Podcasts about Scottsboro Boys

Josh Breckenridge (Come From Away, Book of Mormon, The Scottsboro Boys) is one of the most employed actors on Broadway. He has a particularly complex relationship to code-switching that likely makes him a wonderful actor.  It is also a pattern in his life that emerged from a confluence of identities that consistently made him feel othered. He is black and gay, but grew up in largely white communities, where it was a constant and multi-dimensional challenge to find belonging - not only in the groups that he was different from, but in groups that he was connected to. It is through a continued search for personal identity that is not centered on making others comfortable that brings Josh closer to himself, and less dependent on the survival of code switching. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Episode 34, Mark-Eugene and David preview their conversation with entertainment icons Julian Schlossberg and Susan Stroman. Julian shares highlights from his memoir Try Not to Hold It Against Me, reflecting on his six-decade career in film, TV, and Broadway. He's later joined by five-time Tony winner Susan Stroman, who discusses her celebrated work on The Producers, Contact, The Scottsboro Boys, and more. Together, they offer a rare glimpse into the creative forces behind some of theatre's most iconic works. Learn more about your ad choices. Visit megaphone.fm/adchoices

This is a special encore episode of my 2022 interview with Tony-award-winning lighting designer Ken Billington. This past week, Ken received rave reviews for his lighting design of the new Broadway musical SMASH, which amazingly is his 108th Broadway production. So, I thought it was an ideal time to revisit this fascinating conversation about the history of lighting design on Broadway and Ken's own tremendous contribution to it. This is a two-part conversation and I will be rereleasing both parts this week. Original Description: My guest on this episode is Tony Award winning lighting designer Ken Billington who created the lighting for an incredible 105 Broadway plays and musicals, including 21 productions that were directed by Harold Prince.  Ken's career spans from his very first Broadway show in 1967 when he was the assistant to legendary lighting designer Tharon Musser, to his most recent Broadway show, the hit musical, Waitress.  Along the way, he designed the original productions of Sweeney Todd, On The 20th Century, The Drowsy Chaperone, The Scottsboro Boys, The Search For Signs Of Intelligent Life In the Universe starring Lily Tomlin, three revivals of Fiddler On The Roof, two revivals of Sunday In The Park with George, and the still running 1996 revival of Chicago for which he received the Tony Award. I have had the great pleasure of knowing and working with Ken for more than 40 years, and it is always fascinating and always a delight to speak with him. Theatrical lighting design is a very young art form. Its history begins primarily in the early 20th Century -- just as the Broadway musical was being invented. Lighting design's earliest innovators include the American actress Maude Adams – most famous today for her performance as Peter Pan – and producer, director, playwright, and theater owner David Belasco.  One of the recurring themes of this podcast, and one of my obsessions, is how the art and craft of the Broadway Musical have been handed down directly – firsthand – from artists to artists, from craftsperson to craftsperson.  Ken Billington's long career and especially his early experiences as the assistant to the pioneering designers Peggy Clark, Pat Collins, Tom Skelton, William Rittman, and Tharon Musser make him the ideal guest for this episode. And of course, after Ken stopped being an assistant, he eventually became one of Broadway's most acclaimed and most prolific lighting designers. And we'll hear the story of how that came about on the next episode of Broadway Nation! You can learn more about Jean Rosenthal, Tharon Musser and other great women lighting designers on Episode 8 of Broadway Nation, which is titled, “Agnes DeMille & The Women That Invented Broadway”. It's a fascinating episode and I encourage you to check it out. Learn more about your ad choices. Visit megaphone.fm/adchoices

This Day in Legal History: Scottsboro Boys ArrestedOn this day in legal history, March 25, 1931, nine Black teenagers were arrested in Paint Rock, Alabama, accused of raping two white women aboard a freight train. The arrests set off one of the most infamous legal sagas of the 20th century, exposing the deep racial injustices of the Jim Crow South. The teens, later known as the Scottsboro Boys, were quickly indicted and tried in Scottsboro, Alabama. Just twelve days after their arrest, an all-white jury sentenced most of them to death in a series of rushed, chaotic trials marked by inadequate legal representation.Public outrage and national attention, particularly from Black communities and civil rights organizations, led to multiple appeals. In Powell v. Alabama (1932), the U.S. Supreme Court ruled that the defendants' right to counsel had been violated, setting a precedent that effective legal representation is essential in capital cases. Later, in Norris v. Alabama(1935), the Court found that the systematic exclusion of Black jurors violated the Equal Protection Clause of the Fourteenth Amendment.Despite these victories, the road to justice was long and uneven. Several of the Scottsboro Boys remained imprisoned for years, and none received a full measure of legal vindication during their lifetimes. Their ordeal became a powerful symbol of the racial bias embedded in the American legal system and spurred greater attention to the rights of defendants in criminal trials. The legacy of the case continues to influence debates over due process, racial discrimination, and criminal justice reform.At a U.S. appeals court hearing on March 24, 2025, Circuit Judge Patricia Millett sharply criticized the Trump administration's deportation of Venezuelan migrants, suggesting they were given fewer rights than Nazis who were removed under the same legal authority during World War II. The administration invoked the 1798 Alien Enemies Act—a rarely used law last applied to intern Axis nationals during WWII—to justify deporting alleged members of the Venezuelan gang Tren de Aragua without immigration court rulings. The court is reviewing whether a temporary ban issued by Judge James Boasberg on such deportations should remain in place. Government attorneys argued that national security and executive authority over foreign affairs justify bypassing normal legal procedures.Family members and lawyers for deportees contest the gang allegations, saying they are based on flimsy evidence like tattoos. One deported man was a professional soccer coach whose tattoo referred to Real Madrid. Judge Millett questioned whether the deported migrants had any opportunity to dispute the gang labels before removal, calling the process rushed and opaque.The deportations, carried out on March 15, sent over 200 people to El Salvador, where they are being held in a high-security prison under a U.S.-funded deal. The ACLU claims the administration defied Boasberg's court order by speeding up removals to preempt judicial intervention. The government has since invoked the state secrets privilege to avoid disclosing further flight details. The case is now a flashpoint over presidential power, immigration enforcement, and judicial oversight, with the Supreme Court Chief Justice issuing a rare rebuke after Trump called for Boasberg's impeachment.Nazis were treated better than Venezuelans deported by Trump, judge says at hearing | ReutersOn March 24, 2025, the U.S. Supreme Court heard arguments over Louisiana's congressional map, which increased the number of Black-majority districts from one to two. The case pits efforts to comply with the Voting Rights Act against claims that the new map violates the 14th Amendment's Equal Protection Clause by relying too heavily on race. Louisiana officials defended the map, saying it was drawn to protect Republican incumbents rather than based on racial motives. They argued the redistricting was politically, not racially, driven—particularly to preserve the districts of House Speaker Mike Johnson and Majority Leader Steve Scalise.Civil rights groups and Black voters countered that the map was a necessary remedy after a 2022 ruling found the prior version likely violated the Voting Rights Act by diluting Black voting strength. A 2024 lower court ruling blocked the updated map, saying race predominated in its design. The Supreme Court justices appeared divided, with liberal Justice Sotomayor skeptical that race had dominated the redistricting process, and conservative Chief Justice Roberts pointing to the odd shape of the second Black-majority district as potential evidence of racial gerrymandering.Justice Gorsuch challenged whether any consideration of race in map-drawing runs afoul of constitutional protections. The Court had previously allowed the new map to be used for the 2024 elections, but a final ruling is expected by June. The outcome could have broad implications for how states navigate the tension between addressing historic racial discrimination in voting and avoiding unconstitutional race-based districting.US Supreme Court wrestles with Louisiana electoral map with more Black-majority districts | ReutersThe Justice Department, under President Trump's direction, has launched an “immediate review” of law firms that have challenged his administration in court, wielding Rule 11 as a tool to pursue sanctions for allegedly frivolous litigation. The memo, issued March 21, empowers Attorney General Pam Bondi to target lawyers not just for recent cases, but for conduct going back eight years—reviving a rarely enforced mechanism that requires legal filings to be non-frivolous and not made for improper purposes. While legal experts note that courts are typically cautious about imposing Rule 11 sanctions, the administration's move is seen as a political shot across the bow of the legal profession.Trump has already threatened prominent firms with revoked security clearances and canceled federal contracts, but one firm, Paul Weiss, avoided penalties by agreeing to a $40 million pro bono commitment to Trump-aligned causes and an audit of its diversity programs. That deal, far from resolving the issue, may have signaled that capitulation invites more pressure. As anyone who's dealt with a bully could have predicted: surrender doesn't end the harassment—it encourages it. The only way to improve your position is to raise the cost of targeting you, yet many law firm leaders (and institutions of higher education, if we're being fair) seem to have missed that lesson the first time they encountered it.Now, those same leaders face the possibility of serious professional consequences for doing exactly what lawyers are supposed to do: advocate for clients and challenge government overreach. Trump's order also singles out individuals like Democratic elections attorney Marc Elias, whom the memo connects to the long-disputed Steele dossier, despite no formal wrongdoing. Critics warn that the DOJ's probe could evolve into a tool to intimidate or sideline legal opposition to Trump, reshaping the legal landscape by discouraging firms from representing those who stand against the administration.Legal scholars have labeled the move a dangerous politicization of Rule 11, pointing out that it essentially makes Bondi the judge and Trump the executioner. In weaponizing a procedural rule with ambiguous standards and rare enforcement, the administration isn't just threatening lawsuits—it's undermining the adversarial system that keeps government power in check.DOJ Launches 'Immediate Review' of Law Firms After Trump MemoCalifornia's new disclosure law on municipal corporate tax-sharing agreements is a welcome move toward transparency, but it's not enough to stop the ongoing drain of public revenue. For years, corporations have exploited the split in California's sales tax—where 1.25% goes to local jurisdictions—by striking deals with cities that offer kickbacks in exchange for routing sales through their borders. This has created a race to the bottom, with municipalities, especially smaller ones, effectively subsidizing some of the world's richest companies in hopes of boosting their own budgets. These deals don't create new economic activity; they just reshuffle where sales are counted and where tax dollars land.While the new law will finally shine a light on these practices starting in April, disclosure without action won't solve the problem. Cities will still have incentives to offer generous tax rebates, and many will rush to lock in long-term deals before limits are imposed. What we need is immediate legislative action to cap how much of their tax base cities can give away. A ceiling tied to a city's budget or economic profile would prevent reckless giveaways while preserving flexibility for true economic development.We should also require that any shared tax revenue be reinvested in local infrastructure or services, not handed over as corporate windfalls. Waiting for more data only gives cover to continue harmful deals that are already draining school, safety, and infrastructure funding. Policymakers don't need years of reports—they need the courage to stop the bleeding now.Transparency Alone Won't Fix California's Corporate Tax Drain This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

