner plots with buffer zones, on-farm worker housing, and a refusal to cut down trees.Olusola details how rabbits and carefully managed poultry helped her close nutrient loops, why fruit trees are the most underrated cash-flow asset for new organic farms, and how processing gluts into shelf-stable products saved revenue. She shares the playbook for market fit—from salad staples to premium greens like kale—and the power of traceability in winning home deliveries, retail partners, and even international lab validations for turmeric and ginger. We also explore the human side: training that prevents avoidable mistakes, social media that tells an honest story, and the mindset shift needed to move beyond "organic is impossible".More about this episode.==========================In Investing in Regenerative Agriculture and Food podcast show we talk to the pioneers in the regenerative food and agriculture space to learn more on how to put our money to work to regenerate soil, people, local communities and ecosystems while making an appropriate and fair return. Hosted by Koen van Seijen.==========================

Obi breaks down his full tech sales origin story — from growing up in a Nigerian household where doctor, engineer, or lawyer were the only options, to switching majors without telling his parents, working two jobs in college, transferring schools, and getting cussed out on his very first cold call at a Fortune 500 internship. He walks through the exact mindset shift that turned it all around and how he went on to lead 12 interns and land a full-time offer before his senior year ended. If you're trying to figure out what you want to do with your life — or break into tech sales without a traditional background — this episode is your starting point.

Lets talk about it

Submarine and A Roach — Nigeria's funniest podcast and the #1 comedy podcast in Nigeria — presents Episode 248, “OZEMPIC LIVES MATTER – Part II,” hosted by TMT, Koj, and Mayowa.This week starts in the trenches of modern insecurity: pink lips, under-bridge beauty hacks, instant gratification, and the booming business of selling people relief from bodies they were taught to hate. The boys use Serena Williams, Oprah, and the whole GLP-1 era to ask a darker question: if even the richest, most decorated people in the world can still be got by insecurity, what exactly is capitalism doing to the rest of us?From there, it opens into a bigger conversation about media, ambition, and why America remains the greatest and worst country on earth: the kind of place where someone can raise millions for a football media product just because they believe hard enough. That leads into a proper Submaroach media summit — the boys sketch out what a real Nigerian football media company could look like, name their Mount Rushmore of Nigerian media, and side-eye the structures that make some ecosystems flourish while others are left begging telcos and betting companies for crumbs.They also get into the week's current-events circus: Timothée Chalamet casually cooking opera and ballet, Canal+ swallowing Showmax, and Daniel Bwala embarrassing himself in public service of power. It becomes a wider riff on shamelessness, political attack dogs, and why journalism is not supposed to be government PR, no matter how badly some people want applause for bare minimum governance.Then the episode lands on the piracy debate, sparked by Big Jolls and a very online argument about books, access, and theft. The boys wrestle with the real tension at the heart of it: if the people downloading the books were never going to buy them anyway, who exactly is being robbed — and does that change the ethics of the act? It's a classic Submaroach mix of body politics, Nigerian media, celebrity nonsense, political foolishness, and digital morality, all tied together with jokes sharp enough to cut through the discourse.

It's been another huge week for Nigerian footballers across Europe and beyond

We're joined by Olumurewa and Isioma, hosts of the MENISMS Podcast and friends of the podcast, for a lively conversation about modern dating and the behaviors that keep showing up in it.We unpack the question “what actually makes someone a fuck boy?”, diving into things like love bombing, avoiding labels, and the rise of situationship culture, especially in the Nigerian dating scene.The conversation also takes a lighter turn as we talk about icks — the small (and sometimes ridiculous) things that instantly turn people off in dating.Overall, it's a witty and chaotic episode filled with laughs & honest takes. JOIN THE WHATSAPP CHANNEL:https://whatsapp.com/channel/0029VbBii6eLtOjA3h8LHg2BFOLLOW US ON:http://twitter.com/sonigerian_http://Instagram.com/sonigerian_http://twitter.com/damiar0shttp://instagram.com/_damiiaros7http://twitter.com/medici__ihttps://instagram.com/medici.ihttps://instagram.com/menismspod Hosted on Acast. See acast.com/privacy for more information.

From the Algorithm favoring us to discovering Trafficate is not a word, Finding out an average canadian valentine's date can cost $600, Restaurants for AI couples, deleting old tweets, and realizing these love tv shows are getting out of hand and more fun conversations Send us a DM on Social media, Fam mail to our email - thetalkativex@gmail.com or HERE

The More Sibyl Podcast Presents: 내가 보기 전에 나를 본 사람들| The Sisterhood of the Traveling Scarves — The One With Nurses Jolasun and Osewa | Episode 40 (2025)What happens when the people who believed in you before you believed in yourself finally sit across from you and you get to say thank you on a mic?That is exactly this episode.I am joined by two of my oldest friends and fellow members of what we proudly call the Sisterhood of the Traveling Scarves. Temi, an endoscopy nurse visiting the US for the very first time, and Bisi, an ER nurse who has been holding it down stateside in Texas. We met in college over two decades ago. We have survived a lot together. And this episode felt like exactly what it was: a reunion, a reckoning, and a love letter to the friendships that refuse to let you stay small.We get into Temi's first impressions of America: the roads, the houses, the sheer scale of everything. We do not shy away from the food conversation, because what better lens for a culture than what it puts on a plate? Temi had opinions. Bisi had receipts from her own early years in the US. And I had plenty to say about the gaps between what looks good and what actually nourishes.We also talked about what it means to travel on a Nigerian passport, and how a single document can determine how much dignity you are afforded at a border. How bureaucracy becomes a tax on ambition. How some of us carry an extra weight just to move through the world.But here is what sits at the heart of it all:Temi saw something in me before I saw it in myself. She is the one who pushed me to start this podcast. Seven years ago, when I was still hesitating, still making excuses, she would not let me hide. She kept saying, "You need to do this. You have something to say."So we sat down and talked about what those seven years have held. The episodes that became therapy. The stories entrusted to a microphone. The listeners who made it all worth it. And where this show still needs to go.We also talked about transformation. About the surgery that split my life into before and after. "Something snapped in me," I said. "I told myself I'm going to live my life." About growing up under surveillance, sheltered, silent. About finding my voice and never looking back. About the friends who see you clearly, even when you are still figuring out who you are.Because here is the truth: you cannot make old friends. The ones who knew you before you became who you are now? The ones who pushed you when you wanted to shrink? Those are irreplaceable.This one is personal. And I think you will feel that.If this episode moves you, share it with a friend who has been your Temi.

 AOT2, and Ugochi kick off with an introduction before catching up on the week's events. They unpack X of the Week, including the strange story of Nigerians protesting forOUTLINE00:00 - Introduction20:30  - Catch up52:50 - X of the week01:14:25 -  Release Therapy01:24:20 - Sign out--------------------------------------------234 Essential on Twitter and Instagram.Write us: fanmail@234essential.comDonate to 234 Essential: https://donate.stripe.com/bIYfZw6g14juf1m8wxNewsletter: https://234essential.com/North Korea, move into Release Therapy, and wrap up the episode with a sign out. 

In this episode, Gbemi and Toolz break down the Tyra Banks and America's Next Top Model documentary, old reality TV culture, Cardi B performing three months postpartum, why Nigerian concerts need to do better, the drama around Nigerian streamers, social media pile-ons, false accusations, and the backlash around Simi's “stop raping women'' tweet. They also get into celebrity deaths that hit hard, the dangers around travel destinations like Mexico, Tonto Dikeh's latest rebrand, relationship drama making the rounds online, and much more. Plus, there's Money Zone with Moneypoint and a fun Spin the Weekend moment with Gordon's Gin.If you enjoyed this episode, like, comment and subscribe. Drop the stories you want us to cover next in the comments.00:00 — Season 9 kickoff 02:05 — Promo shoot  04:10 — Plato food shout out 06:00 — Tyra Banks documentary 11:20 — Reality TV then vs now 15:40 — Extreme makeovers debate 18:30 — Big Brother fame pressure 21:00 — Cardi B postpartum tour 23:20 — Beyoncé concert standard 26:00 — Nigerian concerts discussion 29:10 — Celebrity deaths & healthcare costs 33:40 — Mexico cartel crisis 38:10 — World Cup travel concerns 41:20 — Nigerian streamers drama 45:50 — IShowSpeed's Africa tour 49:20 — Looking like you don't need money 52:10 — Mirabel assault story 56:40 — Simi tweets controversy 1:02:10 — Feminism & Twitter dragging 1:06:00 — Engagement bait & fake stories 1:09:20 — Cubana Chief Priest DNA saga 1:12:50 — Tonto Dikeh rebrand 1:15:30 — Money Zone By Moneypoint 1:20:40 — Nigeria, money & savings 1:25:10 — Business tools & POS tracking 1:28:30 — Street fight story 1:31:10 — OffAir Reacts:  Throuple discussion 1:33:30 — Celebrity crushes 1:35:40 — Gordon's Cocktail time 1:38:00 — Gordon's Spin the Weekend (Brunch & Gist) 1:40:20 — Episode wrap-up#OffAirPodcast #GbemiAndToolz #TyraBanks #Simi #NigerianStreamers #CelebrityDrama #PopCulturePodcast

WAFCON 2026 has officially been postponed just 12 days before kickoff, with CAF announcing that the tournament will now take place from July 25 to August 16 instead of the original March dates. Olu reacts to the shocking decision and discusses what it says about how the women's game continues to be treated on the continent.The episode also covers the Super Falcons' 3-1 win over Cameroon in their latest preparation match, before moving into the mid-week report highlighting Nigerian performances across Europe including Paul Onuachu and Fisayo Dele-Bashiru scoring in domestic cup action.Finally, Olu previews the FA Cup weekend, looking at Nigerian players in action including Alex Iwobi, Samuel Chukwueze, Calvin Bassey and Tolu Arokodare, before breaking down the top games involving Nigerian footballers across Europe, featuring Victor Osimhen, Wilfred Ndidi, Ademola Lookman, Maduka Okoye, Gift Orban and more.Check out our website: nigeriafootballweekly.com Follow Nigeria Football Weekly:Twitter - https://twitter.com/NFWPod Instagram - https://www.instagram.com/nigeriafootballweekly/ TikTok - https://www.tiktok.com/@nigeriafootballweekly Facebook - https://www.facebook.com/NigeriaFootballWeekly Linktree - https://linktr.ee/nigeriafootballweekly Email - nigeriafootballweekly@gmail.com (00:00) Intro(03:19) WAFCON Postponed(09:19) Super Falcons beat Cameroon 3-1(12:34) Midweek games report(35:21) Premier League review(45:44) FA Cup Preview(1:05:58) Top picks to watch this weekend(1:19:56) Ones to watch(1:26:11) Community call-in and discussions

It's Thursday, March 5th, A.D. 2026. This is The Worldview in 5 Minutes heard on 140 radio stations and at www.TheWorldview.com.  I'm Adam McManus. (Adam@TheWorldview.com) By Jonathan Clark 9 Nigerian Muslims on trial for killing 200 Christians Nine Fulani Muslim herdsmen are on trial in Nigeria for participating in the massacre of over 200 Christians in the country last year. Christian Daily International reports this is a rare case of prosecution against the Fulani herdsmen. The prosecution comes as the United States is calling on the country to combat Christian persecution. The U.S. is considering a bilateral agreement with Nigeria to protect Christian communities there and eliminate jihadist terror.  Psalm 7:9 says, “Oh, let the wickedness of the wicked come to an end, but establish the just; for the righteous God tests the hearts and minds.”  Nigerian Anglicans reject the homosexual agenda of Church of England Speaking of Nigeria, the Global Anglican Future Conference is meeting this week in the West African country.  The movement of conservative Anglican churches, mainly in Africa and Asia, supports Biblical sexuality. The group has effectively broken off from the Anglican Communion led by the Church of England.  Sarah Mullally is set to become the first female archbishop of Canterbury in the Church of England. Sadly, she supports blessings for homosexual couples.  The Global Anglican Future Conference now plans on appointing its own leader who will represent Biblical values. The conservative group says it represents 85 percent of the world's practicing Anglicans. Christian teacher vindicated for refusing to say inaccurate pronouns In the United States, an Indiana school district agreed to pay $650,000 in a religious freedom lawsuit. Brownsburg Community School Corporation forced John Kluge, a Christian music teacher, to resign for not using biologically incorrect pronouns.  David Cortman with Alliance Defending Freedom commented on the case. He said, “After almost five and a half years, common sense has prevailed at Brownsburg. … Schools should learn that refusing to accommodate religious employees can be illegal and expensive.” Red state families having more babies than blue state families The Institute for Family Studies reports that the women in red states are birthing more babies than those in blue states since the COVID-19 pandemic. The 20 states that voted Democrat in 2024 saw a decline in people in their 20s and kids under 10 compared to 2019. Meanwhile, Republican-leaning states often had cheaper housing and tended to attract parents with young kids. States like Idaho, South Carolina, Florida, and Tennessee saw a 10% increase in married families with young children over the last five years. States like California, New York, and Illinois saw a decline in such families.  Trump cut federal workforce by 12% The federal government's civilian workforce shrunk by over 380,000 people during the first year of President Donald Trump's second term.   That's a 12% workforce reduction between September 2024 and January 2026. The U.S. Office of Personnel Management reported the numbers yesterday. Scott Kupor, the director of the agency, said, “This effort ensures taxpayer dollars support a workforce that delivers efficient, responsive and high-quality services.” Mortgage rate fell to 5.98% Mortgage rates fell below six percent for the first time in years. The average 30-year fixed mortgage rate fell to 5.98 percent last week. It has not been that low since September 2022. Recent rates peaked at 7.8 percent in October 2023. Mortgage rates have been coming down slowly since the Federal Reserve began cutting its benchmark interest rate last year.  Only 4% of American adults have Biblical worldview And finally, Dr. George Barna released his latest survey on Biblical worldview. Sadly, only four percent of U.S. adults have a Biblical worldview. That's unchanged compare to 2023 and down from 12 percent in 1994. Most Americans, over eight in ten, may believe some Biblical principles but often think and live in ways that conflict with the Bible. Also, only two percent of young adults have a Biblical worldview. The survey noted, “Despite the increased attention given to faith matters after the Charlie Kirk murder, and the growth in church attendance and individuals purchasing Bibles immediately after that incident, there is no hint of improvement when it comes to Biblical worldview.” However, Dr. Barna wrote, “We reached a low point—4%— in 2023. The fact that we have not plumbed new depths since then hopefully suggests that we have bottomed out and are in line to experience positive growth in biblical thought and action.” Romans 12:2 says, “Do not be conformed to this world, but be transformed by the renewing of your mind, that you may prove the good and acceptable and perfect will of God.” Close And that's The Worldview on this Thursday, March 5th, in the year of our Lord 2026. Follow us on X or subscribe for free by Spotify, Amazon Music, or by iTunes or email to our unique Christian newscast at www.TheWorldview.com.  Plus, you can get the Generations app through Google Play or The App Store. I'm Adam McManus (Adam@TheWorldview.com). Seize the day for Jesus Christ.

