Podcast appearances and mentions of Paul Gilroy

Con un título tomado del libro del sociólogo británico Paul Gilroy, 'Atlántico Negro', el disco de la cantante y compositora brasileña Ilessi contiene canciones como 'Navio negreiro', 'Seca tatu', 'Ávida', 'Nonada' o 'Um baobab e eu'. De 'Beyond bossa nova', primer disco en inglés de la compositora, pianista y vocalista brasileña Delia Fischer, temas como 'A little samba', 'Song of self affirmation', 'What good is summer?' -con el chelo de Eugene Friesen- y 'Workaholic' -con Marcos Valle-. Y de 'Atacama', segundo disco de la pianista, compositora y vocalista Clélya Abraham, que tiene sus raíces en la isla antillana de Guadalupe, 'Sérénité', 'Mabouya', 'Nébuleuse' y 'Espérance'. Despedida con el reciente homenaje del trompetista italiano Paolo Fresu a Miles Davis que se titula 'Kind of Miles'.Escuchar audio

In this special episode, historian Corinne Fowler joins EMPIRE LINES live with visual artist and researcher Ingrid Pollard, linking rural British landscapes, buildings, and houses, to global histories of transatlantic slavery, through their book, Our Island Stories: Country Walks Through Colonial Britain (2024).Though integral to national identity in Britain, the countryside is rarely seen as having anything to do with British colonialism. In Our Island Stories, historian Corinne Fowler brings together rural life and colonial rule, through ten country walks with various companions. These journeys combine local and global history, connecting the Cotswolds to Calcutta, Dolgellau to Virginia, and Grasmere to Canton. They also highlight how the British Empire transformed rural lives, whether in Welsh sheep farms or Cornish copper mines, presenting both opportunity and exploitation.Corinne explains how the booming profits of overseas colonial activities directly contributed to enclosure, land clearances, and dispossession in England. They highlight how these histories, usually considered separately, persist in the lives of their descendants and our landscapes today. We explore the two-way flows of colonial plant cultures, as evident in WIlliam Wordsworth's 19th century poems about daffodils, as contemporary works of literature by Chinua Achebe and Grace Nichols.Contemporary artist - and walking companion - Ingrid Pollard shares their research into ferns, seeds, and magic, across Northumberland, the Lake District, and South West England, Ingrid details histories of lacemaking in Devon and Cornwall, and we explore representations of ‘African' and Caribbean flowers in art. Bringing together Ingrid and Corinne's works, installed at the exhibition, Invasion Ecology, at Southcombe Barn on Dartmoor, we also explore their previous collaborations including the project, Colonial Countryside: National Trust Houses Reimagined. Plus, Corinne questions ‘cancel culture' in the British media and academia, drawing on their experiences as Professor of Colonialism and Heritage in Museum Studies at the University of Leicester.Our Island Stories: Country Walks Through Colonial Britain by Corinne Fowler is published by Penguin, and available in all good bookshops and online. You can pre-order the paperback, released on 1 May 2025. This episode was recorded live as part of the programme for Invasion Ecology, co-curated by Jelena Sofronijevic for Radical Ecology, and Vashti Cassinelli at Southcombe Barn, an arts space and gardens on Dartmoor. The central group exhibition, featuring Ingrid Pollard, Iman Datoo, Hanna Tuulikki, Ashish Ghadiali, Fern Leigh Albert, and Ashanti Hare, ran from 1 June to 10 August 2024.The wider programme featured anti-colonial talks and workshops with exhibiting artists, writers, researchers, and gardeners, reimagining more empathic connections between humans, plants, animals, and landscapes. For more information, follow ⁠⁠⁠⁠⁠Radical Ecology⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠Southcombe Barn⁠⁠⁠⁠⁠ on social media, and visit: ⁠⁠⁠⁠radicalecology.earth/events/invasion-ecology-exhibition⁠⁠⁠⁠.Watch the full video conversation online, via Radical Ecology: https://vimeo.com/995929731And find all the links in the first Instagram post: https://www.instagram.com/p/C8cyHX2I28You can also listen to the ⁠⁠⁠⁠⁠EMPIRE LINES x Invasion Ecology Spotify playlist⁠⁠⁠⁠⁠, for episodes with Paul Gilroy, Lubaina Himid, Johny Pitts, and Imani Jacqueline Brown, plus partners from the University of Exeter, KARST, CAST, and the Eden Project in Cornwall.PRODUCER: Jelena Sofronijevic.Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

Send us a text message and tell us your thoughts.Our history of migration spans across the world. Join us as we journey with Alya Harding, a community organizer and PhD student, who shares her heartfelt exploration of Sierra Leonean Creole/Krio culture and her personal quest to uncover her Trinidadian roots. We examine the historical migrations that have woven a diverse Creole culture, bringing together Africans, African Americans, and Afro-Caribbean individuals in Sierra Leone. Alya's narrative of growing up in post-civil war Sierra Leone, paired with her newfound connections to her Caribbean heritage, paints a vivid picture of identity and belonging within the African diaspora.This episode offers a thoughtful reflection on the complex layers of Creole culture, as seen through the lens of "roots versus routes" by scholar Paul Gilroy. We discuss the spiritual connections that bind African and Caribbean people, bolstered by historical movements such as the Haitian Revolution. The conversation also critically examines the romanticized idea of "returning" to Africa. We challenge the commercialization and exclusivity of this concept, advocating for genuine engagement with local communities and learning from past social movements. Alya enriches the dialogue with her personal anecdotes, and together we explore the enduring quest for freedom within Black communities worldwide. Dive into these narratives and gain access to further resources on the Strictly Facts podcast website, as we continue to explore these essential themes in our ongoing series.Alya Harding, is a community organiser based in East London, concerned with issues of gender-based violence, migration, and agency. Alya's activism and academic pursuits are deeply influenced by her early childhood in post-civil war Sierra Leone, shaped by the resilience of her Krio heritage and the richness of creolised cultures. She is particularly drawn to storytelling as a means to explore the tensions between theory and practice, grounded in a feminist approach that reimagines identity and freedom at the intersections of race, gender, and empire. Alya's PhD research through an intergenerational discourse seeks to explore feminised migratory survival modes through the family pathology of African female headed households across Britain. In particular, examining how these practices affect their children, especially how they have shaped their daughters' views on identity, belonging and healing.Support the showConnect with Strictly Facts - Instagram | Facebook | Twitter | LinkedIn | YouTube | Website Looking to read more about the topics covered in this episode? Subscribe to the newsletter at www.strictlyfactspod.com to get the Strictly Facts Syllabus to your email!Want to Support Strictly Facts? Rate & Leave a Review on your favorite platform Share this episode with someone or online and tag us Send us a DM or voice note to have your thoughts featured on an upcoming episode Donate to help us continue empowering listeners with Caribbean history and education Produced by Breadfruit Media

Artist Hanna Tuulikki connects plantation landscapes in Finland, Scotland, and across the South West of England, making kin across species and with birds, via Avi-Alarm (2023). ⁠Invasion Ecology⁠ is co-curated by Jelena Sofronijevic for Radical Ecology, and Vashti Cassinelli at Southcombe Barn, an arts space and gardens on Dartmoor. The central group exhibition, featuring Ingrid Pollard, Iman Datoo, Hanna Tuulikki, Ashish Ghadiali, Fern Leigh Albert, and Ashanti Hare, runs from 1 June to 10 August 2024. The wider programme includes anti-colonial talks and workshops with exhibiting artists, writers, researchers, and gardeners, reimagining more empathic connections between humans, plants, animals, and landscapes. Ingrid will join EMPIRE LINES in conversation with Corinne Fowler, Professor of Colonialism and Heritage in Museum Studies at the University of Leicester, Director of Colonial Countryside: National Trust Houses Reinterpreted, and author of ⁠Our Island Stories: Country Walks through Colonial Britain (2024)⁠, in July 2024. For more information, follow ⁠Radical Ecology⁠ and ⁠Southcombe Barn⁠ on social media. You can also listen to the ⁠EMPIRE LINES x Invasion Ecology Spotify playlist⁠, for episodes with Paul Gilroy, Lubaina Himid, Johny Pitts, and Imani Jacqueline Brown, plus partners from the University of Exeter, KARST, CAST, and the Eden Project in Cornwall. IMAGES: Jassy Earl. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

In this special episode, EMPIRE LINES returns to Ingrid Pollard's 2022 exhibition, Carbon Slowly Turning, the first major survey of her career photographing Black experiences beyond the city and urban environments, in the English countryside. It marks the artist's participation in Invasion Ecology, a season of contemporary land art across South West England in summer 2024, questioning what we mean by ‘native' and what it means to belong. Since the 1980s, artist Ingrid Pollard has explored how Black and British identities are socially constructed, often through historical representations of the rural landscape. Born in Georgetown, Guyana, Ingrid draws on English and Caribbean photographic archives, with works crossing the borders of printmaking, sculpture, audio, and video installations. Their practice confronts complex colonial histories, and their legacies in our contemporary lived experiences, especially concerning race, sexuality, and identity. Curated by the artist and Gilane Tawadros, Carbon Slowly Turning led to Pollard's shortlisting for the Turner Prize 2022. From its iteration at the Turner Contemporary in Margate, Ingrid exposes the pre-Windrush propaganda films beneath works like Bow Down and Very Low -123 (2021), her plural influences from Maya Angelou to Muhammad Ali, and playing on popular culture with works in the Self Evident series (1992). As a Stuart Hall Associate Fellow at the University of Sussex, and with a PhD-by-publication, the artist discusses the role of research in her media-based practice. Finally, Ingrid opens her archive of depictions of African figures 'hidden in plain sight' in English towns and villages - from classical portraiture, to ‘Black Boy' pub signs. Ingrid Pollard: Carbon Slowly Turning ran at MK Gallery in Milton Keynes, the Turner Contemporary in Margate, and Tate Liverpool, throughout 2022. The exhibition was supported by the Freelands Foundation and Paul Mellon Centre for Studies in British Art, and the episode first released as part of EMPIRE LINES at 50. Invasion Ecology is co-curated by Jelena Sofronijevic for Radical Ecology, and Vashti Cassinelli at Southcombe Barn, an arts space and gardens on Dartmoor. The central group exhibition, featuring Ingrid Pollard, Iman Datoo, Hanna Tuulikki, Ashish Ghadiali, Fern Leigh Albert, and Ashanti Hare, runs from 1 June to 10 August 2024. The wider programme includes anti-colonial talks and workshops with exhibiting artists, writers, researchers, and gardeners, reimagining more empathic connections between humans, plants, animals, and landscapes. Ingrid will join EMPIRE LINES in conversation with Corinne Fowler, Professor of Colonialism and Heritage in Museum Studies at the University of Leicester, Director of Colonial Countryside: National Trust Houses Reinterpreted, and author of Our Island Stories: Country Walks through Colonial Britain (2024), in July 2024. For more information, follow Radical Ecology and Southcombe Barn on social media. You can also listen to the EMPIRE LINES x Invasion Ecology Spotify playlist, for episodes with Paul Gilroy, Lubaina Himid, Johny Pitts, and Imani Jacqueline Brown, plus partners from the University of Exeter, KARST, CAST, and the Eden Project in Cornwall. Ingrid Pollard's Three Drops of Blood (2022), commissioned by talking on corners (Dr Ella S. Mills and Lorna Rose), also explores representations of ferns, botany, and folk traditions in Devon's historic lace-making industry. First exhibited at Thelma Hubert Gallery in Honiton, it is now part of the permanent collection of The Box in Plymouth, where it will be displayed from 19 October 2024. SOUNDS: no title, Ashish Ghadiali (2024). PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

What exactly is cool? Well, if it was that easy to describe, it obviously wouldn't be cool. In this Trip, Keir, Jem and Nadia wonder if cool can ever be politically useful, and what happens when cool is used as a disciplining force. With ideas from Pierre Bourdieu, Norman Mailer and Paul Gilroy, and music […]

What exactly is cool? Well, if it was that easy to describe, it obviously wouldn't be cool. In this Trip, Keir, Jem and Nadia wonder if cool can ever be politically useful, and what happens when cool is used as a disciplining force. With ideas from Pierre Bourdieu, Norman Mailer and Paul Gilroy, and music […]

Decolonial thinker Professor Paul Gilroy joins EMPIRE LINES live in Plymouth, to chart thirty years since the publication of The Black Atlantic, his influential book about race, nationalism, and the formation of a transoceanic, diasporic culture, of African, American, British, and Caribbean heritages. Published in 1993, Paul Gilroy's The Black Atlantic: Modernity and Double Consciousness explores the interconnectedness of Black diasporas and communities across Western/Europe. He argues that the experience of slavery and colonisation, racism and global migration has shaped a unique Black cultural identity that transcends national borders. By examining the cultural contributions of Black individuals in music, literature, and art, Paul suggests that the Black Atlantic remains a site of resistance and creativity. Highlighting the plural and complex experiences of Black people throughout history and today, he challenges the notion of a singular, essential Black identity. We consider some of the transdisciplinary artist-activist-academics referenced in his texts, including W.E.B. Du Bois, Stuart Hall, and James Baldwin, to more contemporary figures, like Nadia Cattouse, bell hooks, and June Jordan, and Angeline Morrison. Plus, Paul talks about his early interests in music journalism, research into Black jazz and blues music, as well as British folk and country songs - and even Eminem. We consider Paul's engagements with Critical Race Theory (CRT), and Cultural Studies in Birmingham in the Midlands, and how his practice challenges ideas of Black nationalism, Afro-centrism, and political Blackness. We discuss too his ideas about afro-pessimism and planetary humanism, and how capitalism, militarism, and the environment has changed over the last thirty years. A self-described ‘child of Rachel Carson', he details his support for Extinction Rebellion, and the obligation of older generations to find hope in an era of climate and ecological crises. Finally, Paul describes his ‘Creole upbringing' in north London, connecting with his Guyanese heritage in the multicultural, cosmopolitan city, and how his mixed parentage shaped his relationship with rural landscapes, including the south-west of England, from where we speak. This episode was recorded live at the Black Atlantic Symposium in Plymouth - a series of talks and live performances, celebrating the 30th anniversary of Paul Gilroy's formative text - in November 2023: eventbrite.co.uk/e/black-atlantic-tickets-750903260867?aff=oddtdtcreator For more, listen to Ashish Ghadiali on the exhibition Against Apartheid (2023): pod.link/1533637675/episode/146d4463adf0990219f1bf0480b816d3 For more about Life Between Islands: Caribbean-British Art 1950s – Now (2021-2022) at Tate Britain in London, read my article for Artmag: artmag.co.uk/the-caribbean-condensed-life-between-islands-at-the-tate-britain/ For more about Ingrid Pollard, hear the artist on Carbon Slowly Turning (2022) at the Turner Contemporary in Margate: pod.link/1533637675/episode/e00996c8caff991ad6da78b4d73da7e4 For more about the Quiltmakers of Gee's Bend, listen to Raina Lampkins-Felder, curator at the Souls Grown Deep Foundation and Royal Academy in London: https://pod.link/1533637675/episode/2cab2757a707f76d6b5e85dbe1b62993 WITH: Professor Paul Gilroy, sociologist, Founding Director of the Sarah Parker Remond Centre for the Study of Racism & Racialisation at University College London (UCL), and Co-Chair of the Black Atlantic Innovation Network (BAIN). He won the Holberg Prize in 2019. ART: ‘'The Black Atlantic, Paul Gilroy (1993-Now) (EMPIRE LINES Live in Plymouth, with Radical Ecology)' PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

This roundtable will celebrate the much-anticipated publication of Orisanmi Burton's first book, Tip of the Spear: Black Radicalism, Prison Repression, and the Long Attica Revolt. Order a copy of "Tip of the Spear: Black Radicalism, Prison Repression, and the Long Attica Revolt" from Bookshop.org: https://bookshop.org/a/1039/9780520396326 Speakers Jared A. Ball is a Professor of Communication and Africana Studies at Morgan State University in Baltimore, MD. and author of The Myth and Propaganda of Black Buying Power (Palgrave, 2020). Ball is also host of the podcast “iMiXWHATiLiKE!”, co-founder of Black Power Media which can be found at BlackPowerMedia.org, and his decades of journalism, media, writing, and political work can be found at imixwhatilike.org. Ball has also been named as one of 2022's Marguerite Casey Foundation's Freedom Scholars. Dhoruba Bin Wahad was a leading member of the New York Black Panther Party, a Field Secretary of the BPP responsible for organizing chapters throughout the East Coast, and a member of the Panther 21. Arrested June 1971, he was framed as part of the illegal FBI Counter Intelligence program (COINTELPRO) and subjected to unfair treatment and torture during his nineteen years in prison. During Dhoruba's incarceration, litigation on his behalf produced over three hundred thousand pages of COINTELPRO documentation, and upon release in 1990 he was able to bring a successful lawsuit against the New York Department of Corrections for all their wrongdoings and criminal activities. Ruth Wilson Gilmore is Professor of Earth & Environmental Sciences and Director of the Center for Place, Culture, and Politics at the City University of New York Graduate Center. Co-founder of many grassroots organizations, Gilmore is author of Abolition Geography: Essays Toward Liberation (Verso), and Golden Gulag: Prisons, Surplus, Crisis, and Opposition in Globalizing California (University of California Press). Change Everything is forthcoming from Haymarket. She and Paul Gilroy co-edited Stuart Hall: Selected Writings on Race and Difference (Duke University Press). Sarah Haley works in the areas of U.S. gender history, carceral history, Black feminist and queer theory, prison abolition, and feminist historical methods. She is the author of No Mercy Here: Gender, Punishment, and the Making of Jim Crow Modernity and is working on a book titled Carceral Interior: A Black Feminist Study of American Punishment, 1966-2016. She is an associate professor of gender studies and history at Columbia University and organizes with Scholars for Social Justice. Robin D. G. Kelley is the Gary B. Nash Endowed Chair in U.S. History at UCLA. His books include, Hammer and Hoe: Alabama Communists During the Great Depression; Race Rebels: Culture Politics and the Black Working Class; Yo' Mama's DisFunktional!: Fighting the Culture Wars in Urban America; Africa Speaks, America Answers: Modern Jazz in Revolutionary Times and Freedom Dreams: The Black Radical Imagination. Orisanmi Burton is an assistant professor of anthropology at American University. His research employs innovative ethnographic and archival methods to examine historical collisions between Black radical organizations and state repression in the United States. Dr. Burton's work has been published in North American Dialogue, The Black Scholar, American Anthropologist, among other outlets and has received support from the Wenner-Gren Foundation, the Radcliffe Institute for Advanced Study at Harvard University, and The Margarite Casey Foundation, which selected him as a 2021 Freedom Scholar. Dr. Burton's first book, entitled Tip of the Spear: Black Radicalism, Prison Repression, and the Long Attica Revolt was published by the University of California Press on October 31 2023. Watch the live event recording: https://youtube.com/live/yhsQ3LHsAYU Buy books from Haymarket: www.haymarketbooks.org Follow us on Soundcloud: soundcloud.com/haymarketbooks