On March 13, 1932, the Atlanta Daily World became the first successful African American daily newspaper in the United States. Founded by William A. Scott II in August 1928 as a semi-weekly publication, it quickly grew into a vital platform for Black communities. At a time when mainstream media largely ignored Black perspectives, the Daily World fearlessly reported on critical issues, including lynchings, police brutality, the Scottsboro Boys trial, discrimination in the federal government, and school segregation. The newspaper not only informed its readers but also played a crucial role in mobilizing them, shaping the fight for civil rights. The paper's transition to a daily publication in 1932 marked a major milestone in African American journalism, amplifying Black voices during a pivotal era of racial struggle. However, tragedy struck in 1934 when William A. Scott II was fatally shot at the age of 32. Despite the significance of his work, no one was ever convicted for the crime. The Atlanta Daily World remains a testament to the power of Black journalism, standing as a historical beacon of advocacy and truth. Learn more about your ad choices. Visit megaphone.fm/adchoices

In episode 479 of The Astrology Podcast, astrologers Chris Brennan and Nick Dagan Best delve into the repeating historical patterns underlying Mars retrograde in Cancer periods, specifically within the context of United States history. During the course of the episode we explore how these retrogrades, which occur roughly every 15-17 years, coincide with significant events and recurring themes in American history. By examining past instances of Mars retrograde in Cancer, our goal is to provide perspective on current events and potential future developments. The discussion begins with an explanation of the Mars retrograde cycle and its unique characteristics, including its varying durations and the signs it retrogrades through. We emphasize the importance of looking at the entire period Mars spends in Cancer, including the time before and after the actual retrograde station, to fully grasp its impact. After that we proceed to discuss the specific dates and degrees of Mars retrogrades in Cancer, starting with the year of the US Constitution's ratification and moving forward. In particular we highlight the 79-year repetition of Mars retrogrades in Cancer, which is based on the Babylonian Goal-Year periods, and how it aligns with important turning points in American history. We also note the shorter 47-year and 32-year repetitions, which coincide with other planetary cycles. During the course of the episode we explore the themes that emerge during these Mars retrograde periods, including important turning points related to immigration, civil rights, and economic shifts. The episode concludes with a reflection on the potential implications of these historical patterns for the present and future. Timestamps (00:00:00) Introduction (00:20:34) Planetary Periods (00:36:52) Immigration (01:05:28) Citizenship (01:14:09) Racism and Reactionaries (01:35:19) Boundaries and Borders (01:42:15) US-Russia Relations (02:18:59) Tariffs, Trade & Monetary Policy (03:03:38) Financial Crises (03:12:14) Homes and Housing (03:19:44) Military Debacles (03:50:33) Imperialism (04:05:02) Misc Mars Retrogrades (04:08:46) Panama Canal (04:10:32) Aviation Incidents (04:18:25) Superbowls (04:37:53) SNL Special (04:50:27) World Bank (04:53:08) Scottsboro Boys (05:00:57) Uncle Tom's Cabin (05:26:04) Compromise of 1850 (05:33:37) Andrew Jackson & National Debt (05:42:16) Panic of 1819 (05:47:09) Lewis and Clark Expedition (05:49:50) Nuremberg trials (05:52:18) Retrogrades for Rectification (05:56:46) Concluding Remarks (06:19:29) Credits Watch the Video Version of This Episode https://www.youtube.com/watch?v=uKWAaDN4rSQ - Listen to the Audio Version of This Episode Listen to the audio version of this episode or download it as an MP3:

Hello Interactors,Language shapes power, but it can also obscure and manipulate. Words like woke and decolonize, rooted in justice, are now tools for distortion by figures like Trump and Modi. In this essay, we'll explore how these terms connect to economic and political geography, tracing their co-opting, parallels to colonialism, and the need to reclaim their transformative potential. Let's dig in — and stay woke.STAY WOKE, START TALKINGAre you woke? It's a provocative question these days. Especially since this term was co-opted by the right as a pejorative since the Black Lives Matter uprising of 2020. Even last June Trump said regarding so-called woke military generals, “I would fire them. You can't have woke military.”And then there's Elon Musk. He's been increasingly waging a war on what he calls the ‘woke mind virus'. It seems he started abusing the term in 2021, along with other political rhetoric he's been ramping up in recently. The Economist reports a “leap in 2023 and 2024 in talk of immigration, border control, the integrity of elections and the ‘woke mind virus'.”Folks more on the left are also starting to distance themselves from the term or use it as a pejorative. Including some of my friends. Even self-described leftist and socialist, Susan Neiman criticized "wokeness," in her 2023 book Left Is Not Woke. She argues, as do many, that it has become antithetical to traditional leftist values — especially as it becomes a weapon by the right.According to the definition in the Cambridge dictionary, I am decidedly woke. That means I'm “aware, especially of social problems such as racism and inequality.” It worries me that people are eagerly running from this word. I'd rather they interrogate it. Understand it. Find it's meanings and question the intent behind its use. We should be discussing these nuances, not shushing them.Using the word in a sentence (in an approving manner), Cambridge offers hints at one of the original meanings: “She urged young black people to stay woke.” In 1938 the great blues legend Lead Belly also urged “everybody, be a little careful when they go along through there (Scottsboro, Alabama) – best stay woke, keep their eyes open." Those are spoken words in his song "Scottsboro Boys", about nine young Black men falsely accused of raping two white women in Alabama seven years earlier in 1931.Not a decade before, the Jamaican philosopher and social activist Marcus Garvey wrote in 1923, "Wake up Ethiopia! Wake up Africa!" Fifty years later that inspired playwright and novelist Barry Beckham to write “Garvey Lives!”, a 1972 play that included this line, “I been sleeping all my life. And now that Mr. Garvey done woke me up, I'm gon stay woke.” #StayWoke was trending on Twitter the summer of 2020.In 1962, ten years before Beckham's play, novelist William Melvin Kelley wrote this headline for a piece in the New York Times Magazine: “If You're Woke You Dig It; No mickey mouse can be expected to follow today's Negro idiom without a hip assist. If You're Woke You Dig It.” The article, which is an uneasy glimpse of how mainstream media regarded Black people in 1962, is about how white people co-opt terms from the Black community. His target was white woke Beatniks of the 1960s.Awakening others to injustice in the United States may have originated with white folks inspired by Abraham Lincoln. In the lead up to the his 1860 election, the, then woke, Republican Party helped organize a paramilitary youth movement in the Northern states called the ‘Wide Awakes'. These activists, which included some Black people, were inspired by Lincoln's fight to abolish slavery and promote workers' rights.They took up arms to defend Republican politicians who brazenly awakened others to injustices in America in their campaign speeches. This armed aggression — especially armed Black men — in part is what woke the South to the dawning wokeness across the North. Frightened as they were, they organize their own paramilitary and soon a civil war broke out.RECLAIM, RESIST, REVIVEWords can have unusual lifecycles. The term "queer" evolved from a pejorative label for homosexuals to a term of empowerment. Particularly after the activism of the 1960s and 1970s, including the Stonewall Riots. Its reclamation was reinforced by academic queer theory, which critiques societal norms around sexuality and gender. Today, "queer" is widely embraced as a self-identifier that reflects pride and resistance against stigma.Christopher Hobson, of the Substack Imperfect Notes, suggested in a post about the word polycrisis, this progression of terminology:Proposed — A new word or meaning is introduced through individuals, cultural interactions, academia, or mass media.Adopted — A word or meaning is embraced by a community, shaped by social relevance and media influence.Spread — Diffusion occurs through social networks and media exposure, leading to wider acceptance.Critiqued — As words gain popularity, they face scrutiny from linguistic purists and cultural commentators. The appropriateness of a term can be questioned, highlighting the intent behind its dissemination.Institutionalized — Widely used words become institutionalized, appearing in dictionaries and everyday language as standards.Hobson adds one other stage that is particularly relevant today, ‘pipiked.' It's a term he ‘adopted' as ‘proposed' and I'm now ‘spreading'. It comes from Naomi Klein's book, Doppelganger: A Trip into the Mirror World. Hobson writes:"A useful concept she introduces is ‘pipikism', which she takes from Philip Roth's, Operation Shylock, one of the texts about doppelgangers that Klein engages with. She quote's Roth's description of ‘pipikism' as ‘the antitragic force that inconsequencializes everything—farcicalizes everything, trivializes everything, superficializes everything.' This captures the way in which the concepts and frames we use to help understand our world are rendered useless by bad actors and bad faith, caught in ‘a knot of seriousness and ridiculousness that would never be untangled.'" (3)This lifecycle certainly applies to the word woke, but let's turn to a term more closely related to economic geography that's also in the cross-hairs of being ‘pipiked' — decolonize.Like woke, the term decolonize began as a call to dismantle injustice, exposing the deep roots of exploitation in European colonial systems. It symbolized hope for liberation and justice for the oppressed. Over time, like many critical terms, its meaning shifted. Once radical, decolonize risks becoming performative as its potency weakens through co-optation, especially by bad faith actors.Narendra Modi exemplifies this, using decolonization rhetoric to promote Hindutva, a Hindu nationalist agenda. His government renames cities, revises textbooks to erase Muslim rulers like the Mughals, and marginalizes minorities, particularly Muslims, under the guise of rejecting British colonial legacies. This parallels America's own rewriting of history to reinforce a white Christian narrative. Protestant colonizers replaced Indigenous names and erased Native perspectives, reframing days like Thanksgiving, a time of mourning for many, into celebratory myths.DOCTRINES, DISSENT, AND DOMINIONEarly colonial educational curricula framed colonization as a divine mission to civilize the so-called savages. Native Americans were often depicted as obstacles to progress rather than as sovereign peoples with rich cultures and governance systems. Systems, like the Iroquois League, impressed and inspired the early framers of American government, like Benjamin Franklin.But it was Christian dogma like the Doctrine of Discovery, a theological justification for seizing Indigenous land, that was integrated into educational and legal frameworks. Slavery was sanitized in textbooks to diminish its horrors, portraying it as a benign or even benevolent system. Early 20th-century textbooks referred to enslaved people as “workers” and omitted the violence of chattel slavery.Early colonizers established theological institutions like Harvard University, originally intended to train ministers and propagate Christian doctrine. My own family lineage is culpable. I've already written about Jonas Weed (circa 1610–1676), a Puritan minister who helped colonize Weathersfield, Connecticut. But there's also the brother of my ninth Mother, Jonathan Mitchell (1624–1668). He was a Harvard graduate and Puritan minister who played a pivotal role in shaping the Protestant-oriented writing of American history.He promoted a Christian God-given view of history, framing events as manifestations of God's will. He emphasized covenant theology that cast Puritans as a chosen people. As a fellow at Harvard, he shaped the intellectual environment that influenced figures like Cotton Mather, who's Magnalia Christi Americana (1702) depicted New England as a "city upon a hill" destined to fulfill a divine mission. JFK ripped this quote from history, as did Reagan and Obama to further their campaigns but also to ingrain messages that started with people like Mitchell and Mather.Institutions like the church and universities advanced Christian-nationalist ideologies that justified colonial rule, marginalizing Indigenous, African, and non-European cultures by framing European Christian values as superior. European imperial powers reshaped local economies for their gain, turning colonies into sources of raw materials and markets for goods. Monocultures like sugar and cotton left regions vulnerable, while urban centers prioritized resource export over local needs, fostering uneven development.By the mid-20th century, America had risen to global dominance, cementing its power through institutions like the IMF and World Bank, which reinforced economic dependencies. Decolonization movements emerged in response, with nations in Africa, Asia, and the Caribbean seeking justice and sovereignty. Yet many former colonies remain trapped in systemic inequalities shaped by imperial and American influence. While initiatives like the G-77 — a UN coalition of developing nations promoting collective economic interests and South-South cooperation — aim to reshape global systems, progress remains slow and resistance strong.Today, Project 2025 seeks to revive Christian-nationalist doctrines, echoing colonial practices. Signs of rising authoritarianism, white Christian nationalism, and silencing dissent are evident. The Levant, too, reflects another iteration of the colonial Doctrine of Discovery — seizing land and subjugating oppressed populations under theological justifications.Even in the early days of American colonization, there were woke voices. One of them happened to be another ancestor of mine. My tenth grandfather, Stephen Bachiler (circa 1561–1656) was an English clergyman and an early advocate for the separation of church and state. His life exemplified the struggles for religious autonomy in early American history, but also the importance of sustained critique of power and injustice.Educated at St. John's College, Oxford, he became the vicar of Wherwell but was ousted in 1605 for his Puritan beliefs. At nearly 70, he left to New England in 1632 to establish the First Church of Lynn near Boston. It was there it is assumed he cast the sole vote against the expulsion of Roger Williams — a proponent of equitable treatment of Native Americans and a fellow Separatist.Both men showed a commitment to religious freedom, tolerance, and fair dealings. While they were clearly colonizers and missionaries, each with their own religion, they were also relatively woke. They showed the importance of a sustained quest for liberty and justice amid prevailing authoritarian orthodoxies.Trump wields language as a tool to cement his prevailing authoritarian orthodoxies. He surrounds himself with figures who reduce substantive critical discourse to noise. His media allies, from Fox News to populist voices like Joe Rogan, amplify his rhetoric, diverting attention from systemic injustices. These platforms trivialize urgent issues, overshadowing genuine grievances with performative derision and bad faith gestures.When language meant to confront injustice is co-opted, maligned, or muted, its power is diminished. Performative actions can “pipikize” critical terms, rendering them absurd or hollow while leaving entrenched problems untouched — many rooted in centuries of European colonization. Yet Trump's alignment with a new breed of colonization deepens these issues.Figures like Elon Musk and JD Vance, champions of libertarian techno-optimism, feed into Trump's agenda. Musk dreams of private cities and space colonies free from governmental oversight, while Vance benefits from Silicon Valley backers like Peter Thiel, who pour millions into advancing deregulation and creating self-governing enclaves.These visions are the new face of colonialism — enclaves of privilege where exploitation thrives, disconnected from democratic accountability. They mirror the hierarchies and exclusions of the past, dressed as innovation but steeped in familiar patterns of dominance.In this age of populism — another word twisted and worn thin — vigilance is essential. Language must be scrutinized not just for its use but for its intent. Without this, we risk falling into complacency, lulled by superficial gestures and farcical displays. Stay awake. Words can preserve the power to transform — but only when their intent remains grounded in uprooting injustice and inhumanity.References:* Cambridge Dictionary. Definition of woke. * Economist. (2024). Immigration, border control, and the ‘woke mind virus': Tracking political rhetoric. * Hobson, Christopher. (Sep 13, 2024). Imperfect Notes: In conversation with Pete Chambers. * Klein, Naomi. (2023). Doppelganger: A Trip into the Mirror World. New York: Farrar, Straus and Giroux.* Macmillan Publishers. (2023). Crack-Up Capitalism: Market Radicals and the Dream of a World Without Democracy. * Neiman, Susan. (2023). Left Is Not Woke. Cambridge, MA: Polity Press.* New York Times Magazine. (1962). Kelley, William Melvin. If You're Woke You Dig It; No Mickey Mouse Can Be Expected to Follow Today's Negro Idiom Without a Hip Assist.* Press, Eyal. (2012). Beautiful Souls: Saying No, Breaking Ranks, and Heeding the Voice of Conscience in Dark Times. New York: Farrar, Straus and Giroux.* Roth, Philip. (1993). Operation Shylock: A Confession. New York: Houghton Mifflin Harcourt.* Time Magazine. (2023). India's textbook revisions spark controversy over history and ideology. * Walker, Corinne A. (2024). Aeon. What is behind the explosion in talk about decolonisation. * Dull, Jonathan. (2021). Post-Colonialism: Understanding the Past to Change the Future. World History Connected, 18(1), 125–142. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

In this episode, Melea sits down with Dr. Thomas Reidy, executive director of the Scottsboro Boys Museum. They discuss the historical significance of the Scottsboro Boys case, where nine young African American men were wrongfully accused of raping two white women in 1931. Dr. Reidy shares insights into the complexities of the case, its impact on civil rights, and the museum's role in educating the public. The episode highlights the museum's exhibits, educational programs and community outreach efforts, emphasizing the importance of confronting historical injustices for healing and understanding. The Scottsboro Boys Museum Follow North Alabama on Social Media! Website Instagram TikTok LinkedIn YouTube Twitter Facebook The Unexpected Adventures in North Alabama Podcast is a part of the Destination Marketing Podcast Network. It is hosted by Melea Hames and produced by Relic. To learn more about the Destination Marketing Podcast Network and to listen to our other shows, please visit https://thedmpn.com/. If you are interested in becoming a part of the network, please email adam@relicagency.com.

Calls: More union debates: Hake a bootlicker? Hake gets carried away on Aborsh for R-word! J Lo divorcing Ben Affleck! The Hake Report, Wednesday, August 21, 2024 AD TIME STAMPS * (0:00:00) Topics: Ben Affleck, not T Swift today * (0:04:04) Hey, guys! * (0:06:09) JAIME: Unions are necessary for blue collar, not white collar * (0:16:15) MARK: Different "N-word" * (0:20:22) MARK: Farrakhan, communism, interracial, banning self * (0:24:11) MARK: Benefits to unions; Reagan * (0:29:43) RONNIE, OH: Unions, Civil Rights * (0:40:24) RONNIE: MLK is like Ben Crump * (0:45:15) RONNIE: Trump, Aborsh * (0:54:50) RONNIE: Trump and MLK, Aborsh * (0:58:17) RONNIE: Trump University * (1:02:42) Supers: Unions, Manufacturing, Tariffs, Boot taste * (1:06:12) "Bennifer," Ben Affleck, Jennifer Lopez "J Lo" * (1:10:22) NICK, WA: Unionizing is bootlicking; just work! S/O * (1:18:30) JEFF, LA: Aborsh, R-word * (1:22:00) RENE, TX: You have an opinion, a right to it. J Lo, Elizabeth Taylor * (1:26:45) DAVID, FL: Aborsh bus, Dems, Obama, Biden, Kamala * (1:32:35) DAVID: Go read a book! Aborsh, DNC * (1:35:23) JULIE, CT: Electricity monopoly pricing, get rid middle class * (1:40:23) STEVEN, MD: R-word, Scottsboro Boys, 24-pg * (1:45:05) STEVEN: John Lewis, Confederate monuments * (1:47:48) WILLIAM: MLK, blacks voting, poll tax, Israel * (1:52:41) Super: S/O Ronnie, Trump U vs Unions. * (1:53:36) Gorilla Biscuits - "Good Intentions" - 1989, Start Today LINKS BLOG  https://www.thehakereport.com/blog/2024/8/21/the-hake-report-wed-8-21-24 PODCAST / Substack  HAKE NEWS from JLP  https://www.thehakereport.com/jlp-news/2024/8/21/hake-news-wed-8-21-24 Hake is live M-F 9-11a PT (11-1CT/12-2ET) Call-in 1-888-775-3773 https://www.thehakereport.com/show VIDEO  YouTube  -  Rumble*  -  Facebook  -  X  -  BitChute  -  Odysee*  PODCAST  Substack  -  Apple  -  Spotify  -  Castbox  -  Podcast Addict  *SUPER CHAT on platforms* above or  BuyMeACoffee, etc.  SHOP  Spring  -  Cameo  |  All My Links  JLP Network:  JLP  -  Church  -  TFS  -  Nick  -  Joel  -  Punchie   Get full access to HAKE at thehakereport.substack.com/subscribe

Can a musical comedy featuring Hamlet and Nightmare on Elm Street's Freddy Krueger change lives? Actor, playwright, and director Colman Domingo thinks so. In Sing Sing, a new film from A24, Domingo stars in a true story about the power of theater. Inspired by the real-life Rehabilitation through the Arts program at Sing Sing Maximum Security Prison, Sing Sing tells the story of Divine G, played by Domingo, imprisoned for a crime he didn't commit, who finds purpose by acting in a theater group with other incarcerated men. When a wary outsider joins the group, the men decide to stage their first original comedy. Sing Sing stars an ensemble cast of formerly incarcerated actors who are alumni of the RTA program, including Clarence "Divine Eye" Maclin and Sean San José. Domingo takes us behind the scenes of the making of Sing Sing. He also shares how he became an actor after a class at Temple University and his own Shakespeare story including an inventive take on Helena from A Midsummer Night's Dream. Domingo is beloved for onscreen portrayals including Civil Rights activist Bayard Rustin in Netlfix's Rustin for which he received an Oscar nomination for Best Actor. Other films include Lincoln, Selma, If Beale Street Could Talk, Ma Rainey's Black Bottom, Zola, and The Color Purple. His breakthrough came as conman Victor Strand on Fear the Walking Dead. He won an Emmy for his performance as Ali on HBO Max's Euphoria. On stage he was nominated for Tony and Olivier awards for his role as Mr. Bones in The Scottsboro Boys. He wrote the book for the Broadway musical Summer: The Donna Summer Musical. Time magazine named him one of the 100 most influential people in the world in 2024. From the Shakespeare Unlimited podcast. Published July 30, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. Final mixing services provided by Clean Cuts at Three Seas, Inc.

Before the Central Park Five there were the Scottsboro Boys. The Scottsboro Boys experienced the uphill battle against the Jim Crow South that was hell bent on seeing these nine black young men hang either by a white mob or the justice system. Join us this week as we dive into a truly tragic miscarriage of justice and the fight for freedom. --- Support this podcast: https://podcasters.spotify.com/pod/show/latanya-pauline-mitchell/support

Theater critic J. Wynn Rousuck joins Midday to share another weekly review of a local theatrical production. We discuss 'The Scottsboto Boys,' on stage at ArtsCentric through July 21. The production is based off the history of a group of young African-American men who were wrongly accused and convicted during the Great Depression. (Photo from ArtsCentric)Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.

In this weeks episode Malcolm shares a conversation he had with his nephew about guilt. Malcolm also shares his experience seeing the live show The Scottsboro Boys at the ArtsCentric theatre in Baltimore. Malcolm hopes to inspire you and give you courage in this episode.

For two decades ArtsCentric has offered their theater audiences storytelling through an African American lens. “The Scottsboro Boys” is their latest: a tumultuous tale of nine Black teens falsely accused of a heinous crime -- told through the power of music. We get a preview from artistic director and director, Kevin McAllister and Angelo Harrington II, who is featured in a leading role as Haywood Patterson. Links: The Scottsboro Boys at ArtsCentric, The Scottsboro Boys history.Do you have a question or comment about a show or a story idea to pitch? Contact On the Record at: Senior Supervising Producer, Maureen Harvie she/her/hers mharvie@wypr.org 410-235-1903 Senior Producer, Melissa Gerr she/her/hers mgerr@wypr.org 410-235-1157 Producer Sam Bermas-Dawes he/him/his sbdawes@wypr.org 410-235-1472

Atleta, estudiante estrella y líder juvenil de la Asociación Nacional para el Progreso de las Personas Negras que nunca conoció una fiesta que no le gustara, acabó consiguiendo trabajo como bailarín en el mundialmente famoso Cotton Club de Harlem y también en Broadway. Johnson, a diferencia de Malcolm X, estuvo rodeado de sólidas instituciones negras y de negros seguros de sí mismos. Con José Manuel Corrales.

As with all episodes of this podcast there are spoilers ahead! For full detailed shownotes (without character limits) you can choose the episode on the watch page here. I would love for you to join in by watching the film King Kong here.Description:In early March 1933 the US welcomed Franklin D Roosevelt as their 32nd president. The longest lasting presidency in US history. That same weekend the original King Kong opened in theatres in New York. The huge ape was a big success and continues to wow audiences almost a century later. Although I have many dear friends and family members who adore this creature I have never been enraptured by him. I wanted to find two experts who really had love of this film as well as the knowledge and insight that would put the movie into context. The ExpertsMark Bould is a professor of Film and Literature at the University of West England, Bristol. He has written/edited multiple books on science fiction and the 1933 King Kong is one of his favourite films.Peter Conolly Smith is an Associate Professor of History at Queens College, CUNY. He specialises in American studies and also considers King Kong as one of his favourite films. Chapters00:00 My reading plans, a big thank you intro00:46 Introduction02:00 Why Mark loves the film03:40 Why Peter loves the film06:57 The meaning and relevance of pre-code films09:25 The great travelling filmmaking adventurers13:06 The Depression Era as King Kong19:28 Racism: inherent and the allegory27:32 The Scottsboro Boys trial30:28 Beauty and the Beast: the contamination of civilization36:08 Boyish adventure!39:04 Groundbreaking special effects41:53 The humanisation of Kong43:26 The legacy: Kong, Kaiju and Jurassic Park50:39 Conclusions51:10 Recommendations for listenersNEXT EPISODE!The next film we'll be speaking about it The Invisible Man. You can watch it here.Send me a text message.

Episode 72 – Tom Reidy on AHA 2024 Museum Award for The Scottsboro Boys Museum Air Date: May 20, 2024 Dr. Tom Reidy, executive director of The Scottsboro Boys Museum which received the Alabama Historical Association's Museum Award for 2024, discusses the history of the infamous Scottsboro Boys case and the history and programs of the museum itself. Links to things mentioned or implied in the episode: Alabama Historical Association https://www.alabamahistory.net/ Alabama Historical Association Historical Museum Award https://www.alabamahistory.net/historical-museum-award The Scottsboro Boys Museum (1) https://www.thescottsboroboysmuseum.com/ ; (2) https://www.alabamaheritage.com/alabama-heritage-blog/the-historical-legacy-of-the-scottsboro-boys-museum ; (3) https://encyclopediaofalabama.org/article/scottsboro-boys-museum-and-cultural-center/ Sheila Washington https://www.npr.org/2021/02/04/964172261/remembering-sheila-washington-who-told-the-story-of-the-scottsboro-boys The Scottsboro Boys (case) https://encyclopediaofalabama.org/article/scottsboro-trials/ Alabama Chapter of the Communist Party USA https://en.wikipedia.org/wiki/Alabama_Chapter_of_the_Communist_Party_USA Southern Worker newspaper https://www.marxists.org/history/usa/pubs/southernworker/ Jackson County Sentinel newspaper https://www.newspapers.com/paper/jackson-county-sentinel/29019/ The Huntsville Times newspaper https://encyclopediaofalabama.org/article/the-huntsville-times/ International Labor Defense https://en.wikipedia.org/wiki/International_Labor_Defense Judge James Horton https://encyclopediaofalabama.org/article/james-horton-jr/ Judge Horton and the Scottsboro Boys (1976 docudrama) https://www.imdb.com/title/tt0074723/ Heavens Fall (2006 drama) https://www.imdb.com/title/tt0425094/ Samuel Leibowitz https://www.famous-trials.com/scottsboroboys/1559-leibowitz Harlem Renaissance https://nmaahc.si.edu/explore/stories/new-african-american-identity-harlem-renaissance Langston Hughes https://poets.org/poet/langston-hughes Lead Belly https://www.songhall.org/profile/Huddie_Ledbetter To Kill a Mockingbird https://encyclopediaofalabama.org/article/to-kill-a-mockingbird/ Nelle Harper Lee https://encyclopediaofalabama.org/article/harper-lee/ NAACP https://naacp.org/ Rosa Parks (and Scottsboro Boys) https://rosaparksbiography.org/bio/scottsboro-boys/ The Scottsboro Boys Act of 2023 https://www.al.com/breaking/2013/04/post_1132.html Rather read? Here's a link to the transcript: https://tinyurl.com/29thykt5 *Just a heads up – the provided transcript is likely to be less than 100% accurate. The Alabama History Podcast's producer is Marty Olliff and its associate producer is Laura Murray. Founded in 1947, the Alabama Historical Association is the oldest statewide historical society in Alabama. The AHA provides opportunities for meaningful engagement with the past through publications, meetings, historical markers, and other programs. See the website www.alabamahistory.net.

Jeff Whiting is an award-winning director and choreographer, acclaimed as a 'director with a joyous touch' by the New York Times, Jeff Whiting specializes in work for theater, television, special events and concerts around the world, including James Taylor, Bette Midler, Steve Martin, Tony Bennett, Catherine Zeta-Jones, and Sting. On Broadway, Jeff was the Associate/Resident Director for the Broadway productions of Bullets Over Broadway (6 Tony Nominations - Susan Stroman), Big Fish (Norbert Leo Butz), The Scottsboro Boys (12 Tony nominations), Hair (Tony-winner of Best Revival), Young Frankenstein (Sutton Foster, Megan Mullally), and Wicked's 5th Anniversary (Stephanie J. Block, Ashanti). National Tour credits include Hairspray, Young Frankenstein, Bullets Over Broadway, Rockin' Road to Dublin, Christmas in Killarney, and The Producers. Having been praised on THE VIEW as 'a truly remarkable talent,' Jeff's theatrical direction and choreography includes development and World premieres of Loch Lomond, Chasing Rainbows (starring Ben Crawford, Ruby Rakos), Fly More Than You Fall (Best Musical), The Scottsboro Boys (Phoenix Theatre Co.), The Lost Colony (Waterside Theatre), Big Fish (Milwaukee), Single Wide (NYMF), Hairspray (Brazilian Production), Big (Milwaukee), In The Light (NYFA), Catch Me If You Can (New London Barn), The Sound of Music (Phoenix Theatre Co.), and Gypsy (Best Director). The Broadway Workroom is designed to showcase emerging artists' work by providing rehearsal and presentation space, including technical support, at no cost to the production in order to help the team further their creative goals along the developmental journey. At the end of each week, the public is invited, at no cost, to experience these dynamic new musicals in concert at Open Jar Studios (1601 Broadway). Tickets for each concert are free, and attendees are encouraged to make a donation to The Stage Door Foundation to help fund their programs. The Broadway Workroom Series provides a rare opportunity for Broadway enthusiasts to witness the evolution of new musicals, a process typically reserved for industry insiders during private "workshops" or "readings. The series' vibe is to present glimpses of shows in their development phases, with focus on the writing and performances and less attention to production value.

In which the Musical Man has nothin' to shout about on the subject of financial advice. Donate today via Patreon: patreon.com/musicalmanpod / Podbean: musicalmanpod.podbean.com / Email: musicalmanpod@gmail.com

On March 13, 1932, the Atlanta Daily World newspaper commenced its daily publication, marking a significant milestone. Established by William A. Scott II, a graduate of Morehouse College, the paper initially operated as a semi-weekly publication starting in August 1928. However, it swiftly evolved into the first prosperous Black daily newspaper in the United States. Covering a wide array of pressing issues, the Daily World fearlessly reported on topics such as lynchings, police brutality, the Scottsboro Boys trial, discrimination within the federal government, and school segregation. In 1934, William A. Scott II was fatally shot at the age of 32, however, no one was convicted for the crime. Learn more about your ad choices. Visit megaphone.fm/adchoices

We are excited to bring you this new episode in our podcast series, The Art of Collaboration. This series focuses on directors and choreographers in conversation with some of their collaborators on a specific production. This series explores the ins and outs of these processes, both the finer details as well as overarching ideas about what goes into a productive collaboration on a show. In the second episode of this two episode arc, Director Alex Timbers, Sound Designer Peter Hylenski, and Scenic Designer Derek McLane are interviewed by Foundation Director Dani Barlow to discuss their experience working together on Moulin Rouge! The Musical. Learn more about this episode's guests below.    Bios: ALEX TIMBERS (Director) is the recipient of Tony, Drama Desk, Outer Critics Circle, and London Evening Standard Awards, as well as two Obie and Lortel Awards. Broadway credits include Gutenberg the Musical; Here Lies Love; Moulin Rouge!; Just For Us; Beetlejuice; David Byrne's American Utopia; Oh Hello with Nick Kroll and John Mulaney; The Pee-wee Herman Show; Peter and the Starcatcher; and Bloody Bloody Andrew Jackson (also bookwriter). For television, he co-created Amazon's “Mozart in the Jungle” (Golden Globe Award) and has helmed the Netflix specials “John Mulaney: Kid Gorgeous,” “Ben Platt: Live at Radio City,” and most recently “John Mulaney: Baby J” (2023 Emmy Award nomination). His debut picture book, Broadway Bird, set in an all-animal version of Broadway, is published by Macmillan. @alextimbers PETER HYLENSKI (Sound Designer). Peter received a Tony Award, Drama Desk Award, and an Outer Critics Circle Award Honor for his work on Moulin Rouge! The Musical. A Grammy, Olivier, and eight time Tony nominee, his selected Broadway designs include: Moulin Rouge!, Frozen, Anastasia, Beetlejuice, Once On This Island, Something Rotten, King Kong, Rock of Ages, After Midnight, Motown, The Scottsboro Boys, Side Show, Rocky, Bullets Over Broadway, Shrek the Musical, On A Clear Day, Lend Me A Tenor, Elf.  Other designs: Awakening, Le Rêve and Lake of Dreams at Wynn Las Vegas.  He's designed for Carnegie Hall, Radio City Music Hall, Madison Square Garden, London's O2 Arena, and The Kennedy Center.  Peter holds a BFA from Carnegie Mellon University. DEREK MCLANE (Scenic Designer) SELECTED CREDITS: BROADWAY: MJ the Musical, Moulin Rouge!, Purlie Victorious, A Soldier's Play, American Son, The Parisian Woman, Children of a Lesser God, The Price, Noises Off, Fully Committed, Beautiful, Gigi, China Doll, Anything Goes, The Heiress, Nice Work If You Can Get It, The Best Man, Follies, How to Succeed In Business Without Even Trying, Bengal Tiger at the Baghdad Zoo, Million Dollar Quartet, Ragtime, 33 Variations The Pajama Game, I Am My Own Wife. OFF-BROADWAY: Black No More, Merrily We Roll Along, The True, Jerry Spring the Opera, If I Forget, The Whirligig, Into The Woods, Love, Love, Love, Sweet Charity, Evening at the Talk House, Two Gentlemen of Verona, Buried Child, The Spoils, Sticks and Bones, The Last Five Years, A Lie of the Mind, Ruined, Hurlyburly. TELEVISION: He designed the 2013, 2014, 2015, 2016 & 2017 Academy Awards as well as the NBC LIVE! Musicals The Sound of Music, Peter Pan, The WIZ & HAIRSPRAY. AWARDS: Winner of 1997 + 2004 OBIE Awards, 2004, 2005, 2007 Lortel Awards; 2009 + 2021 Tony Award, 2011 Drama Desk Award, 2015, 2016 Art Directors Guild Award, 2014 + 2017 Emmy Award.  

W.O.K.E.- "WILLINGLY OVERLOOKING KNOWN EVIL" What does 'woke' mean and why are some conservatives using it? The definition of "woke" changes depending on who you ask.   The term has recently been used by some conservatives as an insult against progressive values. The term, however, was originally coined by progressive Black Americans and used in racial justice movements in the early to mid-1900s. To be "woke" politically in the Black community means that someone is informed, educated and conscious of social injustice and racial inequality, Merriam-Webster Dictionary states. One of its earliest uses was in a historical recording of the protest song "Scottsboro Boys" by Lead Belly. In that recording, it was used as a term about staying aware of the potential for racist violence as a Black person in America.

KPFA theatre critic Richard Wolinsky discusses the year in theatre in the Bay Area in 2023, plus a top ten list and two honorable mentions.   Text of the podcast. In the Bay Area, Live theatre companies continued in 2023 to adapt to the post-Covid world. While movie audience sizes seems to be returning to pre-pandemic numbers. live theater remains mostly on life support across the board, mainly because season subscriptions are down by at least a third or maybe more, which means theatergoers are buying tickets on a show by show basis. That makes planning difficult, and it also means artistic directors are less likely to produce shows that are more challenging in favor of audiences pleasers such as musicals, comedies, and most importantly, the warhorses that folks are willing to see over and over again. The great multi-theatre venue, Piano Fight, in the Tenderloin closed its doors in March, leaving a host of younger theatregoers bereft. Bay Area Musicals didn't survive the pandemic, and its successor Landmark Musicals did not get past 2023. Marin Theatre Company, ACT, and the Magic have had truncated seasons, and Cal Shakes chose not to have a season at all. Custom Made is on life support and may never return. But there was still quite a bit of quality theatergoing to be had in the plastic year, and here are ten examples fin no particular order. Clyde's, a former Tony nominee by Lynn Nottage had a sensational production at Berkeley Rep's Peets theatre. As did the creepy and scary Let the Right One in at Berkeley Rep's Roda Theatre. Margo Hall was phenomenal in Josephine's Feast over at the Magic, and it doesn't get any better than J. Jha in Gertha Reddy's adaptation of the Mahabharata at Z Space, co-produced by the Oakland Theatre Project. Poor Yella Rednecks, Vietgone II at ACT's Strand Theatre looked at a Vietnamese refugee family in America, and Cambodian Rock Band at ACT focused on the generational aftermath of the Killing Fields and the Cambodian Genocide. Then there was Nollywood Dreams, a screamingly funny look at the Nigerian film industry, and Billy Crudup's brilliant performance in Harry Clarke at Berkeley Rep's Roda Theatre. Rounding out the top ten are San Francisco Playhouse's brilliant production of A Chorus Line, and the very weird, funny and horrifying Locusts Have No King at New Conservatory Theatre. A couple of honorary mentions go to Kander and Ebb's brilliant The Scottsboro Boys at 42nd Street Moon, and William Finn's 25th Annual Putnam County Spelling Bee at TheatreWorks. The post Bay Area Theatre in 2023: Best of the Year appeared first on KPFA.

All The News & Knowledge You Need To Get You Through Your October 25, 2023. It's Wisdom Wednesday! . On This Day: “Crisis” Magazine / W.E.B. Du Bois; The Scottsboro Boys; Forsyth County, Georgia; Evander Holyfield; Ciara. . News From UNN - www.myunn.net . All Episodes of This Is The G Podcast Are At: www.castropolis.net . #castropolispodcastnetwork #WednesdayWisdom #blackhistory #news #blackpodcast #podcast #DailyPodcast #atlantapodcast #AtlantaGa #CrisisMagazine #WEBDuBois  #ScottsboroBoys #Ciara #BlackGirlJoyChallenge #SoutherBlackGirls #dailypodcast #Atlanta #JadaPinkettSmith #WillSmith

By Amy Goodman & Denis Moynihan One of Donald Trump's recent federal court filings is truly Orwellian. Trump was trying to delay his trial by almost three years. The filing compares Trump, a self-proclaimed billionaire, to the Scottsboro Boys, nine Black youths who suffered one of the most notoriously racist judicial persecutions in U.S. history,

Pleasure Muse: Rosa Parks    Tantalizing Trivia  Her future husband took her on a first date to a rally for the “Scottsboro Boys”, nine Black men who were wrongly accused of rape. From that rally she became compelled to activism.  She was educated on civil disobedience during her days at the famed Highlander School in Tennessee under the guidance of the legendary Septima Clark. Later she attended a leadership training run by the famed Ella Baker.  She was a staunch supporter of the labor movement and managed the office of E. D. Nixon the director of the Brotherhood of Sleeping Car Porters and President of the NAACP. Rosa Parks became the secretary of the NAACP in Alabama in 1948.  She functioned as an investigator for the NAACP and helped for the Committee for Equal Justice. She was also the youth advisor.  She learned “daily stretching” from her mother as a child and would later in her 50's develop a daily  yoga practice that she shared with her nieces and nephews.   In the mid 90's she was attacked by an assailant in her home. When the media began reporting this as a failing of the Black community, she pushed back hard by offering that the attack was endemic of the systematic problems she spent her life working on and not that of Black people.  She lived to be 92 years old. Flags across the country flew at half-staff on the day of Park's funeral.    Mirror Work: Find a quiet place to sit. Get comfortable. Let the chair do the work of holding you. Plan to be here for 10 minutes. In that time observe your breath without judgment. Is it shallow? Is it deep? What areas of your body does it flow too? Where could you use more breath? Breathe deeply into those spaces. Luxuriate in the fact that you do not  have to stand, do not have to move. You have been given this moment to sit still and just be. Thank God for that.  Affirmation: I can sit and rest. No need to rush.  I am where God wants to be. I am open to where God wants to take me.  I give grace freely. I receive grace daily.  Give Grace:  A Playlist  In Her Own Words:  “You must never be fearful about what you are doing when it is right.”  “Each person must live their life as a model for others.”  “I would like to be remembered as a person who wanted to be free…so other people would also be free.”  “I knew someone had to take the first step and I made up my mind not to move.” Didn't catch the live recording of today's episode? We don't want you to miss out on getting the full experience. Check out the opening and closing songs below. Opening ⁠Song⁠ Closing ⁠Song

Beowulf Boritt is currently represented on Broadway by the Tony Award® winning set for Susan Stroman's production of New York, New York. He designed the Tony Award® winning set for James Lapine's Act One. He has received four additional Tony Award® nominations for his designs of The Scottsboro Boys, POTUS, Therese Raquin, and Flying Over Sunset, for which he won a Drama Desk award. His book about set design, Transforming Space Over Time, is available on Amazon. He is the founder and manager of The 1/52 Project which provides financial support to encourage early career designers from historically excluded groups, with the aim of diversifying and strengthening the Broadway design community. Beowulf designed Harold Prince's final Broadway shows: Prince of Broadway and LoveMusik. In addition, he designed the sets for Sondheim on Sondheim, The Twenty-Fifth Annual Putnam County Spelling Bee, Steve Martin's Meteor Shower, A Bronx Tale, August Wilson's The Piano Lesson, Come From Away. Freestyle Love Supreme, Ohio State Murders, Mike Birbiglia's The New One and The Old Man and The Pool. Other highlights include the New York and Russian productions of Chaplin, the revival of On The Town, Rob Askins' Hand To God and the long running hit Rock of Ages. Off-Broadway, he has designed over one hundred shows, including Much Ado About Nothing, Merry Wives, and Coriolanus for Shakespeare in the Park, Fiddler on The Roof (in Yiddish), The Last Five Years, Mike Birbiglia's The New One, Sleepwalk With Me, My Girlfriend's Boyfriend, Thank God For Jokes and Strindberg's Miss Julie. His designs are in the permanent collections of The Smithsonian Museum of American History and the New York Public Library for the Performing Arts as well as several private collections. In addition to a Tony Award he has been honored with an 2007 OBIE Award for Sustained Excellence in Set Design, an Audelco Award, a Barrymore award, a Live Design Award for Innovation in Scenic Design, a Broadway Beacon Award, and a St. Louis Theater Circle Award. He has been nominated for four Drama Desk Awards, three Lucille Lortel Awards, four NY Outer Critic's Circle Awards, an LA Ovation Award, an LA NAACP Award, a San Francisco Critic's Circle Award and six Henry Hewes Awards. 

This week on BEFORE THE BREAK, the boys sit down with actor, Derrick Cobey. His stage credits include The Little Mermaid, Ragtime, The Hunchback of Notre Dame, Rent and Jesus Christ Superstar. He's Barrymore Award Winner for his work in Parade. And his Broadway credits include The Scottsboro Boys, and the revival of Kiss Me Kate. We discuss growing up with a cop and minister as parents, finding the arts through the church, how seeing his first Broadway show changed his life, how his work in orchestration has improved his acting career, moving to NYC, life on tour, the importance of knowing your strengths and weaknesses, the heavy and collaborative experience of creating The Scottsboro Boys, ideas for the future, and the importance of being your authentic self. That and much more! Follow Before The Break - on Instagram at @beforethebreakpodon Twitter at @b4thebreakpodhttps://beforethebreak.buzzsprout.com/Follow Derrick -on Instagram at @derrickcobeyFollow Tom -on Instagram at @imtombythewayhttps://www.tommybeardmore.com/Follow Adam -on Instagram at @thatadamdecarlohttp://adamdecarlo.com/Don't forget to subscribe, leave a review, and give us a rating!Support the show

Join me producer donnie l. betts for my conversation with SHARON WASHINGTON (Co-Book Writer) "New York New York" Tony nominee. A proud Native New Yorker with her family living in Manhattan since 1835, Sharon is celebrating over 30 years as an actor. She is thrilled to continue her collaboration with this incredible creative team who she worked with on The Scottsboro Boys musical—this time as a writer. Sharon made her debut as a playwright with her solo play Feeding the Dragon. Off-Broadway it was nominated for an Outer Critics Circle Award, Lucille Lortel Award, and won an Audelco. Published by Oberon Books it was also recorded as an Audible Theater Original. She is currently writing a children's picture book version for Scholastic Books. Sharon is a co-writer/executive producer on a project in development for Disney+. She is a proud member of AEA, SAG-AFTRA, and The Dramatists Guild. Learn more about your ad choices. Visit megaphone.fm/adchoices

In an article published this year for International Women's Day, Maddie Dery summarizes the various experiences of the women's liberation movement since the early 20th century: “The history of International Women's Day teaches us that when we fight, we win”. This spirit, which threads through the historic struggle for women's liberation and socialism, is easily identified in the revolutionary origins, legacies, and futures of International Women's Day. At Liberation School, we want to end March—which, since 1987, the U.S. recognizes as “Women's History Month”—and pull that red thread by publishing Claudia Jones' historic 1950 speech at an International Women's Day rally, which was also published in Political Affairs, the monthly journal of the Communist Party USA (CPUSA). Jones' speech rooted the contemporary moment of the class struggle in the long history of the fight for Black liberation, women's emancipation, peace, and socialism, linking together fighters from Harriet Tubman and Sojourner Truth to Mother Jones and Elizabeth Gurley Flynn, from Lucy Stone and Ida B Wells to Williana Burroughs and Clara Zetkin. Born in Trinidad in 1915, Claudia Jones moved to New York City eight years later. She is one of the most significant revolutionary theorists and organizers of the 20th century. After joining the Communist Party in 1936 through the struggle to free the Scottsboro Boys, she rapidly developed as an organizer and intellectual and within two years was the associate editor of the CPUSA's Weekly Review and after another two years was the lead editor. Pushing the Party to prioritize struggles against male and national chauvinism, in the late 1940s Jones theorized the “super-exploitation” of Black working-class women through their structural location in U.S. society. In one 1949 article, she wrote that “the Negro woman, who combines in her status the worker, the Negro, and the woman, is the vital link to… heightened political consciousness”. For Jones, the heightened oppression of Black women workers and their historic roles as leaders and organizers of their communities made Black women's participation and leadership essential to the communist and progressive struggle. Read the full article here: https://www.liberationschool.org/claudia-jones-1950-iwd-speech/

“There's an old adage ‘He who forgets history is condemned to repeat it.' But what's missing in that phrase is that there are the people who are in charge of keeping your history. And they can make you forget it. They can keep it from you. And then you're doomed to repeat something that they want you to repeat.” — Samuel JamesSamuel James is a musician and storyteller from Portland, Maine, who specializes in blues and roots music. Samuel has a deep knowledge of American musical history and recently wrote a column in the Mainer magazine about the origins of the phrase “stay woke,” first heard on a Lead Belly record about the Scottsboro Boys. He shows that when we see attacks on “wokeness” like Ron DeSantis' “Stop WOKE Act,” we should remember that it's “an old, Black phrase being weaponized against the very people who created it.”Today, Samuel joins to explain how listening to the words of early 20th century Black songs provides critical context for understanding America today. From commentary on the prison system in the words of “Midnight Special” to Mississippi John Hurt's unique twist on the “John Henry” legend, Samuel James offers a course in how to listen closely to appreciate both the rich diversity of the music lumped together as folk blues, and how to hear the warnings that the early singers passed down to Black Americans today. It's a very special hour featuring some of the greatest music ever written, played live by one of its most talented contemporary interpreters.Nathan's article on Charles Murray is here, and one on Joe Rogan is here. A Current Affairs article about John Henry songs is here. Beyond Mississippi John Hurt and Lead Belly, artists mentioned by Samuel James include Gus Cannon, the Mississippi Sheiks, Charley Patton, Skip James, and Furry Lewis. More information about the St. Louis chemical spraying is here. Follow Samuel James on Twitter here. His 99 Years podcast is here. Nathan mentions the “Voyager Golden Record” that went into space, which did in fact include a classic blues song.“This is the hammer that killed John HenryBut it won't kill me, but it won't kill me, but it won't kill me”— Mississippi John HurtNOTE: The n-word is heard several times in this episode, spoken by Samuel James, and in recordings by Lead Belly and Ice Cube.Subscribe to Current Affairs on Patreon to unlock all of our bonus episodes and get early access to new releases.

The Broadway show, Into the Woods is coming to the Kimmel Cultural Campus on April 4-9th. See it at the Miller Theatre.Topics on this episode: mental health, theatre, black men and mental health, self care, music, and more.......................................Josh is an actor and musician who has been in Come From Away, The Scottsboro Boys, The Ritz, Saved, Tour: The Book of Mormon, Christmas in Connecticut, Dave, The Whipping Man, Tales of the City. Also Find me: Truth, American Rust, Blue Bloods, The Blacklist, FBI, BFA: CCM and more. ...........................We talked about what to expect in Into the Woods, how tour life is treating him, mental health and self care. Black men are usually one of the ones who suffer thinking that it's not masculine to get help but that's not the case.......................................Follow Josh on his music career at J. Breckenridge. Music Download and listen on all platforms for music.............................Follow me on socials as Toitimeblog as well on the blog.

Today on Too Opinionated we sit down with actor Alan Ceppos! Award winning actor and businessman Alan Ceppos is living proof that dreams can be achieved at any age and stage of life! Most recently seen in the internationally acclaimed political drama “There is a Field,” Alan will next be seen starring alongside Chazz Palminteri, Andrew Dice Clay, Vincent Pastore, and Paul Ben-Victor in the second season of the Brooklyn based Mafia style drama “GRAVESEND” being released in early April on Amazon Prime Video. GRAVESEND” follows a series of events taking place in the 1980s around Benny Zerletta (William DeMeo), a Brooklyn based Italian-American, soldier in the Colezzo crime family. Benny depicts the difficulties that he faces with family and growing up in the footsteps of his cousin, who behind closed doors was the leader of a criminal organization in Gravesend. In the new season Alan brings to life Parisian businessman and restaurateur ‘Arthur' who finds himself dragged into the mafia world by chance. Having since appeared numerous times in theater productions, films, television commercials as well as Knots Landing, The Conan O'Brien Show, The David Letterman Show, Days of Our Lives, New York Undercover, Law and Order and The Deuce. Alan has kept busy producing Broadway productions such as: Scottsboro Boys, The Encounter, Smokey Joe's Café and Frankie and Johnny in Clair de Lune (with Audra McDonald) to name a few. Want to Watch: YouTube Meisterkhan Pod. (Please Subscribe)

Broadway Actor Brandon Victor Dixon (Hamilton, The Color Purple, Jesus Christ Superstar) discusses being part of the world premiere recording of MacGyver The Musical in this interview with Adam Rothenberg, host of the entertainment website Call Me Adam. Based upon the 80s TV Show MacGyver, MacGyver The Musical's cast recording will be released on January 27, 2023 on Broadway Records. In this interview we discuss: The backstory to how Brandon got involved with the recording of MacGyver The Musical How Brandon prepared for this role How Brandon "MacGyvered" his way back onto various Broadway stages The boundaries Brandon puts up when he is in a show or working on a project We wrap things up with some Rapid Fire Questions More on Brandon Victor Dixon: Brandon Victor Dixon is an American actor, singer and theatrical producer. As a musical theatre actor, he is known for Tony Award-nominated Broadway performances as Harpo in the 2005 musical The Color Purple and Eubie Blake in Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed (2016). He originated both roles, as well as the leading role of Berry Gordy Jr. in Motown: The Musical (2013) on Broadway, which earned a nomination for a Grammy Award for Best Musical Theater Album. In 2016, Dixon assumed the role of Aaron Burr in the Broadway company of Hamilton. Off-Broadway as well as in London's West End, Dixon played the role of Hayward Patterson in The Scottsboro Boys and was nominated for a 2014 Laurence Olivier Award for Best Actor in a Leading Role in a Musical. As a producer, Dixon's credits include Broadway revivals of Hedwig and the Angry Inch and Of Mice and Men (2014); the former won the 2014 Tony Award and the Drama Desk Award for best revival of a musical. In 2018, Dixon portrayed Judas Iscariot in NBC's live concert version of Andrew Lloyd Webber and Tim Rice's rock opera Jesus Christ Superstar, for which he received a Primetime Emmy nomination for Primetime Emmy Award for Outstanding Actor in a Supporting Role in a Limited or Anthology Series or Movie. Like What You Hear? For more Call Me Adam interviews visit: https://callmeadam.com Follow me @callmeadamnyc on Facebook & Instagram Special Thanks: Theme Song by Bobby Cronin Podcast Logo by Liam O'Donnell Edited by Adam Rothenberg Outro Music Underscore by CueTique P.S. This interview was originally presented as a video interview. Watch it on Call Me Adam's YouTube Page Learn more about your ad choices. Visit megaphone.fm/adchoices

Driven to inspire other people with art, Brandon Victor Dixon has been sharing his talent with the world for decades now. And this month, the actor slash theatrical producer is part of the much-anticipated world premiere of the award-winning "MacGyver: The Musical's" album which will be released on January 27th. Apart from theatre, Brandon is also doing advocacy work. He talks about the We Are Foundation which he created, and how he uses it to bridge gaps between art and us as communities. He brings up a good point on human behavior, what makes it for some people to be kind, and how art can be a gateway to understanding and helping them. In choosing a role or a piece, he considers the tools that can make his role and the exchange between him and the audience the most effective. He adds that the pieces choose him and come into his life at a time when he needs them the most. When he was just starting, Brandon had to pause his graduation to go on a national tour, come back, finish school, and then originate a role on Broadway for which he got a Tony nomination. He recalls his audition process for the role of Simba, why he thinks he shouldn't have been cast, and how he overcame his doubts and the challenges he encountered as it was happening. As one of the stars in the world premiere album of “MacGyver: The Musical”, Brandon talks about his character, doing comedy, and how his process usually adapts to the show his doing. Brandon reflects on his role as Haywood Patterson in “The Scottsboro Boys”, why he considers it his favorite role, and how it ultimately goes back to his advocacy: to change and help people with the power of art. Brandon Victor Dixon is an actor, singer, advocate, and theatrical producer known for his Tony Award-nominated Broadway performances as Harpo in the 2005 musical "The Color Purple" and Eubie Blake in "Shuffle Along, or, the Making of the Musical Sensation of 1921 and All That Followed". Apart from originating both roles, he also originated the leading role of Berry Gordy Jr. in Broadway's "Motown: The Musical", which earned a nomination for a Grammy Award for Best Musical Theater Album. In 2016, Brandon assumed the role of Aaron Burr in the Broadway company of "Hamilton". He also played the role of Hayward Patterson in "The Scottsboro Boys" both Off-Broadway and in London's West End, and was nominated for a 2014 Laurence Olivier Award for Best Actor in a Leading Role in a Musical. As a producer, his credits include Broadway revivals of "Hedwig and the Angry Inch which won the 2014 Tony Award and the Drama Desk Award for best revival of a musical, and "Of Mice and Men". In 2018, he played Judas in NBC's live concert version of Andrew Lloyd Weber and Tim Rice's rock opera, "Jesus Christ Superstar" where he received a Primetime Emmy nomination for Primetime Emmy Award for Outstanding Actor in a Supporting Role in a Limited or Anthology Series or Movie. His other stage credits include "Chicago", "The Lion King", "The Color Purple", "Rent", and "Shuffle Along" among others. His tv credits include "Power", "She's Gotta Have It", "Modern Love", and "The Best Man: The Final Chapters". Brandon is part of the much-anticipated album of the award-winning "MacGyver: The Musical'" which will be released on January 27th, 2023. Connect with Brandon: Instagram: @brandonvdixon Twitter: @brandonvdixon Website: www.brandonvictordixon.com Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast TikTok: @thetheatrepodcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

Marcus sat down with Antonio Horne and Jared Thomas Johnson, the directors of "If Pekin is a Duck, Why am I in Chicago?" and "The Scottsboro Boys," to discuss their decisions to employ the  art form of black minstrelsy in the two productions.  Minstrelsy, and particularly for "If Pekin...," blackface minstrelsy, is a racist and stereotypical depiction of black life originating in the 1800s.  Although American Musical Theatre can trace its roots from this point in theatre history.  Reengaging in the art form could prove detrimental to our performers and patrons as we view theatre today.  Antonio, Jared, and Marcus, who is co-starring in "If Pekin...," take time to delve into the significance of the art to convey these specific stories and the nature and care they have put into ensuring everyone's safety.

In November 2012, the Alabama Board of Pardons and Paroles pardoned three black men who had been wrongly convicted of assaulting two white women in 1931. They were the last of nine young men associated with the case to have their convictions officially cleared from the record. Their arrest and the trials that followed served as a catalyst for the Civil Rights Movement.   Want more Southern Mysteries?  Hear the Southern Mysteries show archive and immediately access exclusive content when you become a patron of the show.  Join now at patreon.com/southernmysteries   Connect Website: southernmysteries.com Facebook: Southern Mysteries Podcast Twitter: @southernpod_ Instagram: @shannonballard_ Email: southernmysteriespodcast@gmail.com    Episode Sources Scottsboro Trials. Accessed December 14, 2022.    “Scottsboro Boys” Trials (1931-1937). Famous Trials by Douglas O. Linder. Accessed December 10, 2022.    Without Fear or Favor: Judge James Edwin Horton and the Trial of the “Scottsboro Boys” By Douglas O. Linder. Accessed December 10, 2022    The Saga Of The Scottsboro Boys. Accessed January 2, 2023.    The Scottsboro Trials: A Legal Lynching. Accessed January 2, 2023.    The Scottsboro Boys: Injustice in Alabama. Accessed December 15, 2022.    Episode Music No 7 Alone with My Thoughts by Esther Abrami. Licensed under a Creative Commons License Theme Song “Dark & Troubled” by Pantherburn. Special thanks to Phillip St Ours for permission for use

 Welcome back to Season 3 Episode 3 of The POTSCast! This time around we talk with cast and crew members of our three January-February shows. We sat down with new and familiar faces and delved into the nitty-gritty about what it's like to put on these incredible productions. Check out