With the 150th anniversary of Pope Pius' birthday, author Mark Riebling takes us into the role that the Pope played in not just ending the war, but to "eliminate Nazism by removing Hitler." With NY recently signing assisted suicide into law, Charles Camosy joins offering his Catholic plan for "resisting physician-assisted killing." Msgr. Roger Landry joins from his Nigerian missions trip giving us a glimpse into how the Iran war is affecting Catholics there. And we also take on the viral social media post from a 'pro-natalist' that says having 9 kids while running a business is "irresponsible." Catch the show every Saturday at 7amET/5pmET on EWTN radio!

On this episode of National Disability Radio, we sit down with award-winning recording artist, advocate, and author Lachi for a powerful conversation about disability pride, music, and unmasking. Lachi shares her journey, from navigating the music industry as a blind artist, to founding RAMPD, a coalition amplifying disability culture across the industry. We talk about what it means to say “I identify as blind,” move beyond the medical and social models of disability into a cultural model rooted in identity and joy, and remind listeners that no one can defeat someone who hasn't given up. From glam canes to Grammy stages, this episode is about claiming space, rejecting internalized ableism, and turning perceived flaws into flexes. Transcript: Alden Blevins: It’s Lachi? I feel very- Lachi: Lachi like Versace. Alden Blevins: Lachi like… Oh, I love that. Michelle Bishop: That is the best way to explain it. Lachi: I mean, but you know what I’m saying? Come on. Alden Blevins: Well, we’re really excited about having you today because we’re all music lovers in this group here. Michelle Bishop: Yes. Alden Blevins: We talk about music all the time. Michelle Bishop: So much. Lachi: Good, good, good, good, good, good, good. I’m in the right place. Michelle Bishop: Hi everyone. Welcome back to National Disability Radio, the official podcast of the National Disability Rights Network. I am Michelle Bishop, 1/3 of your podcast hosting team. Stephanie Flynt McEben: And I’m Stephanie Flynt McEben, public policy analyst here at NDRN. Alden Blevins: I am Alden. I am a communication specialist at NDRN and I am so excited today, like I mentioned, we’re all lovers of music, so we got a guest that I’m really excited about. Lachi is an award-winning recording artist and a recording Academy Grammy’s national trustee. She’s also a disability advocate who’s been breaking barriers in the music industry and beyond. She’s the founder of RAMPD, which by the way, is such a fun play name. I really love that. And the author of the upcoming book, I Identify as Blind. So without further ado, Michelle, you’ve got some questions to kick us off, I think. Michelle Bishop: Yes. We’re so excited to have you with us. As Alden said, we are. We’re huge music lovers. I’m pretty sure we spend most of our meetings where we allegedly plan this podcast just talking about music. So you’re absolutely in the right place today, but to get us started, I mean, you’ve been open about the fact, and I’m just really interested in this as a disability rights podcast. You’ve been really open about the fact that it took you some time to really embrace your identity as a blind and disabled woman, especially in the industry that you’re in that often really rewards conformity. Can you tell us a little bit more about that journey for you, both as an artist and as someone navigating just the world with a disability? Lachi: Okay. Yeah, for sure. Hey, everybody. Lachi here, Lachi like Versace. I am a Black woman with cornrows, chilling here in New York in my studio. I also identify as blind, I identify as neurodivergent, and I identify as an Aries. So do with that what you will. Michelle Bishop: All the important points right there. Lachi: All the important points like name, age, sign. Thank you. Okay. Yeah, but I’m really glad to be here. And thank you for that question, and thank you for having me. So music has always been a very integral part of my life of growing up. Where other babies would kick in the womb, when she was pregnant with me, I was playing the piano in the womb. I don’t know how she got a piano in there, but she’s not a liar, so I’m going to take her word for it. When I was super-duper young, I didn’t really have a lot of friends, especially because of the fact that I had differences and this and that. And so I would take to music to, I guess, understand the world better and have the world understand me better. I just knew how to express myself through song and it just said the things I needed to say. It was the prayer I needed. And because of music, I started to find confidence in how to speak and how to behave and how to act. And as I got older, when I was growing up, disability was not necessarily a thing people talked about a lot in schools and teachers didn’t know what to do. My parents didn’t really know what to do. And so I would always just turn to music. It’s actually right now I’m working on a children’s album because I think that kids need to hear music that has to do with disability and neurodivergence, as well as their parents as they grow up. When I got into college, I started wanting to do music, but I studied business and finance because when I told my parents I wanted to do music, they were like, “That’s not how you spell doctor.” because they are Nigerian immigrants and everybody else in my family went to either med school and blah, blah, blah. And I was like, “No, I want to do music.” But I did get a day job after school, after college, and didn’t love it because this girl is not going to exist behind a desk. So I ended up going to South by Southwest and I got signed actually from playing the guitar at a hole in the wall spot that nobody was at, except for this A&R apparently. So we got signed to an imprint under EMI, which was a major label back then, and we started touring and music then became my life. Now today, why wouldn’t I pay my respects back to music? I mean, it’s because of music that I was able to really lean into who I am, my disability, my confidence, et cetera. So because of that, because of how much music has given to me in my life, I’m here using music to give back to other people with disabilities. Now, your question was essentially, how do you sit here and try to bring about change for disability in an industry that is not only about conformity, but also about like, “Hey, pick me to exploit.” is essentially what the music industry is. You’re raising your hand to be exploited and that’s what kind of authenticity is that? But at the end of the day, music is some of the truest forms of storytelling. And I think to myself, just the way that hip hop has amplified Black culture and the way that country music has amplified rural culture and the way that different global musics have represented different global cultures. I want to use music to amplify disability culture. I want to use music to amplify disability stories and feelings that are difficult to put words to, that are words of the soul, which is essentially what music is. And so I started going to studios and realizing things weren’t as accessible as they should be. I started speaking with organizations and realizing things weren’t as inclusive as they should be. And the response I kept getting was like, “Oh, well, there’s nobody with a disability in the music industry, so why would we make these measures?” And so I have made it my life’s goal through RAMPD, which by the way, the best thing we ever accomplished was our acronym, not us working with the Grammys to get sign language on the red carpet, not us getting these partnerships with title, Live Nation, Spotify. I mean, we’ve done so much, not just for artists, but also for professionals. And we’ve started to realize something really interesting with the work we’ve done with RAMPD. We are getting people joining our membership who are director level folks, who are label owners, who are like the big wigs that write the checks, and they’re like, “I’m neurodivergent. I’m actually hard of hearing. I have a TBI.” And so when I originally set out, they said, “We don’t do disability inclusion because nobody’s disabled.” That was three years ago. Now I’m like, not only are there neurodivergent and disabled music professionals out here, but we all are. So really to conclude, it’s just that everyone is navigating trying to make it out in this world, but everyone’s masking. Everyone feels that they have to change some part of themselves to be as close as they can to what success looks like, be as close as they can to what “beauty” looks like, what winning looks like. But really all it is internalized ableism. And I say, as soon as we drop that internalized ableism and we really start to sit in who we truly are and we start to recognize our perceived flaws as flexes, that’s when we truly start to win. And so that’s what we’re finding out with RAMPD, that people are like, “You know what? I’m tired of navigating this difficult industry with the added layer of having to mask.” And so that’s why I do what I do. Michelle Bishop: Yes. And honestly, as ridiculous as it sounds that they say to you, “Oh, there aren’t any people with disabilities.” When I tell you, we see that in everything that we do. I do voting work at NDRN and we’ll have elections officials tell us, “This polling place isn’t accessible, but there aren’t any people with disabilities that vote here.” And it’s like, “What? You realize we’re everywhere and we do all sorts of things.” Maybe the reason they think there’s no people with disabilities here is because they’re stuck outside and they can’t get in because you didn’t make it accessible, just a thought. But I mean, it sounds like coming up against all that is really, correct me if I’m wrong, helped you to develop that identity and that disability pride in the industry. When did you first say, “I identify as blind.” and what did that mean for you? Lachi: Well, so when I first came into really doing the disability thing, really leaning in, I wanted to find out more influencers or thought leaders and such with disabilities. I didn’t really know that many people. This is pre COVID, 2018, 2019, that kind of thing. And so I came across an influencer, her name is Molly Burke, and we’re great friends now, but I didn’t know her back then. I had just seen her tagline and it had said, “I’m Molly Burke and I’m a YouTuber who happens to be blind.” And for some reason I was like, “I don’t know if I love the happens to be blind thing.” I was like, “Well, I’m proud of being blind. Blindness is part of my identity. I don’t just happen to be a woman. I don’t just happen to be a Nigerian. I don’t just happen to be all of the things I am.” And so I would go to… I was touring… We’re always touring and every time I tour and do a show, I do a comedic open where I just introduce myself, I do a quick self-description, et cetera. And in my self-description, I would say, and I don’t just happen to be blind. My blindness is part of my identity, has given me all of the opportunities I have, and it’s really made me a deeper blah, blah, blah. It was just too long. So I had punched it up to be, “My name is Lachi like Versace. She, her, I’m a Black woman with cornrows and I identify as blind.” And the interesting thing about that is people took onto it. They were like, “Oh, that’s cool, nice and punchy.” But whenever I would say it in front of a large crowd or like I’ve said it on interviews or during commercials, I would get this weird, I don’t know, pushback of like, you can’t identify as blind. Blindness is an identity. It’s a medical condition. Or they’ll be like, “Do you read braille or not?” Or they’ll be like, “We don’t want people to think trans blindness is a thing where you just have a blind identity.” And then you can be like, “Well, I’m blind today, so that’s my identity.” And I thought that was really fun. I was like, “Look, everybody’s upset. They’re talking about blindness though.” So I really leaned all the way into it. And I have to say, I am super proud of my disability identity. Was it music that brought me there? I think in a sense and in a way, like today I have a few songs, you guys are music lovers, I have a few songs out that really talk about my disability pride. I think that a lot of the times as we navigate the world, masking our disability, masking our chronic condition, our difference or whatever, we end up overcompensating. We end up building up this really, really thick problem solving muscle or this really, really thick how to get around things muscle and we overcompensate. When we’re finally accommodated, when we finally get to a place where we’re accommodated or we have the tools we need, we’re coming in like bulk as hell. We’re coming in with problem solving muscles. We’re coming in with all of these things that we had to build up because of navigating the world differently, because of every day working through this very difficult maze that is living a life unaccommodated, then when we finally are accommodated, then we are killing it and crushing it. And how could you not be proud of that? How can that not give you a sense of pride? So the songs that I would love for you guys to check out that are mine is I have a song called Life on Hard, which has gone viral several times on Instagram. I’m known as an Instagram rapper, which is like, what? Hello, I do disability advocacy. Look at that stuff. But anyway, so I have a song called Life on Hard, which is essentially about just winning the game of life, playing it on the hardest setting out here while people are still trying to consult the manual. I have another song called Professional, which is oftentimes when I walk on the stage, people see the cane and they’re like, “Aw, she’s going to do a song for us. Is this from Make a Wish Foundation?” And then I bust out these raps or I hop on the piano and I go ape on this piano and then they’re like, “Oh, snap. What? Okay.” And I’m like, “Bro, I’m a professional artist. I’m not object for pity to make you feel good because you felt weird on a Monday and you didn’t feel like getting up for work, but it’s like, she could do it. So can I.” I’m like, “No, I can do it. You most likely probably just can’t.” So that’s what that song’s about. And then there’s The Bag, and The Bag is just essentially like, I’ve been told no so much like, “No, you can’t. No, you’re not good enough. No, we don’t want you.” And I’m like, “You know what? Yes, I am good enough and I deserve everything. So I’m going to throw everything I deserve in the bag, which is everything.” I don’t know. I would not be the person I am if I didn’t love all parts of myself. And that includes my disabilities, that includes my neurodivergences and all of the other wacky, weird body jazz that I bring with me everywhere I go. Michelle Bishop: Lachi, can we maybe, do you and I just FaceTime each other every morning and hype each other up? Stephanie Flynt McEben: I was literally about to say the same thing. I would like in on a true call. Michelle Bishop: I don’t know if you know. Actually, I want to say quickly, I know some of those songs actually from social media, but they’re real. They’re so real. So people haven’t heard music, go check it out. I don’t know if you know one of our co-hosts, Stephanie is blind. You’re speaking directly to her soul right now. Stephanie Flynt McEben: I literally just texted them in our podcast group text and I was like, she’s totally speaking to my soul RN, but of course I don’t want to interrupt anything. Michelle Bishop: No, I know you’re dying to talk to her about the book, Stephanie, and take it away. Stephanie Flynt McEben: Yeah, no, absolutely, for sure. And as somebody who is blind and who also identifies as a blind person and definitely does not identify with the medical model of disability, clearly gotten to more of a social model. But yeah, in terms of going through that journey of accepting all of who you are and everything about yourself, for me, I mean, it took a minute, especially when you’re talking about your experiences as a child and I totally feel that. I was that girl playing the harmonica on the jungle gym by herself. Anyway, this is about you. This is not about me, but I’m just saying that I totally relate to you on a spiritual level. And given that, I would love to know, were there any particular moments when it came to writing the book that were particularly hard or healing? Because I mean, I think that we all know that it’s not always a linear journey. Some days are going to be harder than others. And so would love to get your perspective on that. And I think that our listeners would be interested. Lachi: Yeah, absolutely. The journey for me has been one of constantly unwrapping this amazing gift. I always try to use that as the visual, if you will, of you have this big present and you get to unwrap it and then you just keep getting something cooler inside and then you get to unwrap that and you get something cooler inside and you just keep unwrapping this beautiful gift that is yourself. But you don’t realize that when you first get the box, the amazing stuff that’s going on inside, and it takes time to get to it. So a lot of times growing up, I would kick myself in the butt of, I wish I had come to this when I was so much younger. I wish there were people out there when I was younger, role models that I could look up to when I was eight years old and pointing on the TV and saying like, “Okay, well, I mean, I understand that Ray Charles existed, but that’s not going to…” Stephanie Flynt McEben: Stevie Wonder is here, Ray Charles is here, but we need more of us. Hello. Lachi: We need more of us. Hello. Exactly. And so this time and place where I am right now is where I needed to be for this to work. So I can’t really kick myself in the butt of like, “I wish I had this. I wish I knew this so much earlier. I would’ve been so much further.” That kind of thing. You have to be where you got to be where you need to be. Even right now, this conversation we’re having right now is going to have been necessary for the next thing that is happening in our lives. And just the other day, I was hanging out with Queen Herby, who’s been one of my favorite more modern rappers. I just did a thing with Apl.de.ap. I have done some stuff with Black Caviar. Folks that I’ve looked up to, I’m having the opportunity to Snoop Dogg. I’m having the opportunity to work with these days because of the fact that I am here at the right time now. So when I was writing my book, we were peeling back all the layers. I’m a generally very positive and energetic, social butterfly type of person today. But it’s interesting, I wasn’t always this person and I had to unpack all the layers to get there. One of the biggest things that happens to me, so I’ve always been low vision. So I was born with relatively low vision and it stayed the same throughout my teens and early 20s. But one day I woke up and my sight was just gone. Boom. So the interesting thing is anybody listening would be like, “Oh my God, if I woke up and my sight was gone, I would just die or I would not know what to do. My life would be over.” Stephanie Flynt McEben: Yep. Heard that a million times. Yes. Lachi: But for me, it was weird because I was already low vision, so I was going from level one to the underwater level or whatever. So it wasn’t like that life changing of a thing. I was already using screen readers or Zoom text. I was already doing stuff of that nature. So I wake up blind and I’m just like, “Okay, I guess this is it. This is the day that they told me was coming.” What had ended up happening was my corneas had erupted. And so I went to the doctor and he was like, “You’re going to become completely blind. You’re going to go from this much worse vision than you’ve had to complete blindness over the course of time.” So here you go, here’s a coupon. Bye.” or