Curator and filmmaker Ashish Ghadiali connects climate science, contemporary art, and activism, cultivating a radical, cultural ecology in the countryside of south-west England, in their multidisciplinary exhibition, Against Apartheid. As environmental crises disproportionately affect Black and brown communities, and the resulting displacement often racialised, should we consider these states of ‘climate apartheid'? And could contemporary art help to bridge the gap between science and academics, and everyday action guidance? Against Apartheid, a multidisciplinary exhibition in Plymouth, puts these practices, histories, and geographies in conversation, from vast wallpapers charting global warming, to an intimate portrait of Ella Kissi-Debrah, and plantation paylists collected by the Barbadian artist Annalee Davis, linking land ownership in Scotland and the Caribbean from the 19th century Abolition Acts. Other works affirm how historic ecologies of empire – African enslavement, the middle passage, and the genocide of Indigenous peoples - continue to shape our present and future, in the geopolitics of international borders, migration, and travel. Activist and filmmaker Ashish Ghadiali talks about his work as ‘organisation', not curation, and how we can resist the individualisation that prevents effective collective political action. From his background in film, he suggests why museums and exhibitions might be better places for screenings than cinemas, outside of the market. We discuss why both rural countryside and urban city landscapes should be considered through the lens of empire, drawing on ‘post-plantation' and anti-colonial thinkers like Paul Gilroy, Françoise Vergès, Sylvie Séma Glissant, and Grada Kilomba. We relocate Plymouth's global history, a focus since #BLM, reversing the notion of the particular and ‘regional' as peripheral to the capital. We explore the wider arts ecology in south-west England, and how local connections with artists like Kedisha Coakley at The Box, and Iman Datoo at the University of Exeter and the Eden Project in Cornwall, also inform his work with global political institutions like the UN. Against Apartheid runs at KARST in Plymouth until 2 December 2023, part of Open City, a season of decolonial art and public events presented by Radical Ecology and partners across south-west England. For more, join EMPIRE LINES at the Black Atlantic Symposium - a free series of talks and live performances, celebrating the 30th anniversary of Paul Gilroy's formative text - which takes place from 24-26 November 2023: eventbrite.co.uk/e/black-atlantic-tickets-750903260867?aff=oddtdtcreator Part of JOURNEYS, a series of episodes leading to EMPIRE LINES 100. For more on Ingrid Pollard, hear the artist on Carbon Slowly Turning (2022) at the Turner Contemporary on EMPIRE LINES: pod.link/1533637675/episode/e00996c8caff991ad6da78b4d73da7e4 For more about climate justice, listen to artist Imani Jacqueline Brown on What Remains at the End of the Earth? (2022) at the Hayward Gallery on EMPIRE LINES: pod.link/1533637675/episode/639b20f89d8782b52d6350513325a073 WITH: Ashish Ghadiali, Founding Director of Radical Ecology and Co-Chair of the Black Atlantic Innovation Network (BAIN) at University College London (UCL). He is the Co-Chair and Co-Principal Investigator of Addressing the New Denialism, lead author on a publication on climate finance for COP28, and a practicing filmmaker with recent credits including Planetary Imagination (2023) a 5-screen film installation, for The Box, Plymouth, and the feature documentary, The Confession (2016) for BFI and BBC Storyville. Ashish is the curator of Against Apartheid. ART: ‘Radical Ecology, Ashish Ghadiali (2023)'. PRODUCER: Jelena Sofronijevic. EDITOR: Nada Smiljanic.

What is public sociology and why does it matter more than ever? Gary Younge, Chantelle Lewis and Cecilia Menjívar join Michaela Benson to reflect on its meaning, value and stakes. In a time of perpetual crisis and gross inequality, how can sociologists best change minds and set agendas? Why are some voices valued over others? And who does being truly “public” involve more than simply being high profile?Gary Younge reflects on what sociologists and journalists can teach each other – and the ongoing struggle in the UK for space in which work on race can be truly incubated and explored. Cecilia Menjívar describes her deep engagement with migration and gender-based violence – and how in Latin America, “public sociology” is simply “sociology”. And Chantelle Lewis describes the lack of value applied to black scholarship in UK academia – and urges us to embrace hope, honesty and solidarity.An essential listening! Discussing thinkers ranging from E.H. Carr on history to Maria Marcela Lagarde on feminicide, plus Stuart Hall, Hazel Carby, bell hooks, ​​Sheila Rowbotham and many more.Guests: Gary Younge, Chantelle Lewis, Cecilia MenjívarHost: Michaela BensonExecutive Producer: Alice BlochSound Engineer: David CracklesMusic: Joe GardnerArtwork: Erin AnikerFind more about Uncommon Sense at The Sociological Review.Episode ResourcesFrom The Sociological ReviewStrategies of public intellectual engagement – Mohamed Amine Brahimi, et al.An interventionist sociologist: Stuart Hall, public engagement and racism – Karim MurjiCurating Sociology – Nirmal Puwar, Sanjay SharmaBy our guestsGary's books Dispatches from the Diaspora & Another Day in the Death of AmericaChantelle's co-produced podcast Surviving SocietyCecilia's work on migration and gender-based violenceFurther reading“Gary Younge: how racism shaped my critical eye” – Gary Younge“Women's Liberation & the New Politics” – Sheila Rowbotham“For Public Sociology” – Michael Burawoy“What is History?” – E.H. Carr“Beyond the blade” – investigation by The GuardianRead more about the work of Hazel Carby, Paul Gilroy, Stuart Hall and bell hooks, the life and work of Marcela Lagarde and Fernando Henrique Cardoso, the work of Jane Addams on public housing, as well as the poet, essayist and activist June Jordan.

Stuart Hall pioneers “cultural studies,” offering tools for analysis of films, television, fiction and music that were put to use by followers like Paul Gilroy and Hazel Carby.

Writer and photographer Johny Pitts captures everyday experiences from Black communities around the British coast, bringing together the sights, sounds, and sofas shared from Liverpool to London, in his touring installation, Home is Not a Place. In 2021, Johny Pitts and the poet Roger Robinson set off on a journey clockwise around the British coast, to answer the question: 'What is Black Britain?' Their collaboration, Home is Not is Place, captures contemporary, everyday experiences of Blackness between Edinburgh and Belfast, Liverpool and Tilbury, where the Empire Windrush docked in 1948. Setting out from London, the multidisciplinary artist challenges the ‘Brixtonisation' of Black experiences, and binary media representations of Black excellence, or criminality. Johny shares stories of migration, how Brexit and COVID changed his perceptions of local environments, and archive albums from his own childhood in multicultural, working-class Sheffield. Flicking through shots of Yorkshire puddings and Mount Fuji, we find his travels-past in 1980s bubble-era Japan. And in his Living Room, we sit down to discuss Afropean, inspirations like James Baldwin, Paul Gilroy, and Caryl Phillips, plus his sister Chantal's pirate radio playlists, and the role of family and community in his practice. Johny Pitts: Home is Not a Place runs at The Photographers' Gallery in London until 24 September 2023. Join the Gallery this Thursday (7 September), and next, for special exhibition tours and artist talks. For more, you can read my article in gowithYamo. For more about Autograph, hear artist Ingrid Pollard's EMPIRE LINES on Carbon Slowly Turning (2022): https://pod.link/1533637675/episode/e00996c8caff991ad6da78b4d73da7e4 WITH: Johny Pitts, photographer, writer, and broadcaster from Sheffield, England. He is the curator of the European Network Against Racism (ENAR) award-winning Afropean.com, and the author of Afropean: Notes from Black Europe (2021). ART: ‘Home is Not a Place, Johny Pitts and Roger Robinson (2021-Now)'. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Twitter: twitter.com/jelsofron/status/1306563558063271936 And Instagram: instagram.com/empirelinespodcast Support EMPIRE LINES on Patreon: patreon.com/empirelines

What does it mean to really listen in a society obsessed with spectacle? What's hidden when powerful people claim to “hear” or “give voice” to others? And what's at stake if we think that using fancy recording devices helps us to neatly capture “truth”?Les Back – author of “The Art of Listening” – tells Alexis and Rosie why listening to society is crucial, but cautions that there's nothing inherently superior about the hearing sense. Rather, we must “re-tune our ears to society” and listen responsibly, with care, and in doubt.Plus: why should we think critically before accepting invitations to “trust our senses”? And why do so many sociologists also happen to be musicians?Guest: Les BackHosts: Rosie Hancock, Alexis Hieu TruongExecutive Producer: Alice BlochSound Engineer: David CracklesMusic: Joe GardnerArtwork: Erin AnikerFind more about Uncommon Sense at The Sociological Review.Episode ResourcesLes, Rosie, Alexis and our producer Alice recommendedHak Baker's song “Wobbles on Cobbles”John Cage's composition “4′33″”The “Walls to Bridges” initiativeHari Kunzru's novel “White Tears”From The Sociological Review“A Sociological Playlist” – Jack Halberstam“Listening to community: The aural dimensions of neighbouring” – Camilla Lewis“Loudly sing cuckoo: More-than-human seasonalities in Britain” – Andrew WhitehouseBy Les Back“The Art of Listening”“Tape Recorder 1”“Urban multiculture and xenophonophobia in London and Berlin” (co-authors: Agata Lisiak and Emma Jackson)“Trust Your Senses? War, Memory, and the Racist Nervous System”Further reading and viewing“Hustlers, Beats, and Others” – Ned Polsky“The Politics of Listening: Possibilities and Challenges for Democratic Life” – Leah Basel“The Souls of Black Folk: Essays and Sketches” – W. E. B. Du Bois“Talking Back: Thinking Feminist, Thinking Black” – bell hooks“White woman listen! Black feminism and the boundaries of sisterhood” – Hazel Carby“Presentation fever and podium affects” – Yasmin Gunaratnam“Ear Cleaning: Notes for an Experimental Music Course” – Murray SchaferAlso, have a look at the scholarly work of Paul Gilroy and Frantz Fanon, and the music of Evelyn Glennie.

In The Chinese Atlantic: Seascapes and the Theatricality of Globalization (Indiana University Press, 2020), Sean Metzger proposes a new analytical frame through which to understand discourses of globalization: the so-called Chinese Atlantic. Elaborating on and complicating various Atlantic discourses (among them Paul Gilroy's “Black Atlantic”), Metzger follows the flows of Chinese labor and capital throughout the Atlantic world, examining various media and aesthetic practices, among them documentary film, public art, and tai chi. As the title implies, Metzger's book combines multiple disciplinary approaches, including, of course art history and performance studies, to chart the theatricality of seascapes across multiple Atlantic locales. To borrow one of Metzger's own conceptual metaphors, the book “incorporates” histories and aesthetic genealogies from the Caribbean to the coasts of England and South Africa to propose new modes of apprehending globalization as it constituted through the movement of Chinese people and imaginaries across the ocean. Metzger's book has been awarded both the 2022 Association for Asian American Studies Book Award for Humanities & Cultural Studies: Interdisciplinary/Media Studies and the 2021 John W. Frick Award from the American Theatre and Drama Society for best book on theater and performance of/in the Americas. Join us for our conversation about the place of the Chinese Atlantic in Asian and Asian American studies. Julia Keblinska is a member of the Global Arts and Humanities Society of Fellows at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Chinese Atlantic: Seascapes and the Theatricality of Globalization (Indiana University Press, 2020), Sean Metzger proposes a new analytical frame through which to understand discourses of globalization: the so-called Chinese Atlantic. Elaborating on and complicating various Atlantic discourses (among them Paul Gilroy's “Black Atlantic”), Metzger follows the flows of Chinese labor and capital throughout the Atlantic world, examining various media and aesthetic practices, among them documentary film, public art, and tai chi. As the title implies, Metzger's book combines multiple disciplinary approaches, including, of course art history and performance studies, to chart the theatricality of seascapes across multiple Atlantic locales. To borrow one of Metzger's own conceptual metaphors, the book “incorporates” histories and aesthetic genealogies from the Caribbean to the coasts of England and South Africa to propose new modes of apprehending globalization as it constituted through the movement of Chinese people and imaginaries across the ocean. Metzger's book has been awarded both the 2022 Association for Asian American Studies Book Award for Humanities & Cultural Studies: Interdisciplinary/Media Studies and the 2021 John W. Frick Award from the American Theatre and Drama Society for best book on theater and performance of/in the Americas. Join us for our conversation about the place of the Chinese Atlantic in Asian and Asian American studies. Julia Keblinska is a member of the Global Arts and Humanities Society of Fellows at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Chinese Atlantic: Seascapes and the Theatricality of Globalization (Indiana University Press, 2020), Sean Metzger proposes a new analytical frame through which to understand discourses of globalization: the so-called Chinese Atlantic. Elaborating on and complicating various Atlantic discourses (among them Paul Gilroy's “Black Atlantic”), Metzger follows the flows of Chinese labor and capital throughout the Atlantic world, examining various media and aesthetic practices, among them documentary film, public art, and tai chi. As the title implies, Metzger's book combines multiple disciplinary approaches, including, of course art history and performance studies, to chart the theatricality of seascapes across multiple Atlantic locales. To borrow one of Metzger's own conceptual metaphors, the book “incorporates” histories and aesthetic genealogies from the Caribbean to the coasts of England and South Africa to propose new modes of apprehending globalization as it constituted through the movement of Chinese people and imaginaries across the ocean. Metzger's book has been awarded both the 2022 Association for Asian American Studies Book Award for Humanities & Cultural Studies: Interdisciplinary/Media Studies and the 2021 John W. Frick Award from the American Theatre and Drama Society for best book on theater and performance of/in the Americas. Join us for our conversation about the place of the Chinese Atlantic in Asian and Asian American studies. Julia Keblinska is a member of the Global Arts and Humanities Society of Fellows at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In The Chinese Atlantic: Seascapes and the Theatricality of Globalization (Indiana University Press, 2020), Sean Metzger proposes a new analytical frame through which to understand discourses of globalization: the so-called Chinese Atlantic. Elaborating on and complicating various Atlantic discourses (among them Paul Gilroy's “Black Atlantic”), Metzger follows the flows of Chinese labor and capital throughout the Atlantic world, examining various media and aesthetic practices, among them documentary film, public art, and tai chi. As the title implies, Metzger's book combines multiple disciplinary approaches, including, of course art history and performance studies, to chart the theatricality of seascapes across multiple Atlantic locales. To borrow one of Metzger's own conceptual metaphors, the book “incorporates” histories and aesthetic genealogies from the Caribbean to the coasts of England and South Africa to propose new modes of apprehending globalization as it constituted through the movement of Chinese people and imaginaries across the ocean. Metzger's book has been awarded both the 2022 Association for Asian American Studies Book Award for Humanities & Cultural Studies: Interdisciplinary/Media Studies and the 2021 John W. Frick Award from the American Theatre and Drama Society for best book on theater and performance of/in the Americas. Join us for our conversation about the place of the Chinese Atlantic in Asian and Asian American studies. Julia Keblinska is a member of the Global Arts and Humanities Society of Fellows at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-american-studies

In The Chinese Atlantic: Seascapes and the Theatricality of Globalization (Indiana University Press, 2020), Sean Metzger proposes a new analytical frame through which to understand discourses of globalization: the so-called Chinese Atlantic. Elaborating on and complicating various Atlantic discourses (among them Paul Gilroy's “Black Atlantic”), Metzger follows the flows of Chinese labor and capital throughout the Atlantic world, examining various media and aesthetic practices, among them documentary film, public art, and tai chi. As the title implies, Metzger's book combines multiple disciplinary approaches, including, of course art history and performance studies, to chart the theatricality of seascapes across multiple Atlantic locales. To borrow one of Metzger's own conceptual metaphors, the book “incorporates” histories and aesthetic genealogies from the Caribbean to the coasts of England and South Africa to propose new modes of apprehending globalization as it constituted through the movement of Chinese people and imaginaries across the ocean. Metzger's book has been awarded both the 2022 Association for Asian American Studies Book Award for Humanities & Cultural Studies: Interdisciplinary/Media Studies and the 2021 John W. Frick Award from the American Theatre and Drama Society for best book on theater and performance of/in the Americas. Join us for our conversation about the place of the Chinese Atlantic in Asian and Asian American studies. Julia Keblinska is a member of the Global Arts and Humanities Society of Fellows at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/caribbean-studies

In The Chinese Atlantic: Seascapes and the Theatricality of Globalization (Indiana University Press, 2020), Sean Metzger proposes a new analytical frame through which to understand discourses of globalization: the so-called Chinese Atlantic. Elaborating on and complicating various Atlantic discourses (among them Paul Gilroy's “Black Atlantic”), Metzger follows the flows of Chinese labor and capital throughout the Atlantic world, examining various media and aesthetic practices, among them documentary film, public art, and tai chi. As the title implies, Metzger's book combines multiple disciplinary approaches, including, of course art history and performance studies, to chart the theatricality of seascapes across multiple Atlantic locales. To borrow one of Metzger's own conceptual metaphors, the book “incorporates” histories and aesthetic genealogies from the Caribbean to the coasts of England and South Africa to propose new modes of apprehending globalization as it constituted through the movement of Chinese people and imaginaries across the ocean. Metzger's book has been awarded both the 2022 Association for Asian American Studies Book Award for Humanities & Cultural Studies: Interdisciplinary/Media Studies and the 2021 John W. Frick Award from the American Theatre and Drama Society for best book on theater and performance of/in the Americas. Join us for our conversation about the place of the Chinese Atlantic in Asian and Asian American studies. Julia Keblinska is a member of the Global Arts and Humanities Society of Fellows at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

In The Chinese Atlantic: Seascapes and the Theatricality of Globalization (Indiana University Press, 2020), Sean Metzger proposes a new analytical frame through which to understand discourses of globalization: the so-called Chinese Atlantic. Elaborating on and complicating various Atlantic discourses (among them Paul Gilroy's “Black Atlantic”), Metzger follows the flows of Chinese labor and capital throughout the Atlantic world, examining various media and aesthetic practices, among them documentary film, public art, and tai chi. As the title implies, Metzger's book combines multiple disciplinary approaches, including, of course art history and performance studies, to chart the theatricality of seascapes across multiple Atlantic locales. To borrow one of Metzger's own conceptual metaphors, the book “incorporates” histories and aesthetic genealogies from the Caribbean to the coasts of England and South Africa to propose new modes of apprehending globalization as it constituted through the movement of Chinese people and imaginaries across the ocean. Metzger's book has been awarded both the 2022 Association for Asian American Studies Book Award for Humanities & Cultural Studies: Interdisciplinary/Media Studies and the 2021 John W. Frick Award from the American Theatre and Drama Society for best book on theater and performance of/in the Americas. Join us for our conversation about the place of the Chinese Atlantic in Asian and Asian American studies. Julia Keblinska is a member of the Global Arts and Humanities Society of Fellows at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In The Chinese Atlantic: Seascapes and the Theatricality of Globalization (Indiana University Press, 2020), Sean Metzger proposes a new analytical frame through which to understand discourses of globalization: the so-called Chinese Atlantic. Elaborating on and complicating various Atlantic discourses (among them Paul Gilroy's “Black Atlantic”), Metzger follows the flows of Chinese labor and capital throughout the Atlantic world, examining various media and aesthetic practices, among them documentary film, public art, and tai chi. As the title implies, Metzger's book combines multiple disciplinary approaches, including, of course art history and performance studies, to chart the theatricality of seascapes across multiple Atlantic locales. To borrow one of Metzger's own conceptual metaphors, the book “incorporates” histories and aesthetic genealogies from the Caribbean to the coasts of England and South Africa to propose new modes of apprehending globalization as it constituted through the movement of Chinese people and imaginaries across the ocean. Metzger's book has been awarded both the 2022 Association for Asian American Studies Book Award for Humanities & Cultural Studies: Interdisciplinary/Media Studies and the 2021 John W. Frick Award from the American Theatre and Drama Society for best book on theater and performance of/in the Americas. Join us for our conversation about the place of the Chinese Atlantic in Asian and Asian American studies. Julia Keblinska is a member of the Global Arts and Humanities Society of Fellows at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

In The Chinese Atlantic: Seascapes and the Theatricality of Globalization (Indiana University Press, 2020), Sean Metzger proposes a new analytical frame through which to understand discourses of globalization: the so-called Chinese Atlantic. Elaborating on and complicating various Atlantic discourses (among them Paul Gilroy's “Black Atlantic”), Metzger follows the flows of Chinese labor and capital throughout the Atlantic world, examining various media and aesthetic practices, among them documentary film, public art, and tai chi. As the title implies, Metzger's book combines multiple disciplinary approaches, including, of course art history and performance studies, to chart the theatricality of seascapes across multiple Atlantic locales. To borrow one of Metzger's own conceptual metaphors, the book “incorporates” histories and aesthetic genealogies from the Caribbean to the coasts of England and South Africa to propose new modes of apprehending globalization as it constituted through the movement of Chinese people and imaginaries across the ocean. Metzger's book has been awarded both the 2022 Association for Asian American Studies Book Award for Humanities & Cultural Studies: Interdisciplinary/Media Studies and the 2021 John W. Frick Award from the American Theatre and Drama Society for best book on theater and performance of/in the Americas. Join us for our conversation about the place of the Chinese Atlantic in Asian and Asian American studies. Julia Keblinska is a member of the Global Arts and Humanities Society of Fellows at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In The Chinese Atlantic: Seascapes and the Theatricality of Globalization (Indiana University Press, 2020), Sean Metzger proposes a new analytical frame through which to understand discourses of globalization: the so-called Chinese Atlantic. Elaborating on and complicating various Atlantic discourses (among them Paul Gilroy's “Black Atlantic”), Metzger follows the flows of Chinese labor and capital throughout the Atlantic world, examining various media and aesthetic practices, among them documentary film, public art, and tai chi. As the title implies, Metzger's book combines multiple disciplinary approaches, including, of course art history and performance studies, to chart the theatricality of seascapes across multiple Atlantic locales. To borrow one of Metzger's own conceptual metaphors, the book “incorporates” histories and aesthetic genealogies from the Caribbean to the coasts of England and South Africa to propose new modes of apprehending globalization as it constituted through the movement of Chinese people and imaginaries across the ocean. Metzger's book has been awarded both the 2022 Association for Asian American Studies Book Award for Humanities & Cultural Studies: Interdisciplinary/Media Studies and the 2021 John W. Frick Award from the American Theatre and Drama Society for best book on theater and performance of/in the Americas. Join us for our conversation about the place of the Chinese Atlantic in Asian and Asian American studies. Julia Keblinska is a member of the Global Arts and Humanities Society of Fellows at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Chinese Atlantic: Seascapes and the Theatricality of Globalization (Indiana University Press, 2020), Sean Metzger proposes a new analytical frame through which to understand discourses of globalization: the so-called Chinese Atlantic. Elaborating on and complicating various Atlantic discourses (among them Paul Gilroy's “Black Atlantic”), Metzger follows the flows of Chinese labor and capital throughout the Atlantic world, examining various media and aesthetic practices, among them documentary film, public art, and tai chi. As the title implies, Metzger's book combines multiple disciplinary approaches, including, of course art history and performance studies, to chart the theatricality of seascapes across multiple Atlantic locales. To borrow one of Metzger's own conceptual metaphors, the book “incorporates” histories and aesthetic genealogies from the Caribbean to the coasts of England and South Africa to propose new modes of apprehending globalization as it constituted through the movement of Chinese people and imaginaries across the ocean. Metzger's book has been awarded both the 2022 Association for Asian American Studies Book Award for Humanities & Cultural Studies: Interdisciplinary/Media Studies and the 2021 John W. Frick Award from the American Theatre and Drama Society for best book on theater and performance of/in the Americas. Join us for our conversation about the place of the Chinese Atlantic in Asian and Asian American studies. Julia Keblinska is a member of the Global Arts and Humanities Society of Fellows at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Chinese Atlantic: Seascapes and the Theatricality of Globalization (Indiana University Press, 2020), Sean Metzger proposes a new analytical frame through which to understand discourses of globalization: the so-called Chinese Atlantic. Elaborating on and complicating various Atlantic discourses (among them Paul Gilroy's “Black Atlantic”), Metzger follows the flows of Chinese labor and capital throughout the Atlantic world, examining various media and aesthetic practices, among them documentary film, public art, and tai chi. As the title implies, Metzger's book combines multiple disciplinary approaches, including, of course art history and performance studies, to chart the theatricality of seascapes across multiple Atlantic locales. To borrow one of Metzger's own conceptual metaphors, the book “incorporates” histories and aesthetic genealogies from the Caribbean to the coasts of England and South Africa to propose new modes of apprehending globalization as it constituted through the movement of Chinese people and imaginaries across the ocean. Metzger's book has been awarded both the 2022 Association for Asian American Studies Book Award for Humanities & Cultural Studies: Interdisciplinary/Media Studies and the 2021 John W. Frick Award from the American Theatre and Drama Society for best book on theater and performance of/in the Americas. Join us for our conversation about the place of the Chinese Atlantic in Asian and Asian American studies. Julia Keblinska is a member of the Global Arts and Humanities Society of Fellows at the Ohio State University specializing in Chinese media history and comparative socialisms. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

¡Mike Davis, presente! Three longtime allies of Mike Davis (1946–2022) will discuss the life and legacy of the author, geologist, historian, and organizer—and the inspiration we take from his life and work for the struggles ahead. Speakers: Angela Y. Davis is Distinguished Professor Emerita in the History of Consciousness and Feminist Studies Departments at the University of California, Santa Cruz. Dr. Davis grew up in Birmingham, Alabama, and has been an activist and Marxist-Feminist in the Black Power and abolitionist movements since the late 1960s. In the 1980s, her book Women, Race and Class helped to establish the concept of intersectionality. She also helped to develop the concept of prison abolition, especially in her books Are Prisons Obsolete? and Abolition Democracy: Beyond Prisons, Torture, and Empire. Recently, Dr. Davis has written about the international movement in solidarity with Palestine in Freedom Is a Constant Struggle: Ferguson, Palestine, and the Foundations of a Movement. Her work helped to lay the theoretical groundwork for the #DefundthePolice movement. Davis's memoir was recently published in a new edition by Haymarket Books. Geri Silva, who was born and raised in Los Angeles, has spent the past 40 years in all forms of struggle for human, political, and economic rights. Her activity covers the span from immigration rights to welfare rights to the right to decent housing for all in need. For the past 20-plus years she has fought against the rampant and ongoing abuses in the courts and at the hands of the police. Silva is a founding member of Mothers Reclaiming Our Children (Mothers ROC) in 1992, Families to Amend California's Three Strikes (FACTS) in 1996, Fair Chance Project (FCP) in 2009, California Families Against Solitary Confinement (CFASC) in 2011, and FUEL—Families United to End LWOP (Life Without Parole) in 2017. Ruth Wilson Gilmore is Professor of Earth & Environmental Sciences and Director of the Center for Place, Culture, and Politics at the City University of New York Graduate Center. Co-founder of many grassroots organizations including the California Prison Moratorium Project, Critical Resistance, and the Central California Environmental Justice Network, Gilmore is author of the prize-winning Golden Gulag: Prisons, Surplus, Crisis, and Opposition in Globalizing California (UC Press). Recent publications include “Beyond Bratton” (Policing the Planet, Camp and Heatherton, eds., Verso); “Abolition Geography and the Problem of Innocence” (Futures of Black Radicalism, Lubin and Johnson, eds., Verso); a foreword to Bobby M. Wilson's Birmingham classic America's Johannesburg (U Georgia Press); a foreword to Cedric J. Robinson on Racial Capitalism, Black Internationalism, and Cultures of Resistance (HLT Quan, ed., Pluto); Abolition Geography: Essays Toward Liberation (Verso), and, co-edited with Paul Gilroy, Stuart Hall: Selected Writings on Race and Difference (Duke). Forthcoming projects include Change Everything: Racial Capitalism and the Case for Abolition (Haymarket). Gilmore has lectured in Africa, Asia, Europe, and North America. In April 2019 novelist Rachel Kushner profiled Gilmore in The New York Times Magazine. Recent honors include the SUNY-Purchase College Eugene V. Grant Distinguished Scholar Prize for Social and Environmental Justice (2015-16); the American Studies Association Richard A Yarborough Mentorship Award (2017); The Association of American Geographers Lifetime Achievement Award (2020); and election to the American Academy of Arts and Sciences (2021). Watch the live event recording: https://youtu.be/u5xtmUWdWbc Buy books from Haymarket: www.haymarketbooks.org Follow us on Soundcloud: soundcloud.com/haymarketbooks

C'est l'un des livres marquants de cette fin d'année en matière d'histoire de l'Afrique. Les éditions La Découverte ont publié L'Afrique et le Monde : histoires renouées. Cet ouvrage collectif invite à sortir des cadres géographiques fermés et à voir à quel point l'Histoire s'est faite dans la circulation des hommes et des idées entre l'Afrique et le monde. Anne Lafont, l'une des coordinatrices de l'ouvrage, est notre invitée. RFI : L'ouvrage que vous co-dirigez avec François-Xavier Fauvelle nous parle d'histoire renouée entre l'Afrique et le monde. Il est nécessaire d'écrire, expliquez-vous, une histoire mondiale de l'Afrique et une histoire africaine du monde, qu'est-ce que ça veut dire ?   Anne Lafont : Alors c'est assez simple comme concept, c'est-à-dire de ne pas penser qu'il y a un continent qui est seulement un continent qui subit finalement les actions des autres populations sur Terre, mais bien qui est en dialogue, en discussion avec les autres et qui est aussi en interaction. Donc, c'est penser les formes de diasporas, comment l'Afrique s'est exportée dans le monde, mais c'est aussi penser comment elle a accueilli, dans les luttes, dans les violences et aussi dans l'hospitalité, les différentes sociétés d'ailleurs qui sont venues s'installer sur place. Alors justement, au sujet de cette connexion de l'Afrique et du monde, on retrouve dans plusieurs chapitres une référence à l'idée d'un « Atlantique noir » qui se serait formée à partir de la traite esclavagiste, est-ce que vous pourriez nous expliquer ce qu'est cet « Atlantique noir » ? J'ai emprunté cette expression à Paul Gilroy qui est un auteur, un sociologue culturel britannique, et en fait ce qu'il essaie de mettre en avant, c'est de penser que cette circulation entre l'Afrique et l'Atlantique, à l'époque de l'esclavage, a ouvert à une culture qui serait propre finalement à cet « Atlantique noir » et que malgré le dénuement des Africains réduits en esclavage, ils transportent avec eux justement toute une culture qui renaît notamment dans les colonies américaines et qu'il peut être intéressant de pointer. Donc « l'Atlantique noir », c'est à la fois ne plus penser un centre qui soit continental, mais bien Atlantique, océanique, et par ailleurs de mettre l'accent sur la contribution africaine, justement au développement de cette modernité, qu'est la période qui va du XVème au XIXème siècle.   Alors dans le chapitre que vous signez, Anne Lafont, vous nous expliquez aussi que la naissance de l'art baroque a pu avoir lieu grâce aux échanges, aux déplacements qui existaient entre l'Occident et l'Afrique, comment s'est fait cet apport africain à l'art baroque international ? Alors, il y a deux niveaux. D'abord, je crois qu'on doit penser désormais un certain nombre d'artistes et prendre connaissance du fait qu'il y avait des artistes noirs, notamment au Brésil, mais aussi en Espagne, qui ont contribué justement à la fabrique de l'art baroque traditionnel, comme on l'entend dans les Beaux-Arts en Europe. Et je pense à Juan de Pareja qui était d'abord l'apprenti de Velásquez et qui était métisse donc, qui a une carrière ensuite, qui fait notamment un tableau très connu qui s'appelle la Vocation de Saint-Matthieu. Il y a Aleijadinho qui est un artiste, un sculpteur brésilien du baroque international brésilien du XVIIIème siècle. Et puis, il y a un autre aspect qui est plus une colonisation par les motifs et par l'iconographie, qui correspond en fait à un certain nombre d'objets africains qui passent par les cabinets de curiosité européens, et que l'on retrouve aussi dans les tableaux. Alors ce que l'on découvre aussi avec vous, c'est que les Lumières, le mouvement des Lumières, n'a pas été uniquement un mouvement européen et qu'il a connu des apports africains… Oui, tout à fait, il y a un certain nombre d'Africains et d'Africaines, puisque je parle de Phillis Wheatley qui était une poétesse noire, qui ont été esclaves, qui à travers cette expérience d'esclave accèdent néanmoins à la lecture et à l'écriture, alors que dans la plupart des cas, c'était interdit, il y a toujours des exceptions, et qui au moment de leur émancipation décident de prendre la plume et de témoigner de leur vie. Et à ce compte-là, ils fournissent des arguments à ceux qui veulent abolir l'esclavage. Et on voit que leurs réflexions sur la religion, leurs réflexions sur l'humanisme, sur l'universalisme, leurs réflexions sur l'éducation sont tout à fait les arguments qui sont discutés par les philosophes classiques, je dirais, et souvent Européens, des Lumières. Et puis, il y a un autre exemple de cette circulation des idées et des Hommes qui est étudié dans votre ouvrage, un exemple tout à fait fascinant, c'est le panafricanisme qui émerge, nous expliquez-vous, dans l'interaction entre des intellectuels noirs de la diaspora et des intellectuels et des hommes politiques du continent… Absolument, la naissance du panafricanisme, c'est vraiment une prise de conscience, dans certains points du monde, du fait que l'expérience sociale des Noirs est assez commune, qu'il y a des points de convergence, et qu'il est nécessaire désormais de s'organiser finalement de manière solidaire pour penser une réponse et pour accéder à une forme d'émancipation parce que les expériences justement des Noirs en Europe, aux États-Unis, ou dans les Caraïbes finalement peuvent avoir des points de convergence par rapport à une domination blanche, quand même, du monde qui à ce moment-là, est l'objet d'une lutte.   

We couldn't wait to read the new novel-length version of Richard Wright's The Man Who Lived Underground, and it absolutely did not disappoint. Published as a short story in 1944, collected in Eight Men in 1961, and finally published as the novel version last year, the book serves as a major touchstone in Wright's work, negotiating the space between his naturalist “early” work and his philosophical “late” work. We discuss race, religion, space, and style. We read the 2021 Library of America version with Wright's essay “Memories of my Grandmother” and afterward by Wright's grandson Malcolm Wright. We also consulted the Harper Perennial 1996 reprinting of Eight Men with introduction by Paul Gilroy. We recommend Lauren Michele Jackson's New Yorker article “What We Want From Richard Wright,” from May 2021 and Bill Mullen's Tempest article “Richard Wright and the Police State,” from October 2021. Find us on Twitter, Instagram, and Facebook @betterreadpod, and email us nice things at betterreadpodcast@gmail.com. Find Tristan on Twitter @tjschweiger, Katie @katiekrywo, and Megan @tuslersaurus.

Get early access to our latest psychology lectures: http://bit.ly/new-talks Former social media executives tell us that the system is an addiction-machine. We are users, waiting for our next hit as we like, comment and share. We write to the machine as individuals, but it responds by aggregating our fantasies, desires and frailties into data, and returning them to us as a commodity experience. This talk will provide an unflinching view into the calamities of digital life: the circus of online trolling, flourishing alt-right subcultures, pervasive corporate surveillance, and the virtual data mines of Facebook and Google where we spend considerable portions of our free time. You'll learn about the political and psychological effects of our changing relationship with social media, what's really behind our addiction, and how to set yourself free. --- Richard Seymour is a writer and broadcaster and the author of numerous books about politics, including The Liberal Defence of Murder (Verso, 2008), Against Austerity (2014), Corbyn: The Strange Rebirth of Radical Politics (Verso, 2016) and The Twittering Machine (The Indigo Press, 2019). He completed his PhD in sociology at the London School of Economics under the supervision of Paul Gilroy. In 2005, Seymour's blog: ‘Lenin's Tomb' was named as the 21st most popular blog in the UK, and his writing has appeared in the Guardian, the Jacobin, the London Review of Books, the New York Times and Prospect. --- Links: - Get our latest psychology lectures emailed to your inbox: http://bit.ly/new-talks - Check out our next event: http://theweekenduniversity.com/events/ - Richard Seymour's book: https://amzn.to/2S0XpHL --- The Weekend University's mission is to make the best minds and ideas in psychology more accessible, so that you can use the knowledge to improve your quality of life. We release 95% of our content for free and don't run any ads during the show. That said, we'd love to expand our reach and get the knowledge shared by our speakers into the hands of more people so they can benefit too. So, if you're in the mood for doing a random act of kindness today, and helping others improve their lives in the process, it would make a huge difference if you could take just 30 seconds and leave a short review on your favourite podcast provider - whether that's iTunes (https://bit.ly/iTunes-podcast-review), Stitcher (https://bit.ly/stitcher-podcast-review) or Spotify (https://bit.ly/spotify-podcast-ratings). In addition, we'll pick one review each month and that person will get a free ticket to our monthly online conference, which usually costs £50. Thanks for your time and I hope you enjoy the show!

Ricardo Valencia joins co-hosts Andrés Bernal and Scott Ferguson to discuss recent protests against Bitcoin in El Salvador. Adopted as legal tender by the authoritarian President Nayib Bukele in September 2021, Bitcoin has become an emblem in El Salvador for U.S. corporate imperialism, public mismanagement, and anti-democratic rule. Whereas mainstream accounts of cryptocurrency tend to flatten stories in Latin America to matters of success and failure, Ricardo draws upon rich critical approaches in Cultural Studies developed by the likes of Stuart Hall and Paul Gilroy to situate current events in El Salvador within histories of global governance, political conflict, and cultural identity. During the conversation, Ricardo weighs the fraught legacy of left politics in and beyond El  Salvador. He analyses the conspicuous convergence of “tech-bro” boosterism coming from the U.S. with right-wing regimes in vulnerable countries across the Global South. He considers tensions between imperial domination and quotidian safety that attend El Salvador's dollarization in 2001, including the large role that remittances play in the everyday lives of the Salvadoran people. Finally, Ricardo contemplates the future promise of left politics in El Salvador. This promise, he explains, hinges upon feminist, queer and environmental movements, which are now demanding democratic and just uses of public money. Dr. Ricardo Valencia is an assistant professor of public relations in the Department of Communications at California State University, Fullerton. Between 2010 and 2014, Dr. Valencia was the head of the communication section at the Embassy of El Salvador to the United States. He has also worked as a reporter covering international and domestic politics for Salvadoran and global media outlets such as La Prensa Gráfica, German Press Agency (DPA), and El Faro. Follow Ricardo on Twitter @ricardovalp.Visit our Patreon page here: https://www.patreon.com/MoLsuperstructure

I am happy to announce the relaunching of my radio show and its new title, The Black Atlantic/Black Fantastic, on 1BTN every second Sunday from 4-6 pm (UK) and 11-1 (EST). Starts today!Shout out to Paul Gilroy's text The Black Atlantic and the late Caribbean Canadian Richard Iton, whose epic work, In Search of the Black Fantastic, shaped much of my approach to the diaspora. For those of you who I've rolled with for years, you know his book has been cited like the bible. It has been since 2013.And speaking of the bible…I'm kicking off the show this month with a love letter to Black queer music. No, not just black queer folk who make music, but the music you might hear on a Black queer dance floor. Or music played by a Black queer DJ like Ron Hardy or Stacy Hotwaxx Hale. It might be white queer musicians like Bowie and Arthur Russell whose music crossed over into Black queer spaces. Or music Keith Harring heard at the Paradise Garage. It could even be all the gospel disco that Larry Levan mixed, from the Clark Sisters to the Joubert Singers.Tune in to hear the range and learn how long Black queer folks have been shaping much of the pleasure in your lives, or listen later (link in bio). Little Richard, of course, was the King and Queen of it all.

Professor Lewis Gordon is a leading philosopher and Department Head at the University of Connecticut who believes that intellectual thought matters as much as political activism in the struggle to achieve racial justice. His recent book Fear of Black Consciousness is an exploration that combines academic theory and also his ideas on pop culture to create a broad and thought-provoking study, Gordon is joined in conversation by Professor Paul Gilroy, author, one of the world's foremost theorists of race and racism, and Founding Director of the Sarah Parker Remond Centre for the Study of Racism & Racialisation at University College London. Learn more about your ad choices. Visit megaphone.fm/adchoices

Simone de Beauvoir and Richard Wright embody what we could call, alluding to Paul Gilroy, 'Transatlantic Existentialism': they contributed to the circulation of ideas that constitute Black post-war thought. In this episode, Mickaëlle Provost explores the affinities between their analyses of oppression, and discusses the use of analogy in talking about patriarchy and anti-black racism. The discussion is moderated by Tivadar Vervoort, and this podcast is hosted by Ashika Singh and Liesbeth Schoonheim More reading.... Simone de Beauvoir. America Day by Day. Translated by Carol Cosman. Phoenix. Paul Gilroy. The Black Atlantic: Modernity and Double Consciousness. Verso. Mickaëlle Provost. 2021. “Undoing Whiteness: A Political Education of One's Experience.” Journal of Philosophy of Education 55 (1): 229–42. https://doi.org/10.1111/1467-9752.12548. Richard Wright. Native Son.

In this week's episode Tim and Jeremy continue with the second part of their mini-series on the music of '60s and '70s Africa. They start with an exposition on the ideas put forward in Paul Gilroy's seminal book The Black Atlantic. With reference to a variety of historical theorisations of the experience of Black people since the period of slavery, we hear how Gilroy offered a diasporic understanding, showed the moderness of black cultural production, and opens questions of why music ended up paying such a central role in the culture of North America, Europe and the Caribbean. Jeremy and Tim then turn their attention to Nigeria in the early '70s. We hear about the titanic influence of Fela Kuti on world music, how he exchanged ideas and influences with James Brown on his 1970 tour of Africa, and how the length of the records of the Afrobeat sound he pioneered lent themselves to the emerging dancefloors of NYC and beyond. Tim Lawrence and Jeremy Gilbert are authors, academics, DJs and audiophile dance party organisers. They've been friends and collaborators since 1997, teaching together and running parties since 2003. With clubs closed and half their jobs lost to university cuts, they're inevitably launching a podcast. Produced and edited by Matt Huxley. We'll be taking a very short break over the festive period, but will be back early in January 2022 to pick up where we left off. Tune in, Turn on, Get Down! Become a patron from just £3 per month by visiting www.patreon.com/LoveMessagePod Tracklist: Geraldo Pino and the Heartbeats - Power to the People Fela Kuti - Viva Nigeria James Brown - There Was A Time (I Got To Move) Fela Kuti, Africa 70 and Ginger Baker - Black Man's Cry Fela Kuti - Shakara Lijadu Sisters - Fasiribo Books: Paul Gilroy - There Ain't No Black in the Union Jack Paul Gilroy - The Black Atlantic Judith Butler - Gender Trouble Tricia Rose - Black Noise Carlos Moore - Fela: This Bitch of a Life

In this week's episode Jeremy and Tim expand their series on Afro-Psychedelia with a multi-show exploration of the music of Africa, beginning today in the 1960s. They discuss the contested and shifting conceptualisations of Africa through history, the emergence of Marcus Garvey and Pan-Africanism, Paul Gilroy's seminal book The Black Atlantic, and the production of the specific relationship between Black Americans and Africa as a form of identity. Jeremy and Tim look at the national liberation movements of the mid-twentieth century, starting with Highlife music in Ghana, Congolese Catholic chorales, and two legends of South African music and activism - Hugh Masekela and Miriam Makeba - including their improbable meeting in a musical production of King Kong. Finally, Tim and Jeremy link up Babatunde Olatunji's seminal album Drums of Passion with psychedelic currents already explored in the show like the Grateful Dead, John Coltrane, Santana, and the dancefloor of the Loft. Tim and Jeremy look at the national liberation movements of the mid-twentieth century, starting with Highlife music in Ghana, Congolese Catholic chorales, and two legends of South African music and activism - Hugh Masekela and Miriam Makeba - including their improbable meeting in a musical production of King Kong. Finally, Tim and Jeremy link up Babatunde Olatunji's seminal album Drums of Passion with psychedelic currents already explored in the show like the Grateful Dead, John Coltrane, Santana, and the dancefloor of the Loft. Tim Lawrence and Jeremy Gilbert are authors, academics, DJs and audiophile dance party organisers. They've been friends and collaborators since 1997, teaching together and running parties since 2003. With clubs closed and half their jobs lost to university cuts, they're inevitably launching a podcast. Produced and edited by Matt Huxley. Tune in, Turn on, Get Down! Become a patron by visiting www.patreon.com/LoveMessagePod Tracklist: Babatunde Olatunji - Gin-Go-Lo-Ba Santana - Jingo E T Mensah - Ghana Freedom E. K.'s No. 1 Band - Ene Maa Abaso Les Troubadours Du Roi Baudouin -- Sanctus (Missa Luba Song) Monks of Keur Moussa - Le Seigneur Nous Offre Sa Bienveillance Hugh Masakela - Grazing in the Grass Miriam Makeba - Kwazulu (In the Land of the Zulus) Letta Mbulu - Mahlalela Books: Paul Gilroy - The Black Atlantic John Chernoff - African Rhythms, African Sensibility: Aesthetics and Social Action in African Musical Idioms Ned Sublette - "The Kingsmen and the Cha-Cha-Cha". In Eric Weisbard (ed.), Listen Again: A Momentary History of Pop Music. Timothy Taylor - Global Pop: World Music, World Market

In this episode, we mainly use the teachings of Paul Gilroy, Stuart Hall and bell hooks to discuss Malcolm's life as a graduate of the supplementary school movement (Hackney) to his present-day as a scholar-activist in Devon. Links: https://linktr.ee/malcolmrichards

William Gardner Smith's roman à clef about racism, identity, and bohemian living against the backdrop of violence of Algerian War-era France, has been out of print for decades, but as one reviewer put it, ‘the issues Smith raises … resonate at least as much now as they did six decades ago.' The story of a Black writer who, like Smith himself, moved to Paris to pursue a freedom he couldn't find in America, its account of his disillusionment and dawning consciousness of Algeria's struggle for independence includes one of the earliest published accounts of the Paris Massacre of 1961.Adam Shatz, who wrote the introduction for NYRB's new edition, discussed The Stone Face's achievement and contemporary resonances with Paul Gilroy, Professor of the Humanities at UCL and the Holberg Prize-winning author of There Ain't No Black in the Union Jack, The Black Atlantic and Darker Than Blue. See acast.com/privacy for privacy and opt-out information.

In this special episode, Huma Gupta and China Sajadian discuss abolition geographies and environmental movements with renowned geographer and activist Ruth Wilson Gilmore. She is the author of the award-winning Golden Gulag: Prisons, Surplus, Crisis, and Opposition in Globalizing California and several forthcoming books, including Change Everything, Abolition Geography: Essays Toward Liberation, and Stuart Hall: Selected Writings on Race and Difference, co-edited with Paul Gilroy. In this interview, Gilmore explains her research on carcerality through a global, comparative lens, from the long traditions of emancipation within Black Marxism, to popular struggles against TIAA-CREF land grabs in Brazil, to the contemporary challenges of giant monopsonies like Amazon. If abolition must be green, Gilmore insists, it must also be anti-capitalist and internationalist. Such an approach to abolition not only underscores how different parts of the world are, in Gilmore's words, partitioned and re-partitioned by capitalism -- but also the ways that dispossessed, criminalized, and vulnerable people across seemingly disparate contexts come to recognize their fundamental connections to each other.

Join 2020 Lannan Prize recipients Angela Y. Davis, Mike Davis, and Ruth Wilson Gilmore for a conversation hosted by Keeanga-Yamahtta Taylor. The Lannan Cultural Freedom Prize for 2020 was awarded to Angela Y. Davis for her lifetime achievements as a public intellectual advocating for racial, gender, and economic justice; to Mike Davis for his life's work as a public intellectual who encourages critical analysis of society in the service of constructing an alternative, post-capitalist future in both theory and practice; and Ruth Wilson Gilmore for a lifetime of achievement as a public intellectual working toward the decarceration of California, the United States, and the world. Join all three, along with Keeanga-Yamahtta Taylor for a conversation on abolition, cultural freedom, and liberation. Speakers: Mike Davis, professor emeritus of creative writing at UC Riverside, joined the San Diego chapter of the Congress of Racial Equality in 1962 at age 16 and the struggle for racial and social equality has remained the lodestar of his life. His City of Quartz challenged reigning celebrations of Los Angeles from the perspectives of its lost radical past and insurrectionary future. His wide-ranging work has married science, archival research, personal experience, and creative writing with razor-sharp critiques of empires and ruling classes. He embodies the Lannan vision of working at the intersection of art and social justice. Angela Y. Davis is Distinguished Professor Emerita in the History of Consciousness and Feminist Studies Departments at the University of California, Santa Cruz. Dr. Davis grew up in Birmingham, Alabama, and has been an activist and Marxist-Feminist in the Black Power and abolitionist movements since the late 1960s. In the 1980s, her book Women, Race and Class helped to establish the concept of intersectionality. She also helped to develop the concept of prison abolition, especially in her books Are Prisons Obsolete? . Ruth Wilson Gilmore is Professor of Earth & Environmental Sciences and Director of the Center for Place, Culture, and Politics at the City University of New York Graduate Center. Co-founder of many grassroots organizations including the California Prison Moratorium Project, Critical Resistance, and the Central California Environmental Justice Network, Gilmore is author of the prize-winning Golden Gulag: Prisons, Surplus, Crisis, and Opposition in Globalizing California. Recent publications include, co-edited with Paul Gilroy, Stuart Hall: Selected Writings on Race and Difference. Forthcoming projects include Change Everything: Racial Capitalism and the Case for Abolition; Abolition Geography: Essays Toward Liberation. Gilmore has lectured in Africa, Asia, Europe, and North America. Keeanga-Yamahtta Taylor writes and speaks on Black politics, social movements, and racial inequality in the United States. She is author of From #BlackLivesMatter to Black Liberation (a Lannan Cultural Freedom Especially Notable Book Award recipient) and editor of How We Get Free. Her third book, Race for Profit was a finalist for a National Book Award for nonfiction, and a finalist for the Pulitzer Prize for History. She is a contributing writer at The New Yorker and professor at Princeton University. This event is a partnership between Lannan Foundation and Haymarket Books. Lannan Foundation's Readings & Conversations series features inspired writers of fiction, nonfiction, and poetry, as well as cultural freedom advocates with a social, political, and environmental justice focus. Lannan Foundation is a family foundation dedicated to cultural freedom, diversity, and creativity through projects that support exceptional contemporary artists and writers, inspired Native activists in rural communities, and social justice advocates. Watch the live event recording: https://youtu.be/WLO0UuSnPzU Buy books from Haymarket: www.haymarketbooks.org Follow us on Soundcloud: soundcloud.com/haymarketbooks

Additional Reading:David Roediger, Working Toward Whiteness: How America's Immigrants Became White: The Strange Journey from Ellis Island to the Suburbs (2018).Michael Gomez, Reversing Sail: A History of the African Diaspora (2005)Paul Gilroy, The Black Atlantic: Modernity and Double-Consciousness (1993).David Levering Lewis, W. E. B. Du Bois, 1868-1919: Biography of a Race (1994).Benjamin Quarles, Allies for Freedom and Blacks on John Brown (1974).Cedric Robinson, Black Marxism (1983).Lewis Gordon, Freedom, Justice, and Decolonization (2020).Manning Marable, W.E.B. Du Bois: Black Radical Democrat (2004).Host Suggestion:Randall Westbrook, Education and Empowerment: The Essential Writings of W.E.B. DuBois (2013).Almost all of W.E.B. Du Bois's writings from the late nineteenth and early twentieth century are in the public domain. Internet Archive offers access to these texts for free. See acast.com/privacy for privacy and opt-out information.

One of Britain's most influential scholars has spent a lifetime trying to convince people to take race and racism seriously. Are we finally ready to listen? By Yohann Koshy. Help support our independent journalism at theguardian.com/longreadpod

*Content Warning* Discussions of slavery and violence against Black folks. In this episode, I conclude my presentation of Paul Gilroy's "The Black Atlantic." If you want to support me, you can do that with these links: Patreon: https://www.patreon.com/theoryandphilosophy paypal.me/theoryphilosophy Twitter: @DavidGuignion IG: @theory_and_philosophy

*Content Warning* Discussions of slavery and violence against Black folks. In this episode, I begin my presentation of Paul Gilroy's "The Black Atlantic." If you want to support me, you can do that with these links: Patreon: https://www.patreon.com/theoryandphilosophy paypal.me/theoryphilosophy Twitter: @DavidGuignion IG: @theory_and_philosophy

The one where we were literally the argument against immigration into the country Emma and Nicole discuss the historical context for the mixed race identity in the UK with Dr Melissa Wagner, who studied Caribbean Studies and English with Paul Gilroy and has a PHD from Goldsmiths. She wrote her thesis on the essentialism portrayal of ‘mixed-race’ identity in the Caribbean Novel.  We discuss eugenics theories, Enoch Powell and 1960s concerns around the contamination of the white race and the threat of ‘half castes’ becoming an undesirable presence in the UK. We talk about how the divide and control strategy conceived so long ago is alive and well today and how we as mixed people are perpetually trying to find our safe space. Preorder our book The Half Of It: https://amzn.to/3rDq1qo Our website: https://www.mixedup.co.uk/ Our Patreon: https://www.patreon.com/mixeduppodcast Our Instagram: https://instagram.com/mixedup.podcast Melissa's Instagram: https://www.instagram.com/melissa.j.wagner/ 

In the last two decades, the UK has deported thousands of people to Jamaica, many of whom left that country as children and grew up in the UK. Luke de Noronha talks to Alice Bloch about his moving and urgent study of four such young men. How have racism and inequality shaped their lives? What hope remains? And why does language matter when we talk about ‘foreign criminals'? A conversation about borders and exclusion, citizenship and listening. For readers of Paul Gilroy, Gary Younge, Amelia Gentleman, Les Back and Reni Eddo-Lodge.Hosts: Alice Bloch and Samira ShackleProducer: Alice BlochMusic: DanosongsTo support what we do and access more fresh thinking, why not subscribe to New Humanist magazine? Head to newhumanist.org.uk/subscribe and enter the code WITHREASON to get a whole year's subscription for just £13.50Further reading: ‘Deporting Black Britons: Portraits of Deportation to Jamaica (2020) Luke de Noronha‘The Windrush Betrayal' (2019) Amelia Gentleman‘Why I'm No Longer Talking to White People About Race' (2017) Reni Eddo-Lodge‘Familiar Stranger: A Life Between Two Islands' (2017) Stuart Hall, with Bill Schwarz‘Rethinking Racial Capitalism' (2018) Gargi Bhattacharyya‘Us and Them? The Dangerous Politics of Immigration Control' (2013) Bridget Anderson‘There Ain't No Black in the Union Jack' (1987), Paul Gilroy‘Teaching Racial Tolerance' (1972) Research Report, New Humanist Magazine

In episode 8, we look to the writings of Aimé Césaire to guide a conversation about colonialism, neocolonialism, and anti-colonial thought and struggle. Focusing especially on his 1950 Discourse on Colonialism and his 1956 letter to Maurice Thorez—in which he explains his resignation from French Communist Party—we discuss the subjective and objective ‘boomerang effects’ of colonialism on colonizing countries, the tensions between particularism and universalism in putatively global left politics, the relationship between colonialism and capitalism, and the state of neocolonial domination and exploitation.Aimé Césaire, Discourse on Colonialism. Ed. Robin D.G. Kelly. Monthly Review Press, 2000.Aimé Césaire, “Letter to Maurice Thorez”, trans. Chike Jeffers, Social Text 28.2 (2010): 145-52. Silvia Federici, "War, Globalization, and Reproduction," in Revolution at Point Zero. PM Press, 2012.Paul Gilroy, Against Race: Imagining Political Culture beyond the Color Line. Harvard University Press, 2002.Music: "Vintage Memories" by Schematist | schematist.bandcamp.com

As we approach the 40th anniversary of the Black People’s Day of Action march that took place on 2nd March 1981, Paul Gilroy welcomes Linton Kwesi Johnson, poet and activist, to reflect on the events of that day and year, and discuss how we see these patterns repeated in Black life in this country today in the forms of inequality and conflict and demands for truth, right and justice.This conversation was recorded on 9th February 2021Speaker: Linton Kwesi Johnson, world-renowned reggae poet and recording artistExecutive producer: Paul GilroyProducer and Editor: Kaissa KarhuRead the transcript for this podcast See acast.com/privacy for privacy and opt-out information.

Dennis Bovell, UK reggae pioneer and writer of the hit song Silly Games, joins Paul Gilroy for a conversation about his career as a producer, multi-instrumentalist, sound engineer and more. Dennis discusses not having any musical boundaries, working across reggae to country to afrobeats, and recounts stories of working with Linton Kwesi Johnson, Leroy Smart, Fela Kuti and John Kpiaye.This conversation was recorded on 21st November 2020Speaker: Dennis Bovell, UK Reggae pioneer, producer, musician, multi-instrumentalist, songwriter and sound engineerImage: Photo by Tim SchnetgoekeExecutive producer: Paul GilroyProducer and Editor: Kaissa KarhuRead the transcript for this podcast See acast.com/privacy for privacy and opt-out information.

Mark Fisher traz algumas ideias de Derrida para o campo da análise cultural: antes de discutirmos seu livro mais famoso, traduzimos trechos de outro livro, "Ghosts of my life", em que ele define o que é hauntologia na filosofia do século 21. Ele comenta Wendy Brown e a noção de 'melancolia de esquerda', Paul Gilroy e sua 'melancolia pós-colonial', além de Antonio Negri, Michael Hardt, Fukuyama e modernismo popular. Esta é uma leitura da tradução inédita de trechos do volume de Mark Fisher (Ghosts of my life. Writing on depression, hauntology and lost futures. Winchester: Zerobooks, 2014. Parte introdutória, seções 2 a 4). Para quem quiser imprimir ou divulgar, tem um PDF aqui: https://www.academia.edu/45087058/Defini%C3%A7%C3%B5es_do_conceito_de_hauntologia_trechos_traduzidos_de_Mark_Fisher_Ghosts_of_my_life_2014_

Paul Gilroy is joined by Antonella Bundu, Italian activist and council member for a left coalition, for a conversation about the politics of Florence, Italy, and her position within the polity. Antonella discusses Black presence and belonging in the Italian context, fighting for social and civil rights, and the work that still needs to be done for an anti-racist and anti-fascist society.This conversation was recorded on 23rd October 2020Speaker: Antonella Bundu, activist and council member leading the left opposition Sinistra Progetto Comune groupExecutive producer: Paul GilroyProducer and Editor: Kaissa KarhuRead the transcript for this podcast See acast.com/privacy for privacy and opt-out information.

This episode was originally recorded for our patreon subscribers after our interview with Paul Gilroy. We decided to release this for all listeners so we could better contextualise how we interview guests. This is about us publically declaring our reflexive approach to podcasting. We recognise our flaws and imperfections, but our priotity is always about communicating through love, solidarity and resistance. Thanks for stickng with us, Chantelle Tissot and George x

This episode was originally recorded for our patreon subscribers after our interview with Paul Gilroy. We decided to release this for all listeners so we could better contextualise how we interview guests. This is about us publically declaring our reflexive approach to podcasting. We recognise our flaws and imperfections, but our priotity is always about communicating through love, solidarity and resistance. Thanks for stickng with us, Chantelle Tissot and George x

Paul joined us discuss how his analysis in the Black Atlantic: Modernity and Double-Consciousness and Between to Camps: Nations, Cultures and the Allure of Race can speak to the resurgence of anti-racist movements.

Paul joined us discuss how his analysis in the Black Atlantic: Modernity and Double-Consciousness and Between to Camps: Nations, Cultures and the Allure of Race can speak to the resurgence of anti-racist movements.

Award-winning filmmaker, Steve McQueen, joins Paul Gilroy for a conversation on the motivation for his Small Axe film series. McQueen addresses making something that is Black and beautiful in depicting justice and freedom, and how art can give recognition to Black British lives by shoring up “who we are, where we came from and what we contributed to this country”.This conversation was recorded on 26th October 2020Speaker: Steve McQueen, Academy Award-winning filmmaker and artist; creator and director of Small AxeImage: Photo by John RussoExecutive producer: Paul GilroyProducer and Editor: Kaissa KarhuRead the transcript for this podcast See acast.com/privacy for privacy and opt-out information.

AirGo is excited to present The Education Suite, a collection of episodes focusing on the liberatory histories and futures of education. This suite is co-curated by AirGo fam and general genius Eve Ewing, a professor and poet whose work is at the forefront of public conversation around the ways our education system has harmed Black and Brown young people, and the ways that our school buildings connect to larger systems of inequity across the country. This episode's guest is poet, translator, and transdisciplinary scholar SA Smythe. SA is a professor at UCLA, and is one of the organizers of the Cops Off Campus Campaign, which aims to remove police and policing from all University of California campuses by September 2021. They join the show to talk about the campaign, the challenges and unique potential of forging a truly public university, how the campaign connects to their study of Blackness in the Mediterranean, reaching toward diasporic power rather than national citizenship, and MUCH, MUCH more. Recorded 9/29/20 SHOW NOTES: Support the Cops Off Campus campaign - https://www.instagram.com/uc_ftp/ Nick Mitchell - https://cres.ucsc.edu/faculty/regular-faculty.php?uid=nmitchel Sarah Haley - https://afam.ucla.edu/faculty/sarah-haley/ Shana Redmond - https://schoolofmusic.ucla.edu/people/shana-redmond/ Ruthie Wilson Gilmore - https://www.gc.cuny.edu/faculty/core-bios/ruth-wilson-gilmore Dylan Rodriguez - https://twitter.com/dylanrodriguez?lang=en Sisters Uncut - http://www.sistersuncut.org/ Paul Gilroy - https://www.ucl.ac.uk/institute-of-advanced-studies/professor-paul-gilroy Gwendolyn Brooks - https://www.poetryfoundation.org/poets/gwendolyn-brooks June Jordan - https://www.poetryfoundation.org/poets/june-jordan Ashon Crawley - https://religiousstudies.as.virginia.edu/faculty/profile/atc8g Frantz Fanon - https://en.wikipedia.org/wiki/Frantz_Fanon

Adam Shatz talks to Paul Gilroy about his intellectual background and the recent anti-racist protests in the UK and US. They discuss Gilroy’s experience growing up in North London in the 1950s and 1960s, the influence of African-American culture on his understanding of racial ordering, the role of Turner’s painting The Slave Ship in the history of the ‘Black Atlantic’, the shifting use of terms such as ‘racism’ and ‘anti-blackness’, and how the imminent threats of climate change might affect racial identity.Find material related to this podcast on our website: https://lrb.me/paulgilroypodSubscribe to the LRB from just £1 per issue: https://mylrb.co.uk/podcast20b See acast.com/privacy for privacy and opt-out information.

Paul Gilroy is joined by George the Poet, for a conversation on poetry, podcasting and storytelling; looking at how hybridity and sociological thought have impacted George’s process of intuition and priorities in advocating for his community. George also discusses how, moving forward, these priorities are evolving around communication systems, value creation and academia.This conversation was recorded on 9th July 2020Speaker: George the Poet, spoken-word artist, poet and podcast host of Have You Heard George’s Podcast?Executive producer: Paul GilroyProducer and Editor: Kaissa KarhuRead the transcript for this podcast See acast.com/privacy for privacy and opt-out information.

WE ARE SO SORRY FOR THE MISTAKES IN THE ORIGINAL DANGEROUS MINDS EPISODE.  I HAVE NO IDEA HOW THIS HAPPENED.  THE UPDATED FILE IS FREE OF ANY CONTENT FROM OTHER EPISODES. Admit it, you've seen the poster and Gangsta's Paradise is already going through your head.  Join your favourite transatlantic tambourine men - Ian & Liam – as we take a look at the Michelle Pfeiffer teacher pseudo-biopic "Dangerous Minds."  We're joined by our very special friend Debbie, and Ellie is in fact-check corner.  It's a choice-filled 22nd episode as we discuss:The captivating real-life story of LouAnne Johnson - one that probably made for a better movie if they had read it.Why Michelle Pfeiffer teaches karate to a group of students who are shown to have already established violent tendenciesIf Michelle Pfeiffer seems at all believeable as a marineWhat parts of being a teacher Pfeiffer gets right and dozens she gets wrongThe inaccuracies of the inspirational teacher trope in movies.How much more scandalous Bruckheimer and Simpson wanted the plot to beReal-life follow-up on several of the students from the filmWhy does Pfeiffer try to link poetry to Bob Dylan when the group likely has never heard of him before.Paul Gilroy's post-colonial theory and the dangers of the white saviour complex that showed up in Hollywood films in the late 80s and 90sWhether Dangerous Minds is the Best Film Ever.

Paul Gilroy is joined by Courtenay Griffiths QC, distinguished criminal defence advocate with 40 years of experience, for a conversation on racism within the criminal justice system and its disproportionate effect on black people, and the need to confront patterns of criminalisation, the hierarchy within institutions and reforming education in relation to this.This conversation was recorded on 24th June 2020Speaker: Courtenay Griffiths QC, Barrister, 25 Bedford RowExecutive producer: Paul GilroyProducer and Editor: Kaissa KarhuRead the transcript for this podcast See acast.com/privacy for privacy and opt-out information.

Olá, eu sou Daniel Christian mestrando em filosofia pela Universidade Federal de Sergipe Coordenador do Grupo de Estudos em Intelectuais Negros do NEABI - UFS e autor do podcast Filosofia Pós-colonial. Quer apoiar nossa iniciativa? Contribua no https://apoia.se/filosofiaposcolonial siga-nos no instagram @filosofiaspretas no facebook @filosofiaposcolonial. Neste episódio vamos trabalhar a interpretação da obra Memórias de Plantação Episódios de Racismo Cotidiano da escritora portuguesa Grada Kilomba. Bruna Santiago é Graduada em História pela Universidade Federal de Campina Grande, Mestranda pela Universidade Federal de Sergipe. Coordenadora do Grupo de Estudos Literários em Escrituras Negras e ciberativista - @leituraspretas. Na obra que discutiremos, a autora traz aspectos da estruturação do racismo e depoimentos de mulheres pretas quanto ao enfretamento do racismo cotidiano bem como consequências dele para a subjetividade da mulher preta. Esta obra foi uma referência constante para os autores da coleção feminismos plurais, pela profundidade do debate que ela enseja. Silvio de Almeida, Carla Akotirene e Dijamila Ribeiro, fazem constantemente referência a essa importante obra. Esta obra que se pautou na obra de Frantz Fanon, bell hooks e Paul Gilroy, além de outros teoricos da questão racial.

Partindo do “não consigo respirar” de George Floyd, o terceiro episódio do nosso respirador ARTEficial conversa com Rômulo Silva (@franromulosilva ) sobre política de morte, racismo e devir negro no mundo. No quadro FAZ TEU NOME, Altemar Di Monteiro (@altemardimonteiro) conta sobre o clipe da música Ainda Vivas e as iniciativas coletivas para manutenção do grupo Nóis de Teatro (@noisdeteatro) em tempos de pandemia. Locução e produção: Dani Guerra e Leo Silva Edição: Dani Guerra miticindria@gmail.com Link do clipe Ainda Vivas: https://bit.ly/aindavivasclipe Livro PDF Olhos D'água de Conceição Evaristo: https://bit.ly/olhosdaguapdf Uma conversa entre Paul Gilroy e Achille Mbembe: brutalismo, covid-19 e o Afro-pessimismo: https://medium.com/@allankardecpereira/uma-conversa-entre-paul-gilroy-e-achille-mbembe-brutalismo-covid-19-e-o-afro-pessimismo-f7708b380d0

Olá, eu sou Daniel Christian mestrando em filosofia pela Universidade Federal de Sergipe Coordenador do Grupo de Estudos em Intelectuais Negros do NEABI - UFS e autor do podcast Filosofia Pós-colonial. Quer apoiar nossa iniciativa? Contribua no https://apoia.se/filosofiaposcolonial Neste episódio vamos trabalhar a interpretação da obra Memórias de Plantação Episódios de Racismo Cotidiano da escritora portuguesa Grada Kilomba. Bruna Santiago é Graduada em História pela Universidade Federal de Campina Grande, Mestranda pela Universidade Federal de Sergipe. Coordenadora do Grupo de Estudos Literários em Escrituras Negras e ciberativista - @leituraspretas. Na obra que discutiremos, a autora traz aspectos da estruturação do racismo e depoimentos de mulheres pretas quanto ao enfretamento do racismo cotidiano bem como consequências dele para a subjetividade da mulher preta. Esta obra foi uma referência constante para os autores da coleção feminismos plurais, pela profundidade do debate que ela enseja. Silvio de Almeida, Carla Akotirene e Dijamila Ribeiro, fazem constantemente referência a essa importante obra. Este livro que se pautou na obra de Frantz Fanon, bell hooks e Paul Gilroy, além de outros teoricos da questão racial.

“Culture lives culture moves culture changes. It mutates. It’s restless.“ We continue the conversation with historian and academic Paul Gilroy.

In this episode of ABC with Danny and Jim we discuss Paul Gilroy's The Black Atlantic: Modernity and Double Consciousness (Verso, 1993). Our discussion follows this book's navigation through black culture and modernity, reflecting on thinkers from WEB du Bois to Hegel as well as Gilroy's rich investigation of black music. Along we way we discuss the concept of diaspora, the perils of black ethno-nationalism and the importance of Gilroy's work to the present moment. Danny's brilliant mix of music inspired by Paul Gilroy's work (ft. Curtis Mayfield, Steel Pulse, William DeVaughn, Aretha Franklin, Hugh Masekela & many more) is available here: https://bit.ly/3edP1hk The interview between Gilroy and Tommie Shelby for Transition can be found here: https://bit.ly/2zQUo7i For an accessible introduction to Hegel's master/slave dialectic and its impact on racial politics (discussed in both the episode and the book) see: https://bit.ly/2CpwG2W ------------------------------------------------------------ The podcast music is Stealing Orchestra & Rafael Dionísio, 'Gente da minha terra (que me mete um nojo do caralho).' Reproduced from the Free Music Archive under a Attribution-NonCommercial-NoDerivatives (aka Music Sharing) 3.0 International License. The podcast logo is an adapted version of the Left Book Club logo (1936-48), reproduced, edited and shared under a Creative Commons Attribution-Share Alike 4.0 International licence. Original available here The image in this episode is Slaveship Collage by George Bayard III, licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license: https://commons.wikimedia.org/wiki/File:Slaveship_painting.jpg

Distinguished writer, commentator and American legal scholar Patricia J. Williams joins Paul Gilroy to talk about the legacies of Critical Race Theory, the eugenic character of racialised governance and the current call to defund the police.This conversation was recorded on 12th June 2020. Apologies for the noise of a smoke alarm in the background.Speaker: Patricia J. Williams, University Distinguished Professor of Law and Humanities at Northeastern University, BostonExecutive producer: Paul GilroyProducer and Editor: Kaissa KarhuRead the transcript for this podcast See acast.com/privacy for privacy and opt-out information.

In this 2-part episode revered historian and academic Paul Gilroy reflects on his scholarly work as a translator as well as the many nuisances of Black British identity. Gilroy also reflects on his personal experience of growing up Black in Britain and his passion for music, providing much insight into the widening gap between reggae with the rising influence of soul music.

Paul Gilroy and Gary Younge, Professor of Sociology at Manchester University and distinguished journalist, reflect on Mark Twain’s reputed words ‘history doesn’t repeat itself but it rhymes’, the first political memories that shaped them, and the potential in engaging sympathy and humour critically.This conversation was recorded on 12th June 2020Speaker: Gary Younge, Professor of Sociology at Manchester University and journalistExecutive producer: Paul GilroyProducer and Editor: Kaissa KarhuRead the transcript for this podcast See acast.com/privacy for privacy and opt-out information.

In his sixth thesis on the philosophy of history, Walter Benjamin wrote, “The only writer of history with the gift of setting alight the sparks of hope in the past, is the one who is convinced of this: that not even the dead will be safe from the enemy, if he is victorious.” Edgar Garcia is one such historian…and if you’re not yet convinced of Benjamin’s dictum, you should listen to this interview. In Signs of the America: A Poetics of Pictography, Hieroglyphs and Khipu (University of Chicago Press, 2019) Garcia sets sparks flying by inviting us to explore the literature and theory created by 20th and 21st century writers who deploy sign systems that, according to the creation myth of European hegemony, alphabetized thought supposedly superseded and destroyed. Akin to Paul Gilroy’s The Black Atlantic in ambition and originality, Signs of the Americas not only pries open a fascinating archive but also forces us to question the organizational principles that govern intellectual history and cultural criticism in this hemisphere. In this interview, we discuss work by Jaime de Angulo, Cecilia Vicuña, John Borrows, and Gloria Anzaldúa, as well as Garcia’s own Skins of Columbus: A Dream Ethnography (Fence Books, 2019), which serves as a kind of poetic companion to Signs. David Gutherz is a Teaching Fellow in Social Thought at the University of Chicago. His research deals with the history of the human sciences, with a special interest in how intellectuals have aided and undermined authoritarian movements. You can find out more about his work at www.davidmaxgutherz.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In his sixth thesis on the philosophy of history, Walter Benjamin wrote, “The only writer of history with the gift of setting alight the sparks of hope in the past, is the one who is convinced of this: that not even the dead will be safe from the enemy, if he is victorious.” Edgar Garcia is one such historian…and if you’re not yet convinced of Benjamin’s dictum, you should listen to this interview. In Signs of the Americas: A Poetics of Pictography, Hieroglyphs and Khipu (University of Chicago Press, 2019) Garcia sets sparks flying by inviting us to explore the literature and theory created by 20th and 21st century writers who deploy sign systems that, according to the creation myth of European hegemony, alphabetized thought supposedly superseded and destroyed. Akin to Paul Gilroy’s The Black Atlantic in ambition and originality, Signs of the Americas not only pries open a fascinating archive but also forces us to question the organizational principles that govern intellectual history and cultural criticism in this hemisphere. In this interview, we discuss work by Jaime de Angulo, Cecilia Vicuña, John Borrows, and Gloria Anzaldúa, as well as Garcia’s own Skins of Columbus: A Dream Ethnography (Fence Books, 2019), which serves as a kind of poetic companion to Signs. David Gutherz is a Teaching Fellow in Social Thought at the University of Chicago. His research deals with the history of the human sciences, with a special interest in how intellectuals have aided and undermined authoritarian movements. You can find out more about his work at www.davidmaxgutherz.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In his sixth thesis on the philosophy of history, Walter Benjamin wrote, “The only writer of history with the gift of setting alight the sparks of hope in the past, is the one who is convinced of this: that not even the dead will be safe from the enemy, if he is victorious.” Edgar Garcia is one such historian…and if you’re not yet convinced of Benjamin’s dictum, you should listen to this interview. In Signs of the America: A Poetics of Pictography, Hieroglyphs and Khipu (University of Chicago Press, 2019) Garcia sets sparks flying by inviting us to explore the literature and theory created by 20th and 21st century writers who deploy sign systems that, according to the creation myth of European hegemony, alphabetized thought supposedly superseded and destroyed. Akin to Paul Gilroy’s The Black Atlantic in ambition and originality, Signs of the Americas not only pries open a fascinating archive but also forces us to question the organizational principles that govern intellectual history and cultural criticism in this hemisphere. In this interview, we discuss work by Jaime de Angulo, Cecilia Vicuña, John Borrows, and Gloria Anzaldúa, as well as Garcia’s own Skins of Columbus: A Dream Ethnography (Fence Books, 2019), which serves as a kind of poetic companion to Signs. David Gutherz is a Teaching Fellow in Social Thought at the University of Chicago. His research deals with the history of the human sciences, with a special interest in how intellectuals have aided and undermined authoritarian movements. You can find out more about his work at www.davidmaxgutherz.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In his sixth thesis on the philosophy of history, Walter Benjamin wrote, “The only writer of history with the gift of setting alight the sparks of hope in the past, is the one who is convinced of this: that not even the dead will be safe from the enemy, if he is victorious.” Edgar Garcia is one such historian…and if you’re not yet convinced of Benjamin’s dictum, you should listen to this interview. In Signs of the America: A Poetics of Pictography, Hieroglyphs and Khipu (University of Chicago Press, 2019) Garcia sets sparks flying by inviting us to explore the literature and theory created by 20th and 21st century writers who deploy sign systems that, according to the creation myth of European hegemony, alphabetized thought supposedly superseded and destroyed. Akin to Paul Gilroy’s The Black Atlantic in ambition and originality, Signs of the Americas not only pries open a fascinating archive but also forces us to question the organizational principles that govern intellectual history and cultural criticism in this hemisphere. In this interview, we discuss work by Jaime de Angulo, Cecilia Vicuña, John Borrows, and Gloria Anzaldúa, as well as Garcia’s own Skins of Columbus: A Dream Ethnography (Fence Books, 2019), which serves as a kind of poetic companion to Signs. David Gutherz is a Teaching Fellow in Social Thought at the University of Chicago. His research deals with the history of the human sciences, with a special interest in how intellectuals have aided and undermined authoritarian movements. You can find out more about his work at www.davidmaxgutherz.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In his sixth thesis on the philosophy of history, Walter Benjamin wrote, “The only writer of history with the gift of setting alight the sparks of hope in the past, is the one who is convinced of this: that not even the dead will be safe from the enemy, if he is victorious.” Edgar Garcia is one such historian…and if you’re not yet convinced of Benjamin’s dictum, you should listen to this interview. In Signs of the America: A Poetics of Pictography, Hieroglyphs and Khipu (University of Chicago Press, 2019) Garcia sets sparks flying by inviting us to explore the literature and theory created by 20th and 21st century writers who deploy sign systems that, according to the creation myth of European hegemony, alphabetized thought supposedly superseded and destroyed. Akin to Paul Gilroy’s The Black Atlantic in ambition and originality, Signs of the Americas not only pries open a fascinating archive but also forces us to question the organizational principles that govern intellectual history and cultural criticism in this hemisphere. In this interview, we discuss work by Jaime de Angulo, Cecilia Vicuña, John Borrows, and Gloria Anzaldúa, as well as Garcia’s own Skins of Columbus: A Dream Ethnography (Fence Books, 2019), which serves as a kind of poetic companion to Signs. David Gutherz is a Teaching Fellow in Social Thought at the University of Chicago. His research deals with the history of the human sciences, with a special interest in how intellectuals have aided and undermined authoritarian movements. You can find out more about his work at www.davidmaxgutherz.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In his sixth thesis on the philosophy of history, Walter Benjamin wrote, “The only writer of history with the gift of setting alight the sparks of hope in the past, is the one who is convinced of this: that not even the dead will be safe from the enemy, if he is victorious.” Edgar Garcia is one such historian…and if you’re not yet convinced of Benjamin’s dictum, you should listen to this interview. In Signs of the America: A Poetics of Pictography, Hieroglyphs and Khipu (University of Chicago Press, 2019) Garcia sets sparks flying by inviting us to explore the literature and theory created by 20th and 21st century writers who deploy sign systems that, according to the creation myth of European hegemony, alphabetized thought supposedly superseded and destroyed. Akin to Paul Gilroy’s The Black Atlantic in ambition and originality, Signs of the Americas not only pries open a fascinating archive but also forces us to question the organizational principles that govern intellectual history and cultural criticism in this hemisphere. In this interview, we discuss work by Jaime de Angulo, Cecilia Vicuña, John Borrows, and Gloria Anzaldúa, as well as Garcia’s own Skins of Columbus: A Dream Ethnography (Fence Books, 2019), which serves as a kind of poetic companion to Signs. David Gutherz is a Teaching Fellow in Social Thought at the University of Chicago. His research deals with the history of the human sciences, with a special interest in how intellectuals have aided and undermined authoritarian movements. You can find out more about his work at www.davidmaxgutherz.com Learn more about your ad choices. Visit megaphone.fm/adchoices

HISTOIRES DE #38 Mercredi 15.04. Le Printemps s’est installé, le confinement aussi. Période étrange et salvatrice, on en profite pour continuer de vous partager nos coups de cœur, nos histoires de samples et suivre le fil des artistes qui marquent l’histoire des musiques noires à leur échelle, modestement mais durablement. Parmi eux, il y a bien sûr Manu Dibango et Bill Withers à qui l’on fera un clin d’œil. Ce mois d’avril, on continue aussi de nous plonger dans les sorties de ce premier trimestre et, après la compilation "Chinal Ka" d’Erick Cosaque parue en décembre dernier sur le label Heavenly Sweetness (cc Carte Blanche), on choisit de s’arrêter sur une autre sortie du label : "Soleil Kréyol" du multi-instrumentiste David Walters. Un retour soigné inscrit dans la sphère musicale de cet Atlantique Noir (cf. Paul Gilroy) où David Walters et Bruno Patchworks réunissent des bouts de cet espace profondément ancré dans une histoire douloureuse. Hybride et créole, ce nouvel album est à la fois une pièce d’archives de sa propre famille caribéenne et une conjugaison d’explorations vécues. Malgré ce confinement, on a pu échanger avec David Walters de tout cela. Une discussion où on a parlé créolité, de ses collaborations et évoqué de grandes dames comme Nina Simone et Cesaria Evora (entre autres). En 2e partie d’émission, l’équipe d’Histoires De continue son émission confinée en vous proposant un hommage à Bill Withers (par Martina), une histoire de sample (par Rony - cap sur New-York d'ailleurs), et une playlist qui accompagne nos situations de confinement (par nous tous.tes). Et si, pour conclure et au lieu du désormais traditionnel « prendre soin de vous » on vous disait plutôt «de questionner cet instant » (en restant chez vous et écoutant Radio Campus Paris) ?

Dr. Nicole M. Jackson, Associate Professor of History at BGSU, discusses her research undergone in the Fall of 2019 as an ICS Faculty Fellow. Her project, titled “Women Writing Black to the British Empire,” considers black British women's contemporary popular literature as a site for working out ideas about race, sex, gender, love, and national belongings.  Transcript: Introduction: From Bowling Green State University and the Institute For the Study of Culture and Society, this is BG Ideas. Intro Song Lyrics: I'm going to show you this. What a wonderful experiment. Jolie Sheffer: Welcome to the Big Ideas podcast, a collaboration between the Institute For the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. I'm Dr. Jolie Sheffer, Associate Professor of English and American Culture Studies and the Director of ICS. Today I have the pleasure of speaking with Dr. Nicole M. Jackson, who is an Associate Professor of History. She researches the contemporary African diaspora with a focus on post World War II black social movements, migrations, race, and imperialism in Britain and the United States. She joins me today to talk about research undergone in fall, 2019, as an ICS faculty fellow. This project considers black British women's contemporary popular literature as a site for working out ideas about race, sex, gender, love, and national belongings. I'm very pleased to sit down with you today and learn more about your work and an alternative canon of black British women's literature. Thanks for being here, Nicole. Nicole Jackson: Thanks for having me. Jolie Sheffer: Why don't we begin by having you give a little background on your research and how you came to be interested in this particular project. Nicole Jackson: So my PhD research, what this shoots off from is I look at black British and African American postwar social movements about migrant populations. So in the US, I'm looking at people who are migrating at the end of the second World War to primarily the West. I'm looking at California. And then in the UK, I'm looking at Caribbean people who are migrating to primarily London. And all of my work is about community activism, so I want to understand how these migrants become socially active around things that are affecting their community. And in particular, for the dissertation I was looking at three frames, so education, reproductive justice, and policing. And then that blew out a little bit more to looking at belonging and citizenship. Although that was embedded at the time, not that I realized that it was important. Nicole Jackson: And so in the UK, part of what I saw was that so much of their community activism was institution building. And probably the most significant institution were black bookshops. They were spaces of congregation, they were spaces of education, so there were a lot of like extracurricular educational things happening, like Saturday schools and afterschool programs. And they were also printing houses, so they were printing a wide range of work. So some academic texts, some informational pamphlets, and a lot of poetry from community members, and then as well novels. So that's the connection between community activism and social movements and black literature. Jolie Sheffer: I'm curious as to, you're a historian, but this project has you looking at literature. So how do you approach the study of this literature from your perspective as a historian? Nicole Jackson: Carefully. I think I'm aided in the fact that Caribbean people have a really long history of artistic production. So there is a really large body of work, especially for instance Carol Boyce Davies, who was looking at migrant Caribbean population. She does the US and the UK. So there are people who are looking at Caribbean, in particular women's writings, as connected to the historical context in which they live, so I don't have to make a leap. I would say the literary criticism makes me really uncomfortable because that is not my area. But so much of this is embedded in Caribbean cultures anyway, so that I don't have to feel as if I'm stepping out on my own. So I thankfully am able to look at these other Caribbean scholars in particular who have done a lot of that legwork. Jolie Sheffer: So is part of your approach a kind of social history or cultural history? Nicole Jackson: I'm a social and cultural historian, so absolutely. Jolie Sheffer: So for folks who don't really know, how does that differ from a lot of the maybe more conventional focus of history that other folks might be familiar with? Or assume from watching Ken Burns documentaries or something? Nicole Jackson: Oh man. You can cut that out. So I would argue that a social and cultural historian, as opposed to a legal or political historian, is interested in people and their lives. So for me, I really am always asking, what do people think about the world in which they live? Which includes a legal structure, it includes a political reality, but it is not focusing on lawmakers or politicians, it is focusing on those people who have to live that political and legal reality enacted. And at least for me... And that's different in these populations. So for African Americans, the black bookstores don't publish, so I'm not looking at literature in those contexts because they're not producing it. Nicole Jackson: What I am looking at, there's a long history of protest, so I have looked at literally protest actions. There's a really great record of that. But the black British and Caribbean people don't have the same kinds of protest reality, so I can see some of that reaction literally in their work. So a lot of the groups that I study have newsletters. I was really shocked to find that almost all of those newsletters had poetry in the end or they had cartoons. Literally, their artistic production was a part of their protest, and so I let them lead me to this. And that's what a social and cultural historian is doing. Jolie Sheffer: For listeners who may not be familiar, what is some of the essential historical context that shapes the contemporary period in black British history and cultural production? Nicole Jackson: Oh man. So pretty much all contemporary black British history starts, for better or for worse, with 1948 and the British Nationality Act, as well as the docking of the Windrush ship in London. I say for better or for worse because that is where we get the large scale beginning of the migration, and they are able to move because of the British Nationality Act in an easier manner. But there is migration that is happening before that period. The biggest distinction is that the period before is actually usually transitory, so people are coming for a few years. So Caribbean people are coming for education or something like that. African people are also coming for the same thing, and probably African people are coming in larger numbers. But they are not settling. After 1948, we start to see people settling in larger numbers, and also settling really all over Britain, as opposed to just in port cities or major metropolitan areas. Nicole Jackson: After that, there's a riot in 1958. It's called the Nottingham Riots, where these young white youth called Teddy Boys rampage through London and beating up and attacking Caribbean people as well as white women who are in relationships with black men. The next year, Kelso Cochrane is murdered, and so the two... And Tegan Mann, a migrant, he lived in London. So those two are usually connected together. And then there are a whole bunch of legal things that happened, those are boring. Nicole Jackson: And then for me, probably the next significant thing... So after the Notting Hill riot and Kelso Cochrane's murder, the Caribbean community responds in a way they had not before, because that's not the first time there had been any antagonism. Also not the first race riot in England, although people write as if it is. But so they begin to respond in a community building kind of way. So before that we, see Jamaicans, people from Barbados, Antiguans, Guyanese people who don't really see themselves as part of a singular community. They see their community as people from their island. But after the riot, because it's indiscriminate violence, they begin to think of themselves as a pan Caribbean community. Nicole Jackson: And so they organized the first Notting Hill Carnival, which actually still happens to this day. It's the August bank holiday, if you were in London. And so they organized the first one, I think in 1959. And then it actually happens almost every year until 1970, there's not a period where it doesn't happen. But in 1976, there's a whole bunch of commotion around it because it has gotten larger in the almost 20 years. Police have started to attend in higher numbers and the community begins to respond adversely. And so in '76, there's a riot at the Notting Hill Carnival because police arrest some young black men they say were pickpocketing, because crime is an issue at the carnival. But the community members who saw some of these boys being arrested say that it was unnecessarily harsh, and also that some of them weren't even pickpocketing, they were just targeted. Nicole Jackson: And that leads to a lot of protesting, primarily around policing, until 1981, which is the really significant moment, which there are riots in really every region of the UK. The most famous is the Brixton riot, but there are riots in Manchester, Birmingham, Liverpool. I think there's one in Scotland that I don't know as much about. Name a British city with a large Afro Caribbean population and in 1981, they riot. They also then riot again in 1983, but those are slightly different. Jolie Sheffer: What is it that you think the concept of diaspora makes visible that more nation based approaches obscure? Nicole Jackson: That's a lovely question. So when I was a grad student, we read this book by Penny Von Eschen, I think it's probably Race Against Empire. But she covers this in a couple of different books where she essentially is pushing back with the idea that African Americans are provincial, that they don't understand what's happening in the rest of the world. And she says they're not provincial. They actually care deeply about what's happening in spaces where there are other people of African descent. And so that particular book is looking at, I think, Africa. So she's thinking about apartheid South Africa. That's a lot of her work. But there are other scholars who argue that insight. People know what's happening in East Africa, they care deeply about what's happening there because of their own religious connections. Nicole Jackson: So there are a whole bunch of scholars who essentially say that African Americans care, and particularly this is where it starts, that they care about what's happening in the world. And that was really revolutionary for me, if only because I come from a working class background where people don't get to travel, they cannot afford to travel. My grandfather used to drive from California to the South every summer and that felt luxurious. But leaving the country was not something I could imagine. And then when I did, what I was surprised to find is how much people in the UK knew about what was happening in the US, and that changed my mind. Nicole Jackson: So what I asked for in particular is, one, thinking about how much people of African descent know about one another and want to know about one another. But then my own work and why I study migrants is because it's not just that they want to know and that they read newspapers, stuff like that, but they also travel to see one another. Whether it is leisurely travel, so like the 1930s, Elsanda Robeson and Paul Robeson actually end up living in the UK for a while, and Eslanda travels all over Europe. She spends a lot of time in the Soviet union, which is actually, I think, where she passes. But she travels to Africa as well. That is her greatest hope, she wants to get to Africa. Hell, that was terrifying. I'll start. Nicole Jackson: But yeah, Eslanda Robeson wants to get to Africa and she does, and she actually writes about it as well. And while she's in Africa, she's meeting future African statesmen who are students at the time. She's meeting Caribbean people who are also students. She spends a lot of time in France where she meets a whole bunch of people from the French Caribbean who were there. So they are moving and their ideas are moving. And even though these are not rich people, almost none of the people I study, they're all pretty much working class people. But they were able to move, whether that's back and forth between the Caribbean and England or to the US, which they really want. Many of them, because of the time period, want to end up in the Soviet Union. Some of them ended up in Asia. A lot of them want to end up in North Africa. So it is literally that people are moving. Nicole Jackson: I think for me, the diaspora, I'm always shocked at who is moving at the same time and who is in conversation with one another. Sometimes in their work, literally. But also marriages. I mean, Stokely Carmichael was married to Miriam Makeba for a while and it's like, how did that happen? But it's like, he's moving and she's moving. She's exiled for a while. Literally, they're moving. So for me, it's those two things, that of knowledge of one another, and information is moving, but also people are moving as well. Jolie Sheffer: Another aspect of this research is around the idea of canons and challenging the conventional British canon with these black British authors. So can you talk about what you see as distinctive about the writers you're looking at and how they challenge the dominant narratives of British literature in this period? Nicole Jackson: Yeah. I think one, and probably the most significant, is language. It is not accidental that I want to look at popular literature, if for no other reason than I think when we read British literature, even if we're not reading a white author, it's almost always literature that is challenging to understand. That's part of what makes it great, is that you have to read it three and four times and you have to look up a million words. Jolie Sheffer: It's difficult. Nicole Jackson: It's difficult, right. So that's what makes it good literature. And that's, in my opinion, elitist. But it essentially means that the vast majority of people will never be able to engage with good literature. Nicole Jackson: My grandfather was illiterate and that mattered to me as a kid. He used to have me read things to him. He used to have my brother and I do math for him or check his math, because he was better with numbers than anything. And I remember never having any judgment, it was just a reality. He grew up in a rural lifestyle. But I love to read and he loved to buy me books that he would never read. And so that idea that something has to be difficult to be good literature never made sense to me. And that people who can't access it bereft of culture. That didn't make sense to me. Nicole Jackson: But what I found in black women's literature is that there is this interplay of wanting to write about really significant and deep things in ways that are intensely accessible. So Andrea Levy writes intensely accessible books that are, many of her books are in first person. It is very intimate. She's very often writing about families, and so that everyday reality of whatever, Dad woke up later than everyone or something. She's writing about the everyday realities of life that are accessible and understandable. Or someone like Louise Bennett-Coverley, who's literally writing in Jamaican Patois. She wants people who speak Patois to be able to read in their own everyday language. And then in that everyday language, she's writing these really intensely critical and anti-imperial things because that's the language people are talking about anti-imperial things in. So for me, language and accessibility is one of those things that I think stands out in black British literature in particular, but especially this. Nicole Jackson: And then I think the other thing is an actual focus on black women. I would be hard pressed to think of much British literature that has a focus on black women, and that includes even black authors who are writing in that canon. I think they have been written out in very particular ways. Black men have not in the same way, not that they are overly represented, but they have not been written out in the same way. Whether they're there as the kind of specter of [inaudible 00:18:31] or some other way, they're there. Black women don't tend to be there. And I think it is not incidental that the black women are writing themselves into this canon. Jolie Sheffer: Great. Let's talk about some of the people that you're researching. So how do people specifically, like Beryl Gilroy or Andrea Levy or Vanessa Walter, fit into... So you've talked about some of them. Talk to us a little bit about who Beryl Gilroy was and how she contributes to this alternative canon. Nicole Jackson: So Beryl Gilroy, she was a black female teacher in the UK in the 1950s, and I think early 1960s before she stepped away. She was an activist, she was an anti-imperialist, but also a proponent of multicultural education in England because of her work as a teacher. And she later has a life where she writes... Near the end of her life, she's writing a lot of fiction, which doesn't actually play into my research because it is almost entirely set in the Caribbean, which I don't think is accidental by any means. But it is just not quite the conversation I want to have. Nicole Jackson: So mostly it's her memoir, Black Teacher, which she's featuring in. It is really significant in that it is the only one written by a black woman who was a teacher in the UK in the 50s, where most black teachers were actually barred from doing so. I don't like this phrasing, but she was one of the lucky ones who was able to use her credentials. It's kind of a boring book. It's really strange. I should have told someone, you can tell that she understand that most people will ignore that she even existed. Nicole Jackson: So she gets into the minutia of her life, which makes some chapters really interesting and some chapters super dry. But I think as a historian, that's great. She knows that someone is going to want to know about her life at some point. And so she makes sure that it's all there, not just herself in the classroom or trying to find a job, but how she feels about it, how people react to her, what her names, literally names, all of that. She's being meticulous in that documentation. I think she matters so much, not just because of her life, but because of the ways in which she's been effectively erased, which is a shame. Jolie Sheffer: Do you want me to ask the followup question? Nicole Jackson: Sure. Jolie Sheffer: Yes. So how is it that she has been erased and who has she been eclipsed by? Nicole Jackson: So she's eclipsed by her son, which I think on some level, she probably wouldn't be mad about. But her son is Paul Gilroy, who is a preeminent scholar of race and racism in contemporary England. I don't know why this has happened, but I think she's kind of inconvenient in a number of ways. I like a lot of Paul Gilroy's work, but I think that in particular in the black Atlantic, he is erasing of the Caribbean and the significance of the Caribbean. His mother's Guyanese, and as I said, a lot of her fiction is set in the Caribbean. And I think she becomes, if people even understand that they're related, which it's easy to not even think, Gilroy's not an uncommon name. But it's super easy to erase how significant and the Caribbean had to have been in his life, at least maybe as a child. So it is a shame that we have forgotten that. Nicole Jackson: It's not just that. He writes intensely about black British people needing to be a part of British society and he writes about the ways in which they are excluded. But he is doing so from the standpoint of a mixed race person, which is significant. And a lot of my work is arguing that it is easier for mixed race people to be assimilated in ways that Caribbean migrants are not. And so the fact that we aren't thinking about his mother's impact on England, because we don't know her or because we only connect her to the Caribbean, I think is maybe emblematic of that, the problem of that. Jolie Sheffer: Great. We're going to take a quick break. Thank you for listening to the Big Ideas Podcast. Speaker 1: If you are passionate about Big Ideas, consider sponsoring this program. To have your name or organization mentioned here, please contact us at ics@bgsu.edu. Jolie Sheffer: Hello and welcome back to the Big Ideas Podcast. Today I'm talking to Dr. Nikole Jackson about her research into contemporary black British women writers. You previously talked about how black British history is an emerging field of historical inquiry. Can you tell us a little bit about why the domestic study of black British citizens has been overlooked and how you're trying to put them back into the story? Nicole Jackson: Racism. It's just racism. So it's weird. British history is an odd one. I'm just going to stop and think about that. Jolie Sheffer: Okay, yeah. Nicole Jackson: It's a rough one. So I think part of what a lot of scholars have talked about after World War II is the impending end of empire, and that really changes the way that British people or English people think about themselves. And part of what that means, there are some scholars that argue it's a constriction. So they begin to jettison the importance of the empire in politics. Which before, that was how England, a small country on a fairly small, in Britain in a small island, the ability to dominate other places was considered a birthright. And it was, for a small country, the justification for the impact they had on the world. But World War II smashes that. Nicole Jackson: And then after that, the US becomes a preeminent world power. They whine about that too. You can keep that whine part in. And so rather than try and fight with the Soviet union or the US, they say, "You know, it's not about that anymore. The empire doesn't really matter." Not that they don't fight some colonies leaving, but the empire for some people matters less after World War II. Part of that, though, then, is that the impact of countries with large not white populations becomes... Or people think it doesn't matter anymore. Because it doesn't have to matter because it's no longer about England, it's just these places. Nicole Jackson: There's also a heavy focus on white dominion spaces too. So if any foreign spaces matter, Canada, Australia and New Zealand, Rhodesia before. So when the world matters, it's only the white spaces. And so English history, English popular culture too, becomes intensely white. Not that it was multicultural before, but there's an understanding that the empire is part of the English story. But after, all of that gets written out. Nicole Jackson: There are also some changes happening in education, which are super boring. But essentially, global history, for instance, doesn't matter as much anymore, if it ever mattered a lot. They stopped teaching it and they teach it in an intensely racist way, because then there's justification for why you don't have to teach more of it, because nothing interesting has ever come out of Africa. Anything interesting that ever happened in Africa is coming from British hands. So there's almost no understanding in English culture, until very recently, about the significance of the empire that can understand these places and these people as just as significant, if not more so, than English people. Nicole Jackson: There are also huge class issues. So most people who go to university in the UK until, again, very recently, were the middle class and wealthy, and they were almost entirely white. And so there's at the same time... The US is actually a really perfect example as a comparison. So after the civil rights movement in the US, African American history becomes part of not just higher education but also K through 12. That does not happen in the same time period in the UK. In fact, every push from about the 1950s on to teach South Asian history or Caribbean history or African history is met with... The essential response is, but why does it matter here? And some of the justification is, well, we're here now. But another justification could have been, you were in those spaces. But that doesn't quite happen. Nicole Jackson: And so if there is any black history education happening, it's happening in black spaces. So those bookstores or churches or things like that. And they further allow the Department of Education and Science, and also some of these other educational research bodies, to say, "Well, that can happen over there because those black kids need it. But those white English kids, they don't need it." So there hasn't been a institutionalizing of black history to the point where we are just now starting to see black British MAs in history and culture. Some of this happened earlier in cultural studies and social criticism, but not a lot. Jolie Sheffer: So one of the things you and I talked about is that there's a whole secret part of academic work and the calculations you make as a scholar in what your projects are, how to tackle them, and the idea of feasibility. And we talk about with our students about, oh, that project doesn't seem feasible. And often what we mean is in the time span of your degree with the resources you have, this methodology will be more difficult than this, that sort of thing. But you and I had a conversation about there are other dimensions of feasibility that need to be part of that calculation. Would you talk a little bit about some of those parts of your decision making process? Nicole Jackson: So I am an intensely pessimistic person, but I study what I study because I love black people and I love social movements and I love people who are going out into their communities and making tangible changes. And so in the back of my 20, 23 year old mind, I thought I was going to write this really powerful and inspiring story about black activists. And what I have written over and over again is that there is a period where so much as possible and people are doing absolutely everything they can to change their lives in England and then they are swiftly cut off. And so I think I have resisted writing the actual final chapter of my book because it is a story about how these really fascinating, amazing people who were smart and dedicated were overwritten, essentially, by Parliament and other British politicians. And so the story we get erases them. But also social and legal realities were shaped in opposition to what they wanted. And that's super sad to write about. Nicole Jackson: There was a moment where I could have done it easily. And then to be honest, the election made everything that was really hard harder. And I think it was hard for me to write a sad story, because it is sad to me. These are people who, some of them died young, some of them died destitute, many of them have been forgotten outside of their own communities. And I hate to think that what they did was in vain, but that was the historical story about their activism. Certainly not a comment on their lives, but this particular movement was a sad story. In terms of my mental health, it was really hard, certainly harder than it had ever been to write a story about a movement failing. But so many movements fail that it shouldn't have been hard, because I know that. But it just was. And that was the feasibility part. Writing a failing social movement didn't seem like something that was good for me. Jolie Sheffer: Yeah. And I think that that's such an important thing. We don't tend to reveal the curtain to what these conversations are that we have with ourselves or with other colleagues about, the work that we do is intensely personal to us. We invest time. It's intellectual, but it is also things we care deeply about. And we are in the work as well as the work being in us. And I think that's really important to recognize, that sometimes the answer is, I want to do this work, but I can't do it right now or I can't do it here. And perhaps you'll return to it in the future, but now you're heading in a different direction. So would you tell us a little bit about some of the things you're thinking about for what might be the next project? Nicole Jackson: I want to say I'm trying to pawn some of my research off onto a friend. Sometimes it's just I'm not the right person, someone else is. So there's that. So I didn't read for about a year after the election, and then when I started reading, I started getting popular fiction, which is another relationship to the current project. A lot of that popular fiction, almost all of it eventually, was romance novels. I started reading black romance novels, one, because a part of my dissertation that all of my advisers hated was about love. There's a whole chapter about the theoretical implications of love is a radical politics. And my advisors were like, "What the hell is this?" Can I cuss? They were like, "This is terrible. I hate it." And so it's not part of the book, but it is the thing that made it possible for me to theorize these relationships between migrants in these two different countries. And I love love, realistically. So the romance novels were a nice way for me to read again and keep my brain active. Nicole Jackson: And then I started sort of thinking about, one, how radical I still think love is, especially in this particular context. So I'm hopefully moving into a project that is thinking, first because it is my wheelhouse, it feels comfortable, historical black romance and how we can pedagogically use them to teach the things that are a little bit harder. And love, for me, is the thing that is hard to teach as a historian, but I know that it is the central thing for me. Like how do black people endure, how do they become socially active? So much or that is literally about various kinds of love. Romantic love, familial love, love of community, love of diaspora. So it is me trying to think through some of these things and how they are accessible to my students. Jolie Sheffer: And it sounds like, thinking about black romance novels, it's also an extension of your interest in popular culture by black British writers. Nicole Jackson: Absolutely. And for the same reasons. I don't come from a family of people who love to read, but I had an older cousin who was my hookup for romance novels and urban contemporary books when I was a kid. She probably will never read any of my academic work. She probably would hate it. It would be a slog. But she reads 30 books a month. This is not because she's not active, but it's what's accessible, what tells a story that she wants to hear, what she can make a connection with. Jolie Sheffer: Thank you so much, Nicole. It's been a pleasure talking with you. Our producers for this podcast are Chris Cavera and Marco Mendoza. Research assistance was provided by ICS intern Renee Hopper with editing by Stevie Scheurich. This conversation was recorded in the Stanton Audio Recording Studio in the Michael & Sara Kuhlin Center at Bowling Green State University.  

In this interview, 2019 Holberg Prize Laureate Paul Gilroy discusses a range of topics, including his childhood and adolesence in post-colonial Britain, his research on race and identity, and how to best meet the threats posed by neo-fascism and the climate crisis. Paul Gilroy is Professor of the Humanities and Director of the Centre for the Study of Race and Racism at UCL. Interviewer is Bjørn Enge Bertelsen, Professor of Anthropology at the University of Bergen. The interview was recorded on 3 June, 2019. Produced by the Holberg Prize, in collaboration with the University of Bergen. (Photo: Eivind Senneset)

Johny Pitts, Caryl Phillips and Nat Illumine discuss the idea of Afropean identity with Matthew Sweet. Plus New Generation Thinker Dina Rezk on Jehane Noujaim's Oscar nominated documentary The Square and Egyptian politics. Georgia Parris discusses her first film Mari - a family drama of birth, death and contemporary dance. Johny Pitts is one of the team behind https://afropean.com/ an online multimedia, multidisciplinary journal exploring the social, cultural and aesthetic interplay of black and European cultures. He runs this with Nat Illumine. Johny Pitts has just published a book Afropean: Notes from Black Europe Caryl Phillips' most recent novel A View of the Empire at Sunset is inspired by the travels of the writer Jean Rhys who moved from Dominica to Edwardian England and 1920s Paris and his first play Strange Fruit (1980) is being re-staged at the Bush Theatre in London until July 27th 2019. Mari by Georgia Parris is at selected cinemas from June 21st 2019. New Generation Thinkers is a scheme run by the BBC and the AHRC to select ten academics each year who can turn their research into radio. You can hear more from the 2019 Thinkers in this launch programme https://www.bbc.co.uk/programmes/m0004dsv Dina Rezk teaches at the University of Reading. You can find extended conversations with Claudia Rankine, Teju Cole, Linton Kwesi Johnson, Spike Lee and Paul Gilroy included in our playlist on the Free Thinking website and available as BBC Arts&Ideas podcasts https://www.bbc.co.uk/programmes/p04ly0c8 Producer: Fiona McLean

SONIC ACTS FESTIVAL 2019 – HEREAFTER Rosi Braidotti – Necropolitics and Ways of Dying 22 February 2019 – De Brakke Grond, Amsterdam, The Netherlands with an introduction by Rick Dolphijn. What does it mean to die within the posthuman convergence, which positions us – humans and non-humans – between the Fourth Industrial Age and the Sixth Extinction? This contemporary convergence results in the shifting of boundaries between bio-power and necro-politics, life and death, the government of the living and the practices of dying. I will refer to a neo-materialist philosophy of non-human life as 'Zoe' and argue that both the concept of life and that of death need to be approached with more complexity and more attention to power differences. Rosi Braidotti is Distinguished University Professor and founding Director of the Centre for the Humanities at Utrecht University. Her publications include: Patterns of Dissonance (1991), Metamorphoses (2002), Transpositions (2006), La philosophie, lá où on né l’attend pas (2009), Nomadic Subjects (1994; 2011), Nomadic Theory (2011), The Posthuman (2013). She recently co-edited Conflicting Humanities (2016) with Paul Gilroy and The Posthuman Glossary (2018) with Maria Hlavajova.

'There were Africans in Britain before the English came here.' In a special Black History Month episode, we are joined by David Olusoga - a broadcaster, historian and author of many award winning books, including Black and British: A Forgotten History (2017), and Civilisations: First Contact / The Cult of Progress (2018). Celebrating the recent re-publication of Peter Fryer's Staying Power: The History of Black People in Britain, we discuss questions of racism and identity; the link between the slave trade and the British Empire; and explore the book's enduring legacy in the context of Brexit and the Windrush scandal. Staying Power was first published in 1984. The new edition, featuring a foreword by Gary Younge and a preface by Paul Gilroy, is available now from plutobooks.com as well as all good bookshops.  

Neil Roberts is the editor of a new collection of essays by Angela Davis, Paul Gilroy, and others examining the "political afterlives" of Frederick Douglass's work. It's called A Political Companion to Frederick Douglass, and it's now available through the University Press of Kentucky. Roberts spoke with WXIR's Darien Lamen about the project, and about his own contribution to that volume. More information on the book available at: http://kentuckypress.com/live/title_detail.php?titleid=3502#.WzVrki2ZOi4 Interview excerpt from "Freedom Reimagined: Of Maroons, Freedom Fighters, and Black Panthers," part of the podcast series Our Earnest Struggle, available at: https://www.mixcloud.com/ourearneststruggle/freedom-reimagined-of-maroons-mutineers-and-black-panthers/

On 26 April 2018, Linton Kwesi Johnson read from a selection of his poetry and discussed with Professor Paul Gilroy the inter-generational and transatlantic relationships that had nurtured it. This special gathering of the Postcolonial Writing and Theory seminar explored the formation and development of Linton Kwesi Johnson’s poetry and the inter-generational and transatlantic relationships that nurtured it and shaped its political underpinnings. In particular, we considered the special significance of music in his development, the lyricism of ‘dub poetry’ and the distinctive approaches to recording and performance that he has developed in the forty years since the release of Dread Beat and Blood. Linton Kwesi Johnson is an acclaimed Jamaican-born British poet and performer. He coined and popularised the term dub poetry, a form of performance-based oral poetry inspired by reggae music. In 2002, he became only the second living poet published in the Penguin Modern Classics series. As well as having released several commercially successful and classic albums as a reggae artist, Johnson’s volumes of poetry include Voices of the Living and the Dead (1974), Dread Beat and Blood (1975), and Inglan’ is a Bitch (1980). Paul Gilroy is Professor of American and English Literature at King’s College London, a foundational figure in the field of Black Atlantic Studies, and a world-leading scholar in cultural studies and the music of the black diaspora. Dr Louisa Layne, the chair of the discussion, is a lecturer in English and Comparative literature at the University of Oslo.

On 26 April 2018, Linton Kwesi Johnson read from a selection of his poetry and discussed with Professor Paul Gilroy the inter-generational and transatlantic relationships that had nurtured it. This special gathering of the Postcolonial Writing and Theory seminar explored the formation and development of Linton Kwesi Johnson's poetry and the inter-generational and transatlantic relationships that nurtured it and shaped its political underpinnings. In particular, we considered the special significance of music in his development, the lyricism of ‘dub poetry' and the distinctive approaches to recording and performance that he has developed in the forty years since the release of Dread Beat and Blood. Linton Kwesi Johnson is an acclaimed Jamaican-born British poet and performer. He coined and popularised the term dub poetry, a form of performance-based oral poetry inspired by reggae music. In 2002, he became only the second living poet published in the Penguin Modern Classics series. As well as having released several commercially successful and classic albums as a reggae artist, Johnson's volumes of poetry include Voices of the Living and the Dead (1974), Dread Beat and Blood (1975), and Inglan' is a Bitch (1980). Paul Gilroy is Professor of American and English Literature at King's College London, a foundational figure in the field of Black Atlantic Studies, and a world-leading scholar in cultural studies and the music of the black diaspora. Dr Louisa Layne, the chair of the discussion, is a lecturer in English and Comparative literature at the University of Oslo.

In Conversation: Paul Gilroy and Patricia Williams Patricia J. Williams (Columbia University) will join Paul Gilroy (King’s College London) in conversation at the launch of the CRASSH Impact series, Law, Race, Gender and Public Policy. The discussion will be chaired by former President of the Cambridge University Students' Union, Priscilla Mensah.

30 years ago There Ain't No Black in the Union Jack: The Cultural Politics of Race and Nation was published. Philip Dodd talks to the author Professor Paul Gilroy about its impact and whether discussions about race and culture in Britain have moved on or not. Producer Eliane Glaser.

As pre-season training gets underway and transfer business goes on a-pace Jonathan Freedland takes the Long View of celebrity Football management. The new season will see the clash of several of the world's greatest managers lead by Jose Mourinho of Manchester United and Pep Guardiola of Manchester City. It was a similar story in Manchester back in the mid 1960s. Matt Busby had been at United since the war building championship winning teams and a formidable reputation. City were languishing in the second division. But with the arrival of Joe Mercer and Malcolm Allison, City found a combination to challenge their Manchester rivals. And it really was a case of the Managers being the all important figures. When England won the world cup in 1966 it was Joe Mercer who'd just lead City to the old 2nd Division championship who was part of the BBC Television World Cup panel, endearing himself to the nation by referring to Pele as Peely. Jonathan is joined by a former City player Paul Hince, Dr Colin Shindler, a screenwriter, academic and fanatic City fan, Sarah Collins who covers the city's sport for BBC local radio and Paul Gilroy of the League Managers Association. They discuss the then and now and the curious way in which - in these two eras - it was the Managers who were in the limelight. Much has changed, not least in terms of global reach, money and the international flavour of the Premiership, but at heart it's the same - the men on the pitch will be playing, and did play, in the shadow of the Celebrity Managers. Producer: Tom Alban.

In 1985 Loose Ends performed on Soul Train and just like all other performers who graced the stage, Don Cornelius strolled up with a mic and a series of music journalistic questions. When guitarist Carl McIntosh opened his mouth to discuss how the band met, I experienced my first ever encounter with Black Britain. With a precious amount of naiveté my nine-year old mind asked, “So Black people exist outside of America and outside of Africa?” As far as I knew we were between those two places and those two places only. Prior to discovering their British voices my family had Loose Ends “Hanging on a String (Contemplating)” on repeat. It was a new soul classic, #1 on the US R&B charts, and I couldn't get enough. After their Soul Train appearance, I went through my sister's tapes to conduct a proper review of their discography, which at the time consisted of two albums (1984’s A Little Spice and 1985’s So Where are You?). I did everything I could to find out what their experiences were with love, joy, soul and pain. I read liner notes in search of clues and discovered that a few members of the band were responsible for arranging and producing material for the group Five Star, who I had no idea was Black and British as well. Amused by my obsession, my mom said with little fanfare, 'yeah, Sade is from over there too.' What? Now you playing! Pretty ass, heartbroken ass, emotionally brilliant ass Sade is Black British too? I'm sold and possibly down for life. And now that I think about it, I’ve been digging in the crates for three decades strong. My digging is what led me to 'Keep on Movin' by Soul II Soul and shortly following that single the group hit us with the monstrous 'Back to Life' track in 1989. They, too, appeared on Soul Train and at the end of the performance I heard the same British accent falling from their lips of African descent. By this time my questions were more refined. How did the Black British community come to be formed? What is their parent’s history? What do they eat? I knew that most of my family was from Louisiana, Texas and Missouri and landed in Cali by way of migration. Were there places where people travelled from to be in the UK? A hostile home they escaped by the thousands to feel ‘The Warmth of Other Suns?’ Isabel Wilkerson I see you. Grandma and them were part of the 1950s crew who packed cold fried chicken and biscuits for the train from Mississippi heading west to the left coast. Inherent to DJ culture is research and my travels today can be traced back to questions I began to ask in the late eighties. I kept my ear to the streets of Black British music and by the mid-nineties I was knee deep in UK Soul and Acid Jazz. The Brand New Heavies, D'Influence, The Rebirth of Cool series, Massive Attack, and Omar were but a few of the folks who put me on to new parts of myself. See that's the thing, these people were me, but at the same time not, and while the similarities between our music and theirs, our social lives and theirs were in some ways parallel, there was a wealth of information to be found in the distinction of our experiences. That said I committed to learning what makes communities of the African Diaspora unique; that feels like the respectful thing to do. White supremacy teaches us to shun difference, as opposed to use it as a tool to cultivate humanizing curiosity. Checking for the lives of Black folks around the planet matters because it's an extension of self-love and a way to strengthen voices of resistance. In 1998, I left the country for the first time to travel to Brixton and Bristol. This was my first experience with a Black global community and it was electronic music that pulled me in. When in grad school, I learned of an opportunity to attend a summer program at the University of Liverpool to study the influence of Black American Blues on the Beatles sound. I jumped on it and from there took my ass to a San Francisco post office to gets, and I do mean gets! My passport. I arrived in the UK with what I thought would buy me the world. Here is where I was introduced to the powerful pound. Damn, it was true the sun never sets on her empire. All I knew was that I couldn’t leave without books about Black British culture and history (Paul Gilroy, Stuart Hall stand up) and a commitment to Manchester record shopping (Joan Armatrading on vinyl, I love you). I also found it important to find the people and build community with artist folks who could show me around town. This is the beginning of what I call “International Localism.” My developing transnational lens and love for Black folks earned me valuable cultural capital, and I was often times welcomed into places and spaces where the making of culture happened. I, DJ lynnée denise am an International Local. International Localism took me to Ghana where I discovered Highlife and kenkey, to South Africa where I investigated kwaito while eating braai, to Montreal to spin with Haitian DJs, to the Caribbean to teach music to Aruban youth, and yeah to DC where them American Black folks created the African percussion based Go-Go sound. Fela Kuti’s travels to London, as well as the under-discussed fact that he died of AIDs will take me to Lagos with questions about Afrobeat and his feminist activist mama, Funmilay Ransome Kuti. The history of Detroit’s techno sound sparked my interest in German electronic music pioneers Kraftwerk. In fact, this mix is the second to be released from a four-part series recorded live in Germany titled The Berlin Sessions. I started these liner notes from an airport in Italy on my way to attend the “Black Portraitures II: Imaging the Black Body and Re-staging Histories,” conference hosted by NYU in Florence. I was inspired by the fact that a large number of the diaspora's brightest thinkers, writers, artists and scholars would be traveling from different corners of the world to “explore the impulses, ideas, and techniques undergirding the production of self-representation and desire, and the exchange of the gaze from the 19th century to the present day in fashion, film, art, and the archives.” Please accept my contribution to the conversation and move to the sounds of a Black global analysis, my Black global imagining. I feel deeply connected to my people and the music on this volume of the series was inspired by my focused nomadic journey. Come with me.