whatever. So I’m like, all right. So I had decided at that moment that I wanted to start a bucket list. So I was like, okay, what are all the things I’ve always wanted to do before completely going completely blind? So I was like, let me go skydiving, let me go spolunking, let me go meet with people, meet with celebrities and just do all of the things I’ve always wanted to do before I lose my vision. So I went out and I did it. This is still me doing it. This is still me doing it. And so I say that because to people who say if I ever went blind, I would just die. Well, when I went blind, it made me want to live. And that’s what opened me up into being this person that I am today. Stephanie Flynt McEben: That is amazing. I genuinely love that. Lachi: We talk about charity model and propping disabled folks up as tools of pity. We talk about medical model, which is really just waiting around for cure, making the cure the hero. We talk about social model, which is a really good place to live in the sense of things are impairing if they’re not accessible. Society is impairing if it’s not inclusive. But honestly, if I have all of the things, like if I have all my tools, if I have all that I need and if folks are inclusive, then I’m still blind, but I’m not impaired. But I like to go a little step further into what is the cultural model. And so the cultural model is it’s not just a discussion of what society should and shouldn’t do. It’s actually a celebration of what you gain as a person who identifies with their disability or their neurodivergence, the things they need to overcompensate because they’re navigating the world a little differently, leaning into that. So let’s say for instance, deaf culture, sign language, and the fact that folks can have complete discussions outside of what we’re talking about, there is so much deaf pride out in these streets, that is a celebration of culture that comes out of disability. And for me, let’s say for instance, I have ADHD and it powers my one million and counting ideas. I have diagnosed OCD, which helps me carry out all those one million and counting ideas. I have diagnosed general anxiety disorder, which gives me my empathy and my excitement. And then I am blind, which when I have the tools I need, it gives me drive. It keeps me determined, it keeps me focused, and it gives me my dope ass glam canes. There was a girl and her mom, and she came up to me after a show and she was like, “Oh my God, your music was great.” I was like, thank you. She’s like, “Mommy, can I get one of those canes?” And then her mom was like, “Ugh, well, you have to be blind.” And I’m like, “Yeah, girl, you better want to be me.” Stephanie Flynt McEben: Yeah. We drive sticks. Anyway, sorry. Lachi: Yes. You know what? I speak softly and I carry a big old stick. Thank you. Stephanie Flynt McEben: Yes. Amen to that. Exactly. As somebody who considers themself a lifelong disability advocate, I never really thought about it in the sense of going beyond the social into the cultural. So thank you so, so much. We all learn something new every single day on this podcast, but I’d love to know a little bit more about, obviously you were very, very, very good at talking through these experiences in such a way that they are very relatable and easy to understand and that thing. So I’d love to pick your brain about the intended audience of your book. Who did you write it for? Other blind folks? Did you write it for, was it written for multiple audiences? Lachi: Yeah, honestly, I wrote it for the person who is masking. I wrote it for anyone who is tired of… Listen, let me put it like this. Let’s face it, disability is boring, a lot of the time it’s sad and it’s compliancy. We have to go the extra mile to make it fun because the actual truth of it is that the only reason it’s boring, sad, and compliancy is because society has kept it that way through its collective internalized ableism. And so my book is actually a humor book. It’s a pop culture book. It’s a comedy book. In fact, when we were talking to the publisher, it’s like, we should be putting this up against other comedic books, not necessarily disability books because it’s a book. I got so many jokes. I have dad jokes, they’re corny jokes, I have rap bars. I rap in a lot of the book just because I was like, “Hey, this rhymes.” I’m going to say it like a rap. We’re doing the audiobook right now, so I actually get to wrap it, which is really fun. Stephanie Flynt McEben: Oh, that is so cool. Oh my gosh. Lachi: Which is really, really fun. But really, honestly, what the book is what everything I do is it is using joy, soul, pop culture, jokes, humor, fashion, and just a really good time to celebrate disability, as well as community. So what you’ll find in this book is my story through my story, through historical deep dives, through interviews with some really, really cool popular figures and a really big deep dose of disability joy. And so a lot of folks who have disabilities, they will read this book and they’ll be energized. It’ll be like, “This is really great. I’m glad that I finally get to read a book that talks about disability in a positive way.” For blind specific folks, they might relate to a few of my stories because I talk about the day I woke up blind, I talk about when I went skydiving blind, I talk about just some of my interesting blind moments. But then I also talk about how I would go to red carpets and not know how to talk to anybody. So I’m in this amazing room with all these celebrities I can’t see and I’m just sitting on the wall. So I talk about some of the hard times too as well. But at the end of the day, really what the book is is an invitation in for somebody who feels a little different, a little awkward, has to mask, and just needed that invite in to talk about disability in a fun, joyful, celebratory way, to recognize that yes, that thing in you that’s different, that thing in you that society has told you you should view as a weakness and hide, you should be proud of. And I say this to people all the time. I say it in the industry, I say it to all my friends, I say it to anyone who will listen. I say it to my local barista and they come back and they say things like, “Oh my God, I’m so glad you said it that way. It turns out I have a titanium hip and I’ve never told anybody about that.” And that’s the vibe. The vibe is someone who was like, “I really needed this to be said to me this way, and now I am able to step all the way into my disability identity.” Alden Blevins: I love, especially what you said about joy. I feel like for me as an autistic person, my experience in the arts is that it is really a space where people who maybe don’t belong in other spaces or don’t feel like they belong in other spaces or are made to feel like they don’t belong in other spaces. I think that a lot of them really do find a safe space in music, in the arts, in theater. And I just wanted to ask, why do you think the music space is such a special one for you and why do you think it’s a place where other people with disabilities seem to flock together as well? Lachi: I mean, you hit the nail on the head. Counterculture, I mean, music often rewards counterculture. And then it eventually becomes mainstream and then we got to rebel against that. So music is a place where your soul can speak. And I think a lot of the times with disabilities, especially autism for me, I’m ADHD, OCD, a different neurodivergence situation, but a lot of the issue is communication. We don’t know how to say exactly what we need or whoever we’re talking to just doesn’t know how to hear what we’re saying. And so I think that what music does is it allows a soul to speak to a soul. A lot of the times music does this thing where you’ll be listening to a song and you’ll just be like, “That, that right there. That’s what I it me. That’s the thing I’m feeling.” type deal. Music has the ability to do that. And so for me, right now, this children’s album that I’m working on, the kids’ album, which is an album that is essentially R&B, pop, electronic, sort of the genres that I dance in for kids centered on disability and neurodivergence. Because what I want to do is be able to say, “Hey, I want you to point at that and say, that’s me.” And I think the easiest and quickest way to point at something and say, “That’s me also.” has been music. And so it’s why it’s been my strongest medium. Again, it’s not my only medium. I’m talking to folks through the book, I’m talking to folks through fashion, et cetera, et cetera. But again, music has been just the quickest, easiest point A to point B conversation easer, if you will, about disability. Another thing I also love to use is humor and comedy. So I make jokes all the time. They’re all bad. They’re all very not good jokes. I need to probably get a joke writer, but the fact that I’m having such a good time telling the jokes, I think I think is all that really matters. So I think both music and humor are just really, really great spaces for two people to get to relate to something that may be difficult to talk about. Stephanie Flynt McEben: Yo, if you need a joke writer, I’m your girl. I actually do a joke every single episode of this podcast. Michelle Bishop: Her jokes are not better than yours, Lachi. Don’t hire her. Stephanie Flynt McEben: My jokes are pretty bad. They’re worse than dad’s jokes. They’re like granddad jokes. Alden Blevins: Yeah. Stephanie is the queen of the jokes on our podcast. She always brings one through. Didn’t know that you were working on a children’s music album, and I think that’s really interesting. I actually used to be a teacher, so children’s music is something that’s near and dear to my heart. So I just wanted to ask, what would you want to tell to younger people with disabilities, younger disabled creatives about claiming space and being able to tell their own stories? Lachi: Well, one thing that I heard from someone else, I don’t remember who it was. I think it was- Michelle Bishop: Jordan? Lachi: Yes, Jordan. He’s the one that said this. Michelle Bishop: I love him. Lachi: Yeah, he’s so funny. I met him at a… What did I meet him at? The Webby Awards or something. But anyway, no one can ever defeat someone who hasn’t given up. And for some reason that hit me, and I don’t even think he was trying to say it that deep. He was just saying a joke or something. But I took that and it was like, no one can ever defeat someone who hasn’t given up. So at the end of the day, you are really the only one who can end whatever you’re trying to get. Because as long as you are still going for it, it is still still there. It’s like a Schrodinger’s cat. It’s like as long as you’re still running for it, that opportunity is still there for you to have. The opportunity is never lost as long as you’re still going for it. And people can tell you, people can take your shoulders and tell you to go right. People can take your shoulders and tell you to go left. But until you take your own shoulders and go in the direction that your heart, your soul, your passion, your fire, desires, that is when you truly begin to live. And so I say personally, lean into that. I hear from a lot of younger, especially creators with disabilities. I mentor a lot of folks, tons and tons of folks. It’s one of the things I love to do the most. But what I love to tell folks is you are going to be the best you. And that you is going to include all of the different parts of who you are, but it is especially going to include you leaning in to the things that make you different and unique as unique selling points. Earlier I talked about how people try so hard to be the “definition of beauty”, definition of success, definition of whatever. Everyone’s trying to be this reference man. Everyone’s trying to be as close as they can to the reference man. And if I’m as close as I can to the reference man, then I’ll be successful or then I’ll get this job or then I’ll get this gig. But the truth of the matter is when we look at all of the people that are doing all of the big things, they’re “eccentric”. They’re “weird”. They did some big different idea that no one was thinking about and everybody fell into their trend. The further away you are from the reference man, that is when you start to win. That is when you’ll start to see success. That is when you’ll start to feel much better about yourself. That is when you can wake up in the morning, look in the mirror and say, “I am fine.” When you are able to accept all of those different freckles of yourself that are as far away from the reference man as possible, because guess what? There is room outside of the barrel for everyone to win if they are all being their unique self and running their unique purpose. That’s what I would tell to young disabled creators. Michelle Bishop: That’s amazing. Almost feel like we should stop there, but I have so many follow-up questions. Lachi: Listen, I’m here to drop as many mics as they will let me keep breaking. Michelle Bishop: I was wondering how you see the conversation around disability and inclusion and evolving these days. And a lot of our listeners are people with disabilities or people who have other even multiple intersecting identities in which they experience barriers as well. What does allyship look like to you? Lachi: This is one of my favorite questions. So yes, we have folks with disabilities and we have folks who want to work with people with disabilities, want to help a friend with a disability, want to make sure they don’t say the wrong thing to a person with a disability, neurodivergence, chronic condition, mental health condition. That’s not an ally. Wanting to help a person with a disability is not an ally. To me, wanting to support someone with a disability, that’s an ally in the very basic definition of allyship. Here’s what I think an ally is. To answer the question, I got to do two things. One, talk about the disability umbrella. So the disability umbrella encompasses so many forms of disability. It is neurodivergence, which is ADHD, dyslexia, OCD. It is mental health conditions like anxiety, depression, bipolar. It is someone who learns a little differently. It is someone who has explosive situations like anger management. It is someone who has substance abuse disorder, maybe somebody who drinks too much or uses different substances. It is chronic back pain. You know what I’m saying? It is asthma. It is EDS. It’s POTS. It is long COVID. It is different complications that you gain after pregnancy. It is different complications that you gain as you age. It is different complications you gain through menopause. It is temporary. It is breaking your arm and wearing a cast. It is seasonal depression. There is nobody on this earth that is not within the disability umbrella. And I don’t mean that you’re going to grow into it. I don’t mean in the future. I mean right now. Whether you identify as a person with a disability or not, you have disability identity because you have experience in your body disability. And when you figure that out, then you’re an ally. Allyship is seeing yourself through the other person because you can’t look through someone else’s eyes unless you can see yourself in them. And you can’t see yourself in disability until you recognize the disability identity within yourself. All of a sudden, and I say this and people are like, “What? I say this, but I’ve seen this. I’ve seen it happen. I’ve seen people who did not associate themselves with any form of disability or anything and they’re just like, Oh, them. Oh, I’ll help them. We have a conversation and then we have a follow-up conversation and then we’re drinking and then all of a sudden they’re telling me all their disabilities and then they’re walking a little different when they encounter disability. It’s no longer a them thing. And so that’s what an ally is. People with disabilities are also allies. I am an ally to the deaf community because I recognize though I’m not deaf, I see the having to navigate the world differently in you of myself. So that’s how I define an ally. An ally is someone who understands their own disability identity and can see it in others. Michelle Bishop: Don’t mind me over here just taking notes. Stephanie Flynt McEben: Literally. Oh my gosh. Lachi, thank you so, so, so much for being with us and taking time. I know that your website, lachimusic.com is one of the places where folks can stay up to date on all of the latest and greatest things that you’re up to. Is there anything else in particular you would like to plug for our listeners? Lachi: Like you said, LACHI, L-A-C-H-I M-U-S-I-C. I’m on the internets everywhere. Instagram, Spotify, check out the old music. If you’re a creator, a music creator or professional with a disability, check us out at RAMPD, R-A-M-P-D.org. Or if you want to donate or if you want to partner with us over at RAMPD, please do. If you are a cane user, whether you’re a blind cane user or you use Mobility Cane, check out glamcanes.com, get your canes bejeweled. I Identify as Blind, our book is out on Penguin Random House, imprint called Tiny Reparations by Phoebe Robinson, who is also a comedian. So we’re out here all writing very funny books. So please check it out. And lastly, listen, try to find moments in your day of disability joy. And when you find that moment, take a picture of it or write it down so that you can go back to it and live for those moments. So thank you guys so much for having me on this podcast. It’s really been a blast getting to talk at you about all things I identify as blind. Alden Blevins: I love it. I was over here taking notes too because I just found so much of myself in what you were saying and so many things were poignant and empowering. I, as an autistic person, try to be an ally to other parts of the disability community myself. And that’s something where I’m always trying to put myself in the shoes of another person and what they might experience. So I think that’s really powerful. We were so grateful to be able to connect and learn more about you, Lachi. Lachi: Yes, yes, yes. So honored to be here, guys. Michelle Bishop: Before you head out, Lachi, do you want to hear one of Stephanie’s grandpa jokes? Lachi: I was going to say, I was like, “Let’s hear one of these granddad jokes.” Let me see. Stephanie Flynt McEben: Okay. This might be- Michelle Bishop: Okay, do it. Stephanie Flynt McEben: … a granddad joke. Okay. Where do spiders like to get their information? Lachi: The web? Michelle Bishop: That would be something to do with web. Stephanie Flynt McEben: But what kind of web? Lachi: Wow. Really? You are fired from being my comedy writer. You are fired to be my comedy writer. I was rooting for you too. I was like, let’s just… Please. Stephanie Flynt McEben: I wouldn’t even get to the punchline yet. Michelle Bishop: Worldwide web? Stephanie Flynt McEben: It is the worldwide web. Michelle Bishop: Oh. Stephanie Flynt McEben: It’s fine. It’s fine. My wife warned me not to tell that joke this month and I didn’t lose it. Michelle Bishop: Oh my gosh. I’m so glad you stuck around for that part. Lachi: As I live and breathe. Thank you guys so, so much. This has been so much fun and I will see who else I can tell that joke to. And go ahead and just to help you out, Stephanie, I’ll go ahead and embarrass myself by telling that joke to others. Stephanie Flynt McEben: Not my best work, but that is allyship. Yes. Michelle Bishop: Oh my gosh, Lachi, thank you so much. And everyone, please lachimusic.com. Check it out. Listen to the music, read the book. Alden Blevins: Speaking of the worldwide web, this has been National Disability Radio. We celebrate stories, leadership, and talent of people with disabilities. If you enjoyed this episode, be sure to subscribe, share, and continue the conversation with us on that worldwide web at ndrn.org or anywhere you get your favorite podcasts. Thanks for listening and until next time. Stephanie Flynt McEben: Bye.

On this episode of National Disability Radio, we sit down with award-winning recording artist, advocate, and author Lachi for a powerful conversation about disability pride, music, and unmasking. Lachi shares her journey, from navigating the music industry as a blind artist, to founding RAMPD, a coalition amplifying disability culture across the industry. We talk about what it means to say “I identify as blind,” move beyond the medical and social models of disability into a cultural model rooted in identity and joy, and remind listeners that no one can defeat someone who hasn't given up. From glam canes to Grammy stages, this episode is about claiming space, rejecting internalized ableism, and turning perceived flaws into flexes. Transcript: Alden Blevins: It’s Lachi? I feel very- Lachi: Lachi like Versace. Alden Blevins: Lachi like… Oh, I love that. Michelle Bishop: That is the best way to explain it. Lachi: I mean, but you know what I’m saying? Come on. Alden Blevins: Well, we’re really excited about having you today because we’re all music lovers in this group here. Michelle Bishop: Yes. Alden Blevins: We talk about music all the time. Michelle Bishop: So much. Lachi: Good, good, good, good, good, good, good. I’m in the right place. Michelle Bishop: Hi everyone. Welcome back to National Disability Radio, the official podcast of the National Disability Rights Network. I am Michelle Bishop, 1/3 of your podcast hosting team. Stephanie Flynt McEben: And I’m Stephanie Flynt McEben, public policy analyst here at NDRN. Alden Blevins: I am Alden. I am a communication specialist at NDRN and I am so excited today, like I mentioned, we’re all lovers of music, so we got a guest that I’m really excited about. Lachi is an award-winning recording artist and a recording Academy Grammy’s national trustee. She’s also a disability advocate who’s been breaking barriers in the music industry and beyond. She’s the founder of RAMPD, which by the way, is such a fun play name. I really love that. And the author of the upcoming book, I Identify as Blind. So without further ado, Michelle, you’ve got some questions to kick us off, I think. Michelle Bishop: Yes. We’re so excited to have you with us. As Alden said, we are. We’re huge music lovers. I’m pretty sure we spend most of our meetings where we allegedly plan this podcast just talking about music. So you’re absolutely in the right place today, but to get us started, I mean, you’ve been open about the fact, and I’m just really interested in this as a disability rights podcast. You’ve been really open about the fact that it took you some time to really embrace your identity as a blind and disabled woman, especially in the industry that you’re in that often really rewards conformity. Can you tell us a little bit more about that journey for you, both as an artist and as someone navigating just the world with a disability? Lachi: Okay. Yeah, for sure. Hey, everybody. Lachi here, Lachi like Versace. I am a Black woman with cornrows, chilling here in New York in my studio. I also identify as blind, I identify as neurodivergent, and I identify as an Aries. So do with that what you will. Michelle Bishop: All the important points right there. Lachi: All the important points like name, age, sign. Thank you. Okay. Yeah, but I’m really glad to be here. And thank you for that question, and thank you for having me. So music has always been a very integral part of my life of growing up. Where other babies would kick in the womb, when she was pregnant with me, I was playing the piano in the womb. I don’t know how she got a piano in there, but she’s not a liar, so I’m going to take her word for it. When I was super-duper young, I didn’t really have a lot of friends, especially because of the fact that I had differences and this and that. And so I would take to music to, I guess, understand the world better and have the world understand me better. I just knew how to express myself through song and it just said the things I needed to say. It was the prayer I needed. And because of music, I started to find confidence in how to speak and how to behave and how to act. And as I got older, when I was growing up, disability was not necessarily a thing people talked about a lot in schools and teachers didn’t know what to do. My parents didn’t really know what to do. And so I would always just turn to music. It’s actually right now I’m working on a children’s album because I think that kids need to hear music that has to do with disability and neurodivergence, as well as their parents as they grow up. When I got into college, I started wanting to do music, but I studied business and finance because when I told my parents I wanted to do music, they were like, “That’s not how you spell doctor.” because they are Nigerian immigrants and everybody else in my family went to either med school and blah, blah, blah. And I was like, “No, I want to do music.” But I did get a day job after school, after college, and didn’t love it because this girl is not going to exist behind a desk. So I ended up going to South by Southwest and I got signed actually from playing the guitar at a hole in the wall spot that nobody was at, except for this A&R apparently. So we got signed to an imprint under EMI, which was a major label back then, and we started touring and music then became my life. Now today, why wouldn’t I pay my respects back to music? I mean, it’s because of music that I was able to really lean into who I am, my disability, my confidence, et cetera. So because of that, because of how much music has given to me in my life, I’m here using music to give back to other people with disabilities. Now, your question was essentially, how do you sit here and try to bring about change for disability in an industry that is not only about conformity, but also about like, “Hey, pick me to exploit.” is essentially what the music industry is. You’re raising your hand to be exploited and that’s what kind of authenticity is that? But at the end of the day, music is some of the truest forms of storytelling. And I think to myself, just the way that hip hop has amplified Black culture and the way that country music has amplified rural culture and the way that different global musics have represented different global cultures. I want to use music to amplify disability culture. I want to use music to amplify disability stories and feelings that are difficult to put words to, that are words of the soul, which is essentially what music is. And so I started going to studios and realizing things weren’t as accessible as they should be. I started speaking with organizations and realizing things weren’t as inclusive as they should be. And the response I kept getting was like, “Oh, well, there’s nobody with a disability in the music industry, so why would we make these measures?” And so I have made it my life’s goal through RAMPD, which by the way, the best thing we ever accomplished was our acronym, not us working with the Grammys to get sign language on the red carpet, not us getting these partnerships with title, Live Nation, Spotify. I mean, we’ve done so much, not just for artists, but also for professionals. And we’ve started to realize something really interesting with the work we’ve done with RAMPD. We are getting people joining our membership who are director level folks, who are label owners, who are like the big wigs that write the checks, and they’re like, “I’m neurodivergent. I’m actually hard of hearing. I have a TBI.” And so when I originally set out, they said, “We don’t do disability inclusion because nobody’s disabled.” That was three years ago. Now I’m like, not only are there neurodivergent and disabled music professionals out here, but we all are. So really to conclude, it’s just that everyone is navigating trying to make it out in this world, but everyone’s masking. Everyone feels that they have to change some part of themselves to be as close as they can to what success looks like, be as close as they can to what “beauty” looks like, what winning looks like. But really all it is internalized ableism. And I say, as soon as we drop that internalized ableism and we really start to sit in who we truly are and we start to recognize our perceived flaws as flexes, that’s when we truly start to win. And so that’s what we’re finding out with RAMPD, that people are like, “You know what? I’m tired of navigating this difficult industry with the added layer of having to mask.” And so that’s why I do what I do. Michelle Bishop: Yes. And honestly, as ridiculous as it sounds that they say to you, “Oh, there aren’t any people with disabilities.” When I tell you, we see that in everything that we do. I do voting work at NDRN and we’ll have elections officials tell us, “This polling place isn’t accessible, but there aren’t any people with disabilities that vote here.” And it’s like, “What? You realize we’re everywhere and we do all sorts of things.” Maybe the reason they think there’s no people with disabilities here is because they’re stuck outside and they can’t get in because you didn’t make it accessible, just a thought. But I mean, it sounds like coming up against all that is really, correct me if I’m wrong, helped you to develop that identity and that disability pride in the industry. When did you first say, “I identify as blind.” and what did that mean for you? Lachi: Well, so when I first came into really doing the disability thing, really leaning in, I wanted to find out more influencers or thought leaders and such with disabilities. I didn’t really know that many people. This is pre COVID, 2018, 2019, that kind of thing. And so I came across an influencer, her name is Molly Burke, and we’re great friends now, but I didn’t know her back then. I had just seen her tagline and it had said, “I’m Molly Burke and I’m a YouTuber who happens to be blind.” And for some reason I was like, “I don’t know if I love the happens to be blind thing.” I was like, “Well, I’m proud of being blind. Blindness is part of my identity. I don’t just happen to be a woman. I don’t just happen to be a Nigerian. I don’t just happen to be all of the things I am.” And so I would go to… I was touring… We’re always touring and every time I tour and do a show, I do a comedic open where I just introduce myself, I do a quick self-description, et cetera. And in my self-description, I would say, and I don’t just happen to be blind. My blindness is part of my identity, has given me all of the opportunities I have, and it’s really made me a deeper blah, blah, blah. It was just too long. So I had punched it up to be, “My name is Lachi like Versace. She, her, I’m a Black woman with cornrows and I identify as blind.” And the interesting thing about that is people took onto it. They were like, “Oh, that’s cool, nice and punchy.” But whenever I would say it in front of a large crowd or like I’ve said it on interviews or during commercials, I would get this weird, I don’t know, pushback of like, you can’t identify as blind. Blindness is an identity. It’s a medical condition. Or they’ll be like, “Do you read braille or not?” Or they’ll be like, “We don’t want people to think trans blindness is a thing where you just have a blind identity.” And then you can be like, “Well, I’m blind today, so that’s my identity.” And I thought that was really fun. I was like, “Look, everybody’s upset. They’re talking about blindness though.” So I really leaned all the way into it. And I have to say, I am super proud of my disability identity. Was it music that brought me there? I think in a sense and in a way, like today I have a few songs, you guys are music lovers, I have a few songs out that really talk about my disability pride. I think that a lot of the times as we navigate the world, masking our disability, masking our chronic condition, our difference or whatever, we end up overcompensating. We end up building up this really, really thick problem solving muscle or this really, really thick how to get around things muscle and we overcompensate. When we’re finally accommodated, when we finally get to a place where we’re accommodated or we have the tools we need, we’re coming in like bulk as hell. We’re coming in with problem solving muscles. We’re coming in with all of these things that we had to build up because of navigating the world differently, because of every day working through this very difficult maze that is living a life unaccommodated, then when we finally are accommodated, then we are killing it and crushing it. And how could you not be proud of that? How can that not give you a sense of pride? So the songs that I would love for you guys to check out that are mine is I have a song called Life on Hard, which has gone viral several times on Instagram. I’m known as an Instagram rapper, which is like, what? Hello, I do disability advocacy. Look at that stuff. But anyway, so I have a song called Life on Hard, which is essentially about just winning the game of life, playing it on the hardest setting out here while people are still trying to consult the manual. I have another song called Professional, which is oftentimes when I walk on the stage, people see the cane and they’re like, “Aw, she’s going to do a song for us. Is this from Make a Wish Foundation?” And then I bust out these raps or I hop on the piano and I go ape on this piano and then they’re like, “Oh, snap. What? Okay.” And I’m like, “Bro, I’m a professional artist. I’m not object for pity to make you feel good because you felt weird on a Monday and you didn’t feel like getting up for work, but it’s like, she could do it. So can I.” I’m like, “No, I can do it. You most likely probably just can’t.” So that’s what that song’s about. And then there’s The Bag, and The Bag is just essentially like, I’ve been told no so much like, “No, you can’t. No, you’re not good enough. No, we don’t want you.” And I’m like, “You know what? Yes, I am good enough and I deserve everything. So I’m going to throw everything I deserve in the bag, which is everything.” I don’t know. I would not be the person I am if I didn’t love all parts of myself. And that includes my disabilities, that includes my neurodivergences and all of the other wacky, weird body jazz that I bring with me everywhere I go. Michelle Bishop: Lachi, can we maybe, do you and I just FaceTime each other every morning and hype each other up? Stephanie Flynt McEben: I was literally about to say the same thing. I would like in on a true call. Michelle Bishop: I don’t know if you know. Actually, I want to say quickly, I know some of those songs actually from social media, but they’re real. They’re so real. So people haven’t heard music, go check it out. I don’t know if you know one of our co-hosts, Stephanie is blind. You’re speaking directly to her soul right now. Stephanie Flynt McEben: I literally just texted them in our podcast group text and I was like, she’s totally speaking to my soul RN, but of course I don’t want to interrupt anything. Michelle Bishop: No, I know you’re dying to talk to her about the book, Stephanie, and take it away. Stephanie Flynt McEben: Yeah, no, absolutely, for sure. And as somebody who is blind and who also identifies as a blind person and definitely does not identify with the medical model of disability, clearly gotten to more of a social model. But yeah, in terms of going through that journey of accepting all of who you are and everything about yourself, for me, I mean, it took a minute, especially when you’re talking about your experiences as a child and I totally feel that. I was that girl playing the harmonica on the jungle gym by herself. Anyway, this is about you. This is not about me, but I’m just saying that I totally relate to you on a spiritual level. And given that, I would love to know, were there any particular moments when it came to writing the book that were particularly hard or healing? Because I mean, I think that we all know that it’s not always a linear journey. Some days are going to be harder than others. And so would love to get your perspective on that. And I think that our listeners would be interested. Lachi: Yeah, absolutely. The journey for me has been one of constantly unwrapping this amazing gift. I always try to use that as the visual, if you will, of you have this big present and you get to unwrap it and then you just keep getting something cooler inside and then you get to unwrap that and you get something cooler inside and you just keep unwrapping this beautiful gift that is yourself. But you don’t realize that when you first get the box, the amazing stuff that’s going on inside, and it takes time to get to it. So a lot of times growing up, I would kick myself in the butt of, I wish I had come to this when I was so much younger. I wish there were people out there when I was younger, role models that I could look up to when I was eight years old and pointing on the TV and saying like, “Okay, well, I mean, I understand that Ray Charles existed, but that’s not going to…” Stephanie Flynt McEben: Stevie Wonder is here, Ray Charles is here, but we need more of us. Hello. Lachi: We need more of us. Hello. Exactly. And so this time and place where I am right now is where I needed to be for this to work. So I can’t really kick myself in the butt of like, “I wish I had this. I wish I knew this so much earlier. I would’ve been so much further.” That kind of thing. You have to be where you got to be where you need to be. Even right now, this conversation we’re having right now is going to have been necessary for the next thing that is happening in our lives. And just the other day, I was hanging out with Queen Herby, who’s been one of my favorite more modern rappers. I just did a thing with Apl.de.ap. I have done some stuff with Black Caviar. Folks that I’ve looked up to, I’m having the opportunity to Snoop Dogg. I’m having the opportunity to work with these days because of the fact that I am here at the right time now. So when I was writing my book, we were peeling back all the layers. I’m a generally very positive and energetic, social butterfly type of person today. But it’s interesting, I wasn’t always this person and I had to unpack all the layers to get there. One of the biggest things that happens to me, so I’ve always been low vision. So I was born with relatively low vision and it stayed the same throughout my teens and early 20s. But one day I woke up and my sight was just gone. Boom. So the interesting thing is anybody listening would be like, “Oh my God, if I woke up and my sight was gone, I would just die or I would not know what to do. My life would be over.” Stephanie Flynt McEben: Yep. Heard that a million times. Yes. Lachi: But for me, it was weird because I was already low vision, so I was going from level one to the underwater level or whatever. So it wasn’t like that life changing of a thing. I was already using screen readers or Zoom text. I was already doing stuff of that nature. So I wake up blind and I’m just like, “Okay, I guess this is it. This is the day that they told me was coming.” What had ended up happening was my corneas had erupted. And so I went to the doctor and he was like, “You’re going to become completely blind. You’re going to go from this much worse vision than you’ve had to complete blindness over the course of time.” So here you go, here’s a coupon. Bye.” or whatever. So I’m like, all right. So I had decided at that moment that I wanted to start a bucket list. So I was like, okay, what are all the things I’ve always wanted to do before completely going completely blind? So I was like, let me go skydiving, let me go spolunking, let me go meet with people, meet with celebrities and just do all of the things I’ve always wanted to do before I lose my vision. So I went out and I did it. This is still me doing it. This is still me doing it. And so I say that because to people who say if I ever went blind, I would just die. Well, when I went blind, it made me want to live. And that’s what opened me up into being this person that I am today. Stephanie Flynt McEben: That is amazing. I genuinely love that. Lachi: We talk about charity model and propping disabled folks up as tools of pity. We talk about medical model, which is really just waiting around for cure, making the cure the hero. We talk about social model, which is a really good place to live in the sense of things are impairing if they’re not accessible. Society is impairing if it’s not inclusive. But honestly, if I have all of the things, like if I have all my tools, if I have all that I need and if folks are inclusive, then I’m still blind, but I’m not impaired. But I like to go a little step further into what is the cultural model. And so the cultural model is it’s not just a discussion of what society should and shouldn’t do. It’s actually a celebration of what you gain as a person who identifies with their disability or their neurodivergence, the things they need to overcompensate because they’re navigating the world a little differently, leaning into that. So let’s say for instance, deaf culture, sign language, and the fact that folks can have complete discussions outside of what we’re talking about, there is so much deaf pride out in these streets, that is a celebration of culture that comes out of disability. And for me, let’s say for instance, I have ADHD and it powers my one million and counting ideas. I have diagnosed OCD, which helps me carry out all those one million and counting ideas. I have diagnosed general anxiety disorder, which gives me my empathy and my excitement. And then I am blind, which when I have the tools I need, it gives me drive. It keeps me determined, it keeps me focused, and it gives me my dope ass glam canes. There was a girl and her mom, and she came up to me after a show and she was like, “Oh my God, your music was great.” I was like, thank you. She’s like, “Mommy, can I get one of those canes?” And then her mom was like, “Ugh, well, you have to be blind.” And I’m like, “Yeah, girl, you better want to be me.” Stephanie Flynt McEben: Yeah. We drive sticks. Anyway, sorry. Lachi: Yes. You know what? I speak softly and I carry a big old stick. Thank you. Stephanie Flynt McEben: Yes. Amen to that. Exactly. As somebody who considers themself a lifelong disability advocate, I never really thought about it in the sense of going beyond the social into the cultural. So thank you so, so much. We all learn something new every single day on this podcast, but I’d love to know a little bit more about, obviously you were very, very, very good at talking through these experiences in such a way that they are very relatable and easy to understand and that thing. So I’d love to pick your brain about the intended audience of your book. Who did you write it for? Other blind folks? Did you write it for, was it written for multiple audiences? Lachi: Yeah, honestly, I wrote it for the person who is masking. I wrote it for anyone who is tired of… Listen, let me put it like this. Let’s face it, disability is boring, a lot of the time it’s sad and it’s compliancy. We have to go the extra mile to make it fun because the actual truth of it is that the only reason it’s boring, sad, and compliancy is because society has kept it that way through its collective internalized ableism. And so my book is actually a humor book. It’s a pop culture book. It’s a comedy book. In fact, when we were talking to the publisher, it’s like, we should be putting this up against other comedic books, not necessarily disability books because it’s a book. I got so many jokes. I have dad jokes, they’re corny jokes, I have rap bars. I rap in a lot of the book just because I was like, “Hey, this rhymes.” I’m going to say it like a rap. We’re doing the audiobook right now, so I actually get to wrap it, which is really fun. Stephanie Flynt McEben: Oh, that is so cool. Oh my gosh. Lachi: Which is really, really fun. But really, honestly, what the book is what everything I do is it is using joy, soul, pop culture, jokes, humor, fashion, and just a really good time to celebrate disability, as well as community. So what you’ll find in this book is my story through my story, through historical deep dives, through interviews with some really, really cool popular figures and a really big deep dose of disability joy. And so a lot of folks who have disabilities, they will read this book and they’ll be energized. It’ll be like, “This is really great. I’m glad that I finally get to read a book that talks about disability in a positive way.” For blind specific folks, they might relate to a few of my stories because I talk about the day I woke up blind, I talk about when I went skydiving blind, I talk about just some of my interesting blind moments. But then I also talk about how I would go to red carpets and not know how to talk to anybody. So I’m in this amazing room with all these celebrities I can’t see and I’m just sitting on the wall. So I talk about some of the hard times too as well. But at the end of the day, really what the book is is an invitation in for somebody who feels a little different, a little awkward, has to mask, and just needed that invite in to talk about disability in a fun, joyful, celebratory way, to recognize that yes, that thing in you that’s different, that thing in you that society has told you you should view as a weakness and hide, you should be proud of. And I say this to people all the time. I say it in the industry, I say it to all my friends, I say it to anyone who will listen. I say it to my local barista and they come back and they say things like, “Oh my God, I’m so glad you said it that way. It turns out I have a titanium hip and I’ve never told anybody about that.” And that’s the vibe. The vibe is someone who was like, “I really needed this to be said to me this way, and now I am able to step all the way into my disability identity.” Alden Blevins: I love, especially what you said about joy. I feel like for me as an autistic person, my experience in the arts is that it is really a space where people who maybe don’t belong in other spaces or don’t feel like they belong in other spaces or are made to feel like they don’t belong in other spaces. I think that a lot of them really do find a safe space in music, in the arts, in theater. And I just wanted to ask, why do you think the music space is such a special one for you and why do you think it’s a place where other people with disabilities seem to flock together as well? Lachi: I mean, you hit the nail on the head. Counterculture, I mean, music often rewards counterculture. And then it eventually becomes mainstream and then we got to rebel against that. So music is a place where your soul can speak. And I think a lot of the times with disabilities, especially autism for me, I’m ADHD, OCD, a different neurodivergence situation, but a lot of the issue is communication. We don’t know how to say exactly what we need or whoever we’re talking to just doesn’t know how to hear what we’re saying. And so I think that what music does is it allows a soul to speak to a soul. A lot of the times music does this thing where you’ll be listening to a song and you’ll just be like, “That, that right there. That’s what I it me. That’s the thing I’m feeling.” type deal. Music has the ability to do that. And so for me, right now, this children’s album that I’m working on, the kids’ album, which is an album that is essentially R&B, pop, electronic, sort of the genres that I dance in for kids centered on disability and neurodivergence. Because what I want to do is be able to say, “Hey, I want you to point at that and say, that’s me.” And I think the easiest and quickest way to point at something and say, “That’s me also.” has been music. And so it’s why it’s been my strongest medium. Again, it’s not my only medium. I’m talking to folks through the book, I’m talking to folks through fashion, et cetera, et cetera. But again, music has been just the quickest, easiest point A to point B conversation easer, if you will, about disability. Another thing I also love to use is humor and comedy. So I make jokes all the time. They’re all bad. They’re all very not good jokes. I need to probably get a joke writer, but the fact that I’m having such a good time telling the jokes, I think I think is all that really matters. So I think both music and humor are just really, really great spaces for two people to get to relate to something that may be difficult to talk about. Stephanie Flynt McEben: Yo, if you need a joke writer, I’m your girl. I actually do a joke every single episode of this podcast. Michelle Bishop: Her jokes are not better than yours, Lachi. Don’t hire her. Stephanie Flynt McEben: My jokes are pretty bad. They’re worse than dad’s jokes. They’re like granddad jokes. Alden Blevins: Yeah. Stephanie is the queen of the jokes on our podcast. She always brings one through. Didn’t know that you were working on a children’s music album, and I think that’s really interesting. I actually used to be a teacher, so children’s music is something that’s near and dear to my heart. So I just wanted to ask, what would you want to tell to younger people with disabilities, younger disabled creatives about claiming space and being able to tell their own stories? Lachi: Well, one thing that I heard from someone else, I don’t remember who it was. I think it was- Michelle Bishop: Jordan? Lachi: Yes, Jordan. He’s the one that said this. Michelle Bishop: I love him. Lachi: Yeah, he’s so funny. I met him at a… What did I meet him at? The Webby Awards or something. But anyway, no one can ever defeat someone who hasn’t given up. And for some reason that hit me, and I don’t even think he was trying to say it that deep. He was just saying a joke or something. But I took that and it was like, no one can ever defeat someone who hasn’t given up. So at the end of the day, you are really the only one who can end whatever you’re trying to get. Because as long as you are still going for it, it is still still there. It’s like a Schrodinger’s cat. It’s like as long as you’re still running for it, that opportunity is still there for you to have. The opportunity is never lost as long as you’re still going for it. And people can tell you, people can take your shoulders and tell you to go right. People can take your shoulders and tell you to go left. But until you take your own shoulders and go in the direction that your heart, your soul, your passion, your fire, desires, that is when you truly begin to live. And so I say personally, lean into that. I hear from a lot of younger, especially creators with disabilities. I mentor a lot of folks, tons and tons of folks. It’s one of the things I love to do the most. But what I love to tell folks is you are going to be the best you. And that you is going to include all of the different parts of who you are, but it is especially going to include you leaning in to the things that make you different and unique as unique selling points. Earlier I talked about how people try so hard to be the “definition of beauty”, definition of success, definition of whatever. Everyone’s trying to be this reference man. Everyone’s trying to be as close as they can to the reference man. And if I’m as close as I can to the reference man, then I’ll be successful or then I’ll get this job or then I’ll get this gig. But the truth of the matter is when we look at all of the people that are doing all of the big things, they’re “eccentric”. They’re “weird”. They did some big different idea that no one was thinking about and everybody fell into their trend. The further away you are from the reference man, that is when you start to win. That is when you’ll start to see success. That is when you’ll start to feel much better about yourself. That is when you can wake up in the morning, look in the mirror and say, “I am fine.” When you are able to accept all of those different freckles of yourself that are as far away from the reference man as possible, because guess what? There is room outside of the barrel for everyone to win if they are all being their unique self and running their unique purpose. That’s what I would tell to young disabled creators. Michelle Bishop: That’s amazing. Almost feel like we should stop there, but I have so many follow-up questions. Lachi: Listen, I’m here to drop as many mics as they will let me keep breaking. Michelle Bishop: I was wondering how you see the conversation around disability and inclusion and evolving these days. And a lot of our listeners are people with disabilities or people who have other even multiple intersecting identities in which they experience barriers as well. What does allyship look like to you? Lachi: This is one of my favorite questions. So yes, we have folks with disabilities and we have folks who want to work with people with disabilities, want to help a friend with a disability, want to make sure they don’t say the wrong thing to a person with a disability, neurodivergence, chronic condition, mental health condition. That’s not an ally. Wanting to help a person with a disability is not an ally. To me, wanting to support someone with a disability, that’s an ally in the very basic definition of allyship. Here’s what I think an ally is. To answer the question, I got to do two things. One, talk about the disability umbrella. So the disability umbrella encompasses so many forms of disability. It is neurodivergence, which is ADHD, dyslexia, OCD. It is mental health conditions like anxiety, depression, bipolar. It is someone who learns a little differently. It is someone who has explosive situations like anger management. It is someone who has substance abuse disorder, maybe somebody who drinks too much or uses different substances. It is chronic back pain. You know what I’m saying? It is asthma. It is EDS. It’s POTS. It is long COVID. It is different complications that you gain after pregnancy. It is different complications that you gain as you age. It is different complications you gain through menopause. It is temporary. It is breaking your arm and wearing a cast. It is seasonal depression. There is nobody on this earth that is not within the disability umbrella. And I don’t mean that you’re going to grow into it. I don’t mean in the future. I mean right now. Whether you identify as a person with a disability or not, you have disability identity because you have experience in your body disability. And when you figure that out, then you’re an ally. Allyship is seeing yourself through the other person because you can’t look through someone else’s eyes unless you can see yourself in them. And you can’t see yourself in disability until you recognize the disability identity within yourself. All of a sudden, and I say this and people are like, “What? I say this, but I’ve seen this. I’ve seen it happen. I’ve seen people who did not associate themselves with any form of disability or anything and they’re just like, Oh, them. Oh, I’ll help them. We have a conversation and then we have a follow-up conversation and then we’re drinking and then all of a sudden they’re telling me all their disabilities and then they’re walking a little different when they encounter disability. It’s no longer a them thing. And so that’s what an ally is. People with disabilities are also allies. I am an ally to the deaf community because I recognize though I’m not deaf, I see the having to navigate the world differently in you of myself. So that’s how I define an ally. An ally is someone who understands their own disability identity and can see it in others. Michelle Bishop: Don’t mind me over here just taking notes. Stephanie Flynt McEben: Literally. Oh my gosh. Lachi, thank you so, so, so much for being with us and taking time. I know that your website, lachimusic.com is one of the places where folks can stay up to date on all of the latest and greatest things that you’re up to. Is there anything else in particular you would like to plug for our listeners? Lachi: Like you said, LACHI, L-A-C-H-I M-U-S-I-C. I’m on the internets everywhere. Instagram, Spotify, check out the old music. If you’re a creator, a music creator or professional with a disability, check us out at RAMPD, R-A-M-P-D.org. Or if you want to donate or if you want to partner with us over at RAMPD, please do. If you are a cane user, whether you’re a blind cane user or you use Mobility Cane, check out glamcanes.com, get your canes bejeweled. I Identify as Blind, our book is out on Penguin Random House, imprint called Tiny Reparations by Phoebe Robinson, who is also a comedian. So we’re out here all writing very funny books. So please check it out. And lastly, listen, try to find moments in your day of disability joy. And when you find that moment, take a picture of it or write it down so that you can go back to it and live for those moments. So thank you guys so much for having me on this podcast. It’s really been a blast getting to talk at you about all things I identify as blind. Alden Blevins: I love it. I was over here taking notes too because I just found so much of myself in what you were saying and so many things were poignant and empowering. I, as an autistic person, try to be an ally to other parts of the disability community myself. And that’s something where I’m always trying to put myself in the shoes of another person and what they might experience. So I think that’s really powerful. We were so grateful to be able to connect and learn more about you, Lachi. Lachi: Yes, yes, yes. So honored to be here, guys. Michelle Bishop: Before you head out, Lachi, do you want to hear one of Stephanie’s grandpa jokes? Lachi: I was going to say, I was like, “Let’s hear one of these granddad jokes.” Let me see. Stephanie Flynt McEben: Okay. This might be- Michelle Bishop: Okay, do it. Stephanie Flynt McEben: … a granddad joke. Okay. Where do spiders like to get their information? Lachi: The web? Michelle Bishop: That would be something to do with web. Stephanie Flynt McEben: But what kind of web? Lachi: Wow. Really? You are fired from being my comedy writer. You are fired to be my comedy writer. I was rooting for you too. I was like, let’s just… Please. Stephanie Flynt McEben: I wouldn’t even get to the punchline yet. Michelle Bishop: Worldwide web? Stephanie Flynt McEben: It is the worldwide web. Michelle Bishop: Oh. Stephanie Flynt McEben: It’s fine. It’s fine. My wife warned me not to tell that joke this month and I didn’t lose it. Michelle Bishop: Oh my gosh. I’m so glad you stuck around for that part. Lachi: As I live and breathe. Thank you guys so, so much. This has been so much fun and I will see who else I can tell that joke to. And go ahead and just to help you out, Stephanie, I’ll go ahead and embarrass myself by telling that joke to others. Stephanie Flynt McEben: Not my best work, but that is allyship. Yes. Michelle Bishop: Oh my gosh, Lachi, thank you so much. And everyone, please lachimusic.com. Check it out. Listen to the music, read the book. Alden Blevins: Speaking of the worldwide web, this has been National Disability Radio. We celebrate stories, leadership, and talent of people with disabilities. If you enjoyed this episode, be sure to subscribe, share, and continue the conversation with us on that worldwide web at ndrn.org or anywhere you get your favorite podcasts. Thanks for listening and until next time. Stephanie Flynt McEben: Bye.

Send a textThis episode originally aired at 1pm on Wednesday March 4 on SiriusXM 129 The Catholic ChannelFrontiers of Faith is now broadcast weekly on SiriusXM and uploaded here immediately after! Join us for this week while we do our best to battle Msgr's Nigerian internet connection! Msgr. Landry talks to us about the welcome he's received and the needs he's encountered in Nigeria as well as interviews with two priests of Nigeria: Fr Patrick Alumuku and Fr. Augustine IkwuClick here to learn more about supporting the Pontifical Missions Societies:https://pontificalmissions.orgFollow us on socials!https://x.com/tpms_usa

Music that makes you feel deeply human… There's a version of events where Joshua Idehen is still behind a bar in the West End, coming home late, flicking through channels. But then came Dizzee Rascal on Channel U – that first-person rant, that stream of consciousness pouring into the void – and something locked into place. Nearly two decades later, the British-born Nigerian poet and spoken-word artist, now based in Stockholm, has signed to Heavenly Recordings and released one of the more quietly essential debut albums of 2026. I Know You're Hurting, Everyone Is Hurting, Everyone Is Trying, You Have Got To Try is out now. Made with his long-term creative partner Ludvig Parment (Saturday, Monday), it's the full realisation of something that's been building since the pair's 2023 mixtape Learn to Swim — a record that holds you through it all: grief, euphoria, fatherhood, friendship, the liturgic pull of a club at the right moment. House beats, choral swells, Shabaka Hutchings on flute, a choir singing a melody Idehen himself composed. The kind of album that makes you want to wave your arms in the air and then call your mum. The ride here wasn't quiet. ‘Mum Does The Washing' began life as a Twitter thread, set to Parment's spacious beats, went viral, earned Idehen support from Jamz Supernova, Huw Stephens and Robbie Williams (yes, really), packed out Glastonbury and Green Man, and landed him a spot on Later… with Jools Holland. Sold-out Jazz Café dates followed. A headline European and UK tour runs through spring, culminating at KOKO in London on 23rd April. To mark the album, Joshua and Ludvig have put together this mix of music to bring joy. Not one shade of it either. There's unbridled joy (Peter, Björn & John, a Kanye recommendation from a different time), celebratory joy (“a today I don't have to fight kind of joy,” as Ludvig puts it, via Primal Scream), defiant joy (Kendrick, for the days you will have to fight, but you'll pull through). Soul II Soul shows up to preach and repeat. James Brown is just kind of everything. Caribou injects the dance floor with melancholy and joy at the same time, which is basically the whole project in a nutshell. And somewhere near the end, a Mesadorm song that made Joshua cry on first listen, second listen, third listen. Music that makes you feel deeply human, as you've never felt before. Over to them. https://www.theransomnote.com/music/mixes/joshua-idehens-music-to-make-joy-to-ransom-note-mix/

Chimamanda Ngozi Adichie is one of the most influential literary and cultural voices of the 21st century. Born in the Nigerian city of Enugu in 1977, the writer grew up in an academic environment, developing her passion for literature and storytelling. Influenced by her Igbo culture as well as by international authors, she moved to the United States to continue her studies, specializing in writing and African culture. Her literary debut, Purple Hibiscus, along with later works such as Half of a Yellow Sun and Americanah, established her as a central figure in contemporary literature. Her message has reached audiences around the world through novels, essays, and talks that explore identity, feminism, and the power of storytelling. Adichie is a global reference point in conversations about equality and diversity, and an example of how an authentic personal brand can transform the cultural and social landscape. Her narrative voice, both intimate and universal, has made her an icon of contemporary thought.

Marc Vandermeer and John Harris react to the biggest Texans news day of the offseason so far as two trades are reported by the media before lunchtime on the Monday before legal tampering. First, there are reports that Tytus Howard has been dealt to the Cleveland Browns for a fifth-round pick, followed by his signing of a three-year, $63 million extension with Cleveland. The guys acknowledge that Tytus, despite his versatility, never settled into a true position. Then the guys break down the reports that Houston will land RB David Montgomery in a trade with the Lions. The back half features John's Combine interview with Fran Duffy of All City Philly, who provides an expert-level draft deep dive tailored to Houston's needs. Duffy sells Garrett Nussmeier as the best non-Mendoza quarterback in the class despite knee concerns, identifies pass rush as the draft's deepest position (Keldric Falk, Arvell Reese, David Bailey, Ruben Bain Jr. as four of the top six players), and breaks down offensive line targets including Monroe Freeling, Caleb Lomu, and a Nigerian-born Arizona State tackle who didn't play high school football and learned to put on pads at junior college. Duffy and Harris geek out over center prospects Connor Liu (Auburn, torn ACL) and Logan Jones (Iowa, handpicked by Tyler Linderbaum as his successor), and Duffy offers a Felix Jones comparison for Jadarian Price while warning that Price won't last to the second round. The show closes with news of the Chiefs releasing Juwan Taylor and the Cowboys working to extend kicker Brandon Aubrey.See omnystudio.com/listener for privacy information.

John Maytham is joined by Rebecca Davis, senior journalist at Daily Maverick, to discuss the Nigerian pastor, John Anosike, who has just bought the Cape Town landmark, The Goodhope Centre. Afternoon Drive with John Maytham is the late afternoon show on CapeTalk. Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

In this episode, we explore the innovative journey of ValueJet, a Nigerian airline that has recently introduced Viki, the first AI concierge in Africa.  Temi Adjijola, the head of business program and IT at Value Jet, discusses the airline's mission to make flying accessible to more people in Nigeria, where air travel is still underutilized. Joining Temi is Rodger Whittle, Commercial Director and Juan Felipe Restrepo, Chief Product Officer at KIU System Solutions who created Viki and provide over 70 airlines worldwide with a comprehensive, cloud-based, AI-powered suite of IT services for airlines, focusing on Passenger Service Systems (PSS), Departure Control Systems (DCS), and a proprietary Global Distribution System (GDS).  The conversation delves into the challenges faced by the airline industry in Nigeria, the adoption of technology to enhance customer experience, and the significant role of AI in streamlining operations and improving service delivery. The guests also share insights on the future of AI in aviation, including potential applications in customer service, operational efficiency, and revenue management.  Chapters 00:00 Introduction to Value Jet and AI Concierge 06:42 Value Jet's Business Model and Market Positioning 12:45 The Role of AI in Enhancing Customer Experience 20:22 Industry Feedback and Adoption of AI Solutions 28:06 Future Applications of AI in Aviation 38:53 Expansion Plans and Strategic Growth for Value Jet CONNECT WITH RODGER CONNECT WITH JUAN CONNECT WITH TEMI  

For many women, the word “millionaire” can still feel uncomfortable. Not just financially, but culturally. Many of us weren't raised to imagine ourselves as wealthy, powerful, or building seven-figure net worths.My guest today wants to change that.Bola Sokunbi is the founder and CEO of Clever Girl Finance, one of the largest financial education platforms for women in the U.S. She's a Certified Financial Education Instructor, a six-time bestselling author, and her newest book is Clever Girl Millionaire.What I appreciate about Bola's approach is that she doesn't frame wealth as a quick win or a social-media highlight reel. Instead, she focuses on the real path to building wealth: intentional decisions, consistency, and the courage to think bigger about what's possible.Bola's own story is deeply personal. She grew up in a Nigerian immigrant household where resilience and sacrifice were part of everyday life. Her mother left a successful career as an investment banker in Nigeria and came to the U.S. to start over as a nanny so her children could pursue opportunities here.That experience shaped how Bola thinks about money, opportunity, and something we explore deeply in this conversation: legacy.Because wealth isn't just about reaching a number in your bank account. It's about asking bigger questions:What do you want your money to represent? Who do you want it to help? What changes because you existed?In this episode, Bola and I discuss:• Why the word “millionaire” still intimidates many women • How to build wealth even if you're starting from debt or living paycheck to paycheck • The mindset shifts required during uncertain economic times • Navigating family obligations and financial pressure, especially in immigrant households • And why legacy isn't just about money — it's about impact.Bola's Website: https://clevergirlfinance.comBola' New book: https://www.clevergirlfinance.com/clever-girl-millionaire/ Hosted on Acast. See acast.com/privacy for more information.

We're joined by Oye Pearl — Sexual and Reproductive Health (SRH) educator, youth advocate, and content creator — for a much-needed conversation about consent and what it really means in our context.We break down the misconceptions, the grey areas Nigerians often ignore, and how culture, religion, and upbringing shape the way we understand (or misunderstand) boundaries. From relationships to marriage to everyday interactions, Oye helps us unpack why consent is not just a buzzword — but a responsibility.JOIN THE WHATSAPP CHANNEL:https://whatsapp.com/channel/0029VbBii6eLtOjA3h8LHg2BFOLLOW US ON:http://twitter.com/sonigerian_http://Instagram.com/sonigerian_http://twitter.com/damiar0shttp://instagram.com/_damiiaros7http://twitter.com/medici__ihttps://instagram.com/medici.ihttps://instagram.com/oyepearlinitiative Hosted on Acast. See acast.com/privacy for more information.

In this episode of Crossing Faiths, John speaks with Ambassador Robert Rehak, the Czech Republic's Special Envoy for the Holocaust, Interfaith Dialogue, and Freedom of Religion and Belief, about his extensive global efforts to protect marginalized communities and promote tolerance. The conversation creatively opens by comparing his human rights work to the Czech legend of Houska Castle—a fortress built to seal the gates of hell—before delving into his real-world responsibilities as the Chair of the International Religious Freedom or Belief Alliance. Ambassador Rehak shares compelling examples of his advocacy, including his efforts to free a Nigerian prisoner of conscience, unique social experiments dressing as different religious figures at soccer matches to combat Islamophobia, and organizing interfaith sports tournaments for Jewish and Muslim youth. They also discuss urgent global crises, such as the destruction of religious sites and oppression of minorities in Russian-occupied Ukraine, the systemic persecution of Uyghur Muslims in China, and the ongoing struggles in Syria. Drawing on his own poignant experiences growing up behind the Iron Curtain in communist Czechoslovakia and participating in the Velvet Revolution, Ambassador Rehak underscores his deep personal dedication to democracy and concludes with a hopeful call to action for everyday people to champion religious freedom and global unity. Robert Řehák, Ph.D. is Special Envoy for Holocaust, Interfaith Dialogue and Freedom of Religion, Czech career diplomat, Head of the Czech Delegation to the International Holocaust Remembrance Alliance (IHRA), Chair of the International Religious Freedom or Belief Alliance (IRFBA) or the Article 18 Alliance, published scholar of biblical proper names and the Dead Sea Scrolls, and official Hebrew interpreter. He studied at Charles University in Prague, Ruprecht-Karls-Universität in Heidelberg and Hebrew University in Jerusalem. As a researcher, he participates in several international research projects in the field of interfaith dialogue and sociology of religion. He is the initiator of the new Czech National Strategy of Combating anti-Semitism and co-ordinated the recent conference on the Terezín Declaration and the 2023 FoRB Ministerial in Prague. He is proficient in Czech, English, Hebrew, German and Russian, and reads classical Latin, Greek and Arabic. He lives in Prague with his wife and four children.

We discuss the pros and cons of growing up in a Nigerian home and the role it played it defining who we are today. Whether we will continue and give our kids the same experience or change it up.

Last night, I had the opportunity to speak virtually alongside a renowned freedom-fighter named Mike Arnold with Nigerian-Americans now living in Houston and best described as foreign-born American patriots. These men and women appreciate intensely how precious – and how perishable – are the liberties most of us who had the God-given privilege of being born in this country take for granted.  They also recognize the mortal threat to Texas and the rest of the United States posed by adherents to Islam's totalitarian prescription for jihadist conquest known as sharia. After all, such sharia-supremacists have for years been genocidally murdering their fellow Christians in Nigeria with impunity.  Nigerian expatriates who are now U.S. citizens are especially motivated to vote for the Texas Republican primary's Proposition 10 which calls for prohibiting sharia in that state. Every patriotic Texan should without fail do the same. BanSharia.com.  This is Frank Gaffney.

Join us on Patreon at patreon.com/humpdayquickies In this rewind episode of Hump Day Quickies: Swingers Confessions, Nessa and G take you back to March 2023 for an unforgettable weekend that started with Cockfest (complete with a flirty Nigerian prince encounter) and exploded into pure chaos at the White Party. After Nessa battled a brutal migraine that nearly derailed their biggest pre-party yet, G hosted 13 eager guests solo—building connections that carried straight into the club. When Nessa made a dramatic late-night recovery fueled by FOMO, the night escalated into an epic 10-person full-swap orgy in one very crowded, steamy room, complete with girl-on-girl starts, floor acrobatics, and a whole lot of heat. Patreon listeners get the full uncensored experience: exclusive audio snippets captured right after the play, letting you hear the raw sounds and breathless reactions from that wild group session as well as some up coming travel plans. Whether you're new to the lifestyle or a seasoned swinger, this episode is packed with laughs, lessons (like respecting BDSM scenes), and the kind of real, heart-pounding stories that make the ethically non-monogamous world so addictive. Email your questions to Nessa here to be part of "Ask Nessa". Please subscribe on your favorite podcast platform. You can catch us on SLSRadio every Wednesday at 4pm Eastern Time. You can find tons of amazing lifestyle show on FullSwapRadio, including our show, Every Wednesday at 6:30pm and Midnight Eastern Time. We are now hosts on the Swinger Society Discord Server as well. If you have your own sexy stories, please call our hotline and share them with us and our audience. 844-4-Hump-Day If you have any questions for us, please email us at humpdayquickies@gmail.com Visit our website as well.  HumpDayQuickies.com Please follow us on all the social platforms: Twitter - HumpDayQuickies Instagram - HumpDayQuickies FaceBook - HumpDayQuickies TikTok - HumpDayQuickies We are adding new content as quickly as we can!  

In this episode, George is joined by Mfon Udofia, head coach of the Long Island Nets to share insights from his journey as a player and coach. He discusses the importance of building coaching philosophies based on personal experiences, the significance of accountability and communication with players, and effective strategies for teaching decision-making in a conceptual offense. Mfon also delves into the intricacies of the pick and roll, his experiences leading the Nigerian national team, and the valuable lessons learned from renowned coaches. Chapters: 01:00 – Introduction to Mfon Udofia and his journey from Georgia Tech point guard to G League head coach 02:00 – How playing experience shapes (and doesn't shape) his current coaching philosophy 03:00 – Making effort non-negotiable: defining and tracking Winning Momentum Plays (WMPs) 04:00 – Building accountability through consistency, communication, and individual development plans (IDPs) 06:00 – Creating player buy-in by understanding individual goals at the G League level 07:00 – Teaching decision-making within conceptual offense using game-like practice situations 09:00 – Nonverbal communication, spacing, and flowing offense without scripted sets 10:30 – Key principles for teaching pick-and-roll offense: setup, screening angles, and reads 12:00 – Defending the pick-and-roll: communication, drop coverage, late reds, and up-to-touch concepts 15:00 – Lessons from serving as head coach of the Nigerian National Team and leading under pressure 17:00 – Learning from elite coaches and the importance of preparation, organization, and attention to detail 19:00 – Reevaluating basketball staples: why Mfon moved away from the three-man weave 21:00 – Transformative coaching tip Level up your coaching with our Amazon Best Selling Book: https://amzn.to/3vO1Tc7Access tons more of evidence-based coaching resources: https://transformingbball.com/products/ Links:Website: http://transformingbball.com/Twitter: https://twitter.com/transformbballInstagram: https://www.instagram.com/transformingbasketball/YouTube: https://www.youtube.com/@transformingbasketballFacebook: https://www.facebook.com/transformingbasketball/TikTok: https://www.tiktok.com/@transforming.basketball

In this episode, we examine how Spain's plan to offer over 500,000 migrants legal status will affect African migrants in the country. Following an announcement by Spain's government, several in support of the proposal say it's practical and crucial for Spain's economy, while critics warn it could encourage irregular migration. We speak to a young Nigerian man in the queue for documentation. And we take a look at a recently released UNESCO report that shows Africa is giving the creative industries greater priority in comparison to other regions, with 62% of countries now including culture in development plans.Presenter: Nkechi Ogbonna Technical Producer: Herbert Masua Senior Producers: Bella Twine and Blessing Aderogba Editors: Samuel Murunga and Maryam Abdalla

2026-02-16 | UPDATES #133 | Russian losses now outpacing recruitment (again) — and why Moscow is leaning harder on foreign fighters. The military math in Moscow does not add up – the tally between bodies in, bodies out. The difference between vodka fueled recruits and sunflower fodder. And for a war being fought at drone-speed and trench-distances, that's arithmetic Putin can't spin. Multiple streams of reporting and official claims over the last week — capped by fresh remarks out of Munich — point to the same brutal conclusion: Russia is bleeding manpower faster than it can refill the trenches, and it's increasingly padding the gap with foreign fighters — some recruited under false pretenses, some coerced, some simply disposable. Let's unpack what we know, what we can't independently verify, and why the Kremlin's recruitment logic is starting to look less like “strategic endurance” and more like a meat-processing plant with a military payroll department attached. ----------SUPPORT THE CHANNEL:https://www.buymeacoffee.com/siliconcurtainhttps://www.patreon.com/siliconcurtainhttps://www.gofundme.com/f/scaling-up-campaign-to-fight-authoritarian-disinformation----------A REQUEST FOR HELP!I'm heading back to Kyiv this week, to film, do research and conduct interviews. The logistics and need for equipment and clothing are a little higher than for my previous trips. It will be cold, and may be dark also. If you can, please assist to ensure I can make this trip a success. My commitment to the audience of the channel, will be to bring back compelling interviews conducted in Ukraine, and to use the experience to improve the quality of the channel, it's insights and impact. Let Ukraine and democracy prevail! https://buymeacoffee.com/siliconcurtain/extrashttps://www.patreon.com/siliconcurtainhttps://www.gofundme.com/f/scaling-up-campaign-to-fight-authoritarian-disinformationNONE OF THIS CAN HAPPEN WITHOUT YOU!So what's next? We're going to Kyiv in January 2026 to film on the ground, and will record interviews with some huge guests. We'll be creating opportunities for new interviews, and to connect you with the reality of a European city under escalating winter attack, from an imperialist, genocidal power. PLEASE HELP ME ME TO GROW SILICON CURTAINWe are planning our events for 2026, and to do more and have a greater impact. After achieving more than 12 events in 2025, we will aim to double that! 24 events and interviews on the ground in Ukraine, to push back against weaponized information, toxic propaganda and corrosive disinformation. Please help us make it happen!----------SOURCES: The Straits Times (via Bloomberg), 16 Feb 2026, “Russia's losses in Ukraine boosting reliance on foreign fighters, Britain says.” Bloomberg, 15–16 Feb 2026, “Russia's Losses Boost Reliance on Foreign Fighters, UK Says.”Ukrinform (citing Bloomberg), 15 Feb 2026, “Russia's losses increase its reliance on foreign fighters.” AP News, 13 Feb 2026, “Ukraine says 2 Nigerians fighting for Russia found dead in Luhansk after drone strike.” The Kyiv Independent, 12 Feb 2026, “Russian losses exceeded recruitment for second month in a row, Ukraine says.” Ukrainska Pravda (Eng.) (citing Bloomberg), 12 Feb 2026, “Russian losses in January exceeded number of new recruits.” Al Jazeera, 13 Feb 2026, casualty/recruitment reporting and Syrskyi Telegram quote.EuroMaidan Press, 13 Feb 2026, Brovdi drone-verified loss/recruitment discussion (context and claims).Reuters, 14 Jan 2026, “Ukraine's new defence minister vows innovation…” (Fedorov appointment background). Ukraine Ministry of Defence (official bio page), “Mykhailo Fedorov” (appointment details). NATO transcript, 12 Feb 2026, remarks with Ukraine Defence Minister Mykhailo Fedorov. Financial Times, 10 Feb 2026, “Russian army casualties in Ukraine surge” (attrition context).----------

Zochi is a Regina-based, Nigerian-born artist who's just released a new single called What You Want. It showcases her smooth vocals and vulnerable storytelling, diving into feelings of unrequited love. She joins guest host Garvia Bailey to talk about being honest in her music, how moving to Canada changed her life, and why she's never giving up on love.

The Nigerian musician Fela Kuti used his music in the ‘70s as a weapon against colonial values and his country's brutal dictatorship. The danceable music and political lyrics inspired a youth movement. Award-winning podcaster Jad Abumrad talks with Terry about his podcast series, ‘Fela Kuti: Fear No Man.' Also, we hear from best-selling science journalist Michael Pollan. His new book ‘A World Appears' asks how technology is changing our consciousness. “Consciousness is under siege,” he says. “I think that it's the last frontier for these companies that want to sell our time and, of course, our time is our mind time.” Pollan also questions whether A.I. is capable of achieving consciousness.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

A simple act of kindness led to a friendship between a Nigerian immigrant and a 92-year-old veteran. Police in rural England caught their suspect, thanks to a herd of llamas. This 77-year-old museum curator learned a new language to reach young art lovers. We'll break down some of the Olympic greatness you might have missed this week from Milano Cortina. Plus, could this fun winter sport make an Olympic comeback?  Sign up for the CNN 5 Good Things newsletter here.  Host/Producer: Krista Bo Polanco  Producer: Eryn Mathewson  Showrunner: Faiz Jamil  Senior Producer: Felicia Patinkin  Editorial Support: Liberty Smith Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's Friday, February 20th, A.D. 2026. This is The Worldview in 5 Minutes heard on 140 radio stations and at www.TheWorldview.com.  I'm Adam McManus. (Adam@TheWorldview.com) By Adam McManus 100 U.S. troops on the ground in Northeast Nigeria U.S. officials confirmed that roughly 100 U.S. troops arrived in Nigeria on Monday, tasked with a mission to train and equip Nigerian anti-terror forces in their ongoing struggle against the country's rising Islamic terrorist threat, reports International Christian Concern. About 200 troops are expected to be deployed in the coming weeks. Nigeria has witnessed an uptick in religious-based violence in the central and north by the Islamic Boko Haram terrorist group against Christians. The U.S. soldiers were sent to Bauchi State located in northeastern Nigeria at the invitation of the Nigerian government. British police arrested Prince Andrew Andrew Mountbatten-Windsor, the man formerly known as Prince Andrew before his royal title was stripped from him, was arrested on suspicion of misconduct in a public office at around 8:00am on his 66th birthday yesterday, reports The U.S. Sun. Andrew allegedly shared sensitive information with his pedophile pal Jeffrey Epstein while serving as the United Kingdom's trade envoy. He spent time in Vietnam, Singapore, China, and Hong Kong in October 2010 on taxpayer-funded official business and high-level trade talks. An email to Epstein on November 30, 2010, sent by Andrew's “Special Adviser” Amit Patel, contained four documents reporting on what had been discussed on his trip. The email and its four attachments were sent to Andrew at 4.57pm, and forwarded to multi- millionaire Jeffrey Epstein five minutes later, at 5.02pm. Cops also confirmed at the time that they were separately probing allegations that a woman was trafficked to the UK by Epstein to have a sexual encounter with Prince Andrew. Yesterday, police raided royal residences in Windsor and Norfolk. Andrew's brother, King Charles III, age 77, said, “I have learned with the deepest concern the news about Andrew Mountbatten-Windsor and suspicion of misconduct in public office. What now follows is the full, fair, and proper process by which this issue is investigated in the appropriate manner and by the appropriate authorities. They have our full and wholehearted support and co-operation.” Andrew's arrest comes almost a year after Virginia Giuffre, a woman who accused him of sexually assaulting her while she was a minor, committed suicide last April. Virginia's emotional brothers Sky and Daniel said: “At last, today, our broken hearts have been lifted at the news that no one is above the law, not even royalty. On behalf of our sister, Virginia Giuffre, we extend our gratitude to the UK's Thames Valley Police for their investigation, and the arrest of Andrew Mountbatten-Windsor. For survivors everywhere, Virginia did this for you.” Galatians 6:7 says, “Do not be deceived: God cannot be mocked. A man reaps what he sows.” Black D.C. grandma about Trump:  “I love him!” Back in 2017, Forlesia Cook's grandson was murdered in cold blood in Washington D.C.  Yesterday, at the Black History Month Reception at the White House, she spoke glowingly about President Donald Trump's concern about her family and his willingness to send in the National Guard to D.C. to put the criminals behind bars, reports FoxNews.com. Listen. COOK: “One thing I like about him, he keeps it real, just like Grandma. I appreciate that because I can trust Him, because he tells exactly how he feel and what he think. Thank God for this President. (applause) “I am filled. My cup runneth over because he allowed his people to come to my house to interview me, to talk about the murder of my grandson. It seemed like nobody cared. I marched. I rallied. I pulled out other families in the District of Columbia that had murders and did not have answers. Ooh! We marched and we rallied. And nobody heard me, Democrats, until this Republican sent his people out there to interview me in my home. Have you ever heard of a thing? “Then they invited me twice before Congress to testify for the Beautiful Bill that's going to change crime in the District.  (applause)  If you kill somebody, okay, you take a life, you do life. Just that simple. (applause)  If you do a harsh crime, you do harsh time. Just that simple. “And then we need National Guard, and which we did years ago, he brought it on. “I love him. I don't want to hear nothing you got to say about that racist stuff. And don't be looking at me on the news hatin' on me because I'm standing up for somebody that deserves to be standin' up for. Get off the man's back. Let him do his job. He's doing the right thing. Back up off of me. And Grandma said it.” (applause) Cook cited Psalm 23:5 in her remarks.  The full verse says, “Thou preparest a table before me in the presence of mine enemies; Thou anointest my head with oil; my cup runneth over.” President Trump was clearly touched by Forlesia Cook's passion and gratitude. TRUMP: “Thank you, darling. That's great, and it's from the heart. Your little baby was just so horribly taken from you. “Under the Trump administration, we believe that no community should be abandoned to the scourge of violent crime. We're saving 1000s and 1000s of lives in many cities. And frankly, if these radical left lunatic Democrats would come and say, ‘Please help us. Please,' we'd stop crimes all over the place. “Every town that we go in, every city that we go in, like Washington, Felicia, you feel much safer now, totally safe. You can walk to a restaurant. The restaurants were all closing. Now, the bad news is you can't get into a restaurant. It's a great thing to see what's happening in Washington.” American abolitionist and former slave Frederick Douglass remembered And finally, 131 years ago today, on February 20, 1895, American abolitionist Frederick Douglass met his maker. He was the most important leader of the American movement for black civil rights in the 19th century. After escaping from slavery in Maryland in 1838, Douglass became a national leader of the abolitionist movement in Massachusetts and New York. He gained fame for his oratory and incisive antislavery writings. Accordingly, he was described by abolitionists, in his time, as a living counterexample to claims by supporters of slavery that enslaved people lacked the intellectual capacity to function as independent American citizens. Indeed, Northerners, at the time, found it hard to believe that such a great orator had once been enslaved. It was in response to this disbelief that Douglass wrote Narrative of the Life of Frederick Douglas: An American Slave in 1845.  It was influential in promoting the cause of abolition, as was his second book, written in 1855, entitled My Bondage and My Freedom. Following the Civil War, Douglass was an active campaigner for the rights of freed slaves and wrote his last autobiography entitled Life and Times of Frederick Douglass. Close And that's The Worldview on this Friday, February 20th, in the year of our Lord 2026. Follow us on X or subscribe for free by Spotify, Amazon Music, or by iTunes or email to our unique Christian newscast at www.TheWorldview.com.  Plus, you can get the Generations app through Google Play or The App Store. I'm Adam McManus (Adam@TheWorldview.com). Seize the day for Jesus Christ.

Gregory Copley reports Nigerian President Tinubu advocates for an African credit rating agency to reduce reliance on external assessments from firms like Moody's, reflecting growing desire for statistical independence and better quantification of local economies to attract investment.1910 BRUSSELS CATHEDRAL

We are joined by podcaster extraordinaire, Eteng Ettah, as we dive into urban legends submitted by you, our Conspiriters! From after-school haunted shenanigans, to a make-up stealing ghost (Sephora is EXPENSIVE), this episode has a little bit of something for everyone. Content Warning: This episode contains conversations about or mentions of death, elder abuse and manipulation, hanging, suicide, family death, weight discussion, mental health struggles, injury, car accidents, arson, and illness. GuestEteng Ettah was raised by Nigerian immigrants and MTV. Based in NYC, she currently hosts Consider This For Comfort, where she breaks down why your favorite comfort TV shows are your favorite comfort TV shows.She is a narrative and creative strategist with a deep love for storytelling and culture. With over a decade of experience, she's helped nonprofits, media orgs, and brands bring their missions to life through smart strategy, compelling narratives, and audience-first communications. Whether she's shaping a campaign, building meaningful partnerships, or weighing in on pop culture, Eteng's work lives at the intersection of strategy, storytelling, and pop culture commentary. Her commentary and analysis have been featured across a range of platforms, including the BlackStar Film Festival, Scalawag Magazine, NPR Stateside, Free Speech TV, New York Amsterdam News, WGN-TV and more.Housekeeping- Books: Check out our previous book recommendations, guests' books, and more at spiritspodcast.com/books- Call to Action: Send in those urban legend emails!- Submit Your Urban Legends Audio: Call us! 617-420-2344Minneapolis Spotlight- Purchase the No ICE in Minnesota bundle on Itch.io to help raise funds for Immigrant Law Center of Minnesota and get over 1400 TTRPGs.Find Us Online- Website & Transcripts: spiritspodcast.com- Patreon: patreon.com/spiritspodcast- Merch: spiritspodcast.com/merch- Instagram: instagram.com/spiritspodcast- Bluesky: bsky.app/profile/spiritspodcast.com- Twitter: twitter.com/spiritspodcast- Tumblr: spiritspodcast.tumblr.comCast & Crew- Co-Hosts: Julia Schifini and Amanda McLoughlin- Editor: Bren Frederick- Music: Brandon Grugle, based on "Danger Storm" by Kevin MacLeod- Artwork: Allyson Wakeman- Multitude: multitude.productionsAbout UsSpirits is a boozy podcast about mythology, legends, and folklore. Every episode, co-hosts Julia and Amanda mix a drink and discuss a new story or character from a wide range of places, eras, and cultures. Learn brand-new stories and enjoy retellings of your favorite myths, served over ice every week, on Spirits.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Israel's prime minister has demanded the removal of all enriched uranium from Iran as part of any deal on Tehran's nuclear programme. Benjamin Netanyahu was speaking as Iran's foreign minister travelled to Switzerland for the latest round of indirect talks with the US. Also: In a new Instagram video the American celebrity news host, Savannah Guthrie, has addressed the kidnappers of her eighty- four year old mother, Nancy. She said she and her family still had hope their mother would be returned safely. The alleged gunman of the Bondi Beach shooting in Australia, has appeared via video link at a Sydney court for the first time. Nigerians welcome the return of the celebrated Argungu fishing festival. And how artificial intelligence is changing agriculture. The Global News Podcast brings you the breaking news you need to hear, as it happens. Listen for the latest headlines and current affairs from around the world. Politics, economics, climate, business, technology, health – we cover it all with expert analysis and insight. Get the news that matters, delivered twice a day on weekdays and daily at weekends, plus special bonus episodes reacting to urgent breaking stories. Follow or subscribe now and never miss a moment. Get in touch: globalpodcast@bbc.co.uk

Cecelia Lizotte owns Suya Joint, a celebrated Nigerian restaurant in Boston. She's a rising star in the city who was nominated for a James Beard Award in 2024 and operates two restaurants and a food truck. But last year, a key employee—who happens to be her brother—was detained by ICE. “I'm not able to operate the establishment, basically,” Lizotte said. “It's just, it's crazy.”Lizotte's experience got us wondering what it's like to run a restaurant, or any business, when a key employee suddenly disappears. This week on Reveal, producer Katie Mingle and reporter Julia Lurie tell stories about the people swept up in President Donald Trump's mass deportations and the families that are left behind. We also talk to LA Taco reporter Memo Torres about how immigration raids continue across Los Angeles almost daily, even though the national spotlight moved on months ago. The first two stories are updates from an episode that originally aired in September 2025.  Support Reveal's journalism at Revealnews.org/donatenow Subscribe to our weekly newsletter to get the scoop on new episodes at Revealnews.org/weekly Connect with us on Bluesky, Facebook and Instagram Learn about your ad choices: dovetail.prx.org/ad-choices

“They would have had to cut my foot off before I didn't play in Super Bowl.” Nick Emmanwori  They say Defense wins championships, and the Seattle Seahawks backed that statement up with one of the fiercest units! Keeping up Pivot tradition, we travled to the home of the world champions post Super Bowl to sit down with Nick Emmanwori, the Seattle Seahawks' rookie safety who defied the odds and finished his first NFL season on top of the league. Nick takes us inside an unforgettable year — from his Nigerian roots to being selected as the 35th overall pick in the 2025 NFL Draft, to becoming an anchor of Seattle's defense and a key contributor to their championship run.  We get into the biggest question looming Super Bowl week when a video of Nick surfaced not being able to walk as he opens up on the ankle injury scare heard round the football world as he shares missing the biggest game of his life was never an option and what he did to push through the unknown to stay locked in mentally and physically to help his team win the Lombardi. He takes Ryan, Channing and Fred into the locker room mentality to paint a picture of what Seattle truly built the past year and why he trusts a repeat is not off the table, recognizing all the pieces that need too fall in place to go back to back. Beyond the big game, we dive deep into the ups and downs of his rookie campaign, falling to the second round of draft and rebounding with the early-season growth that earned him Defensive Rookie of the Year buzz and how he battled adversity to find his confidence on the biggest stages. Relying on veteran leadership, Seattle's locker room bonded together on a mission to never let outside noise affect the team goal which created the NFL's No. 1 ranked defense, known as the "Dark side". He opens up about his bond with head coach Mike Macdonald and what he had to do to soak in all of the football knowledge to adapt to X & O schemes that elevated his play. Nick also opens up about the bond with Sam Darnold, whose own redemption arc culminated in a sturdy Super Bowl performance — proving that heart and leadership can outweigh the critics. The guys reflect on resilience, leadership, and the lessons learned in a season that none of his team will ever forget. And we couldn't not ask about the women in his life, from his mom's viral interview Super Bowl week to Dawn Stalely wearing his jersey to his girlfriend, Raven Johnson's unconditional support...this conversation covers it all. From draft dreams to the Lombardi Trophy, this is the inside story of a rookie who refused to be ordinary and a team that rewrote the championship narrative. Pivot Family, please like, comment and subscribe- we love hearing and interacting with you all to see what resonates with you most! Learn more about your ad choices. Visit megaphone.fm/adchoices

Considered the father of Afrobeat, Nigerian musician Fela Kuti used his music in the 1970s to combat colonial values and brutal dictatorship. Former Radiolab host Jad Abumrad tells his story in the podcast series, ‘Fela Kuti: Fear No Man.' He spoke with Terry Gross. Also, Fresh Air's longtime executive producer Danny Miller is retiring. We close out the show with an appreciation and send-off from the staff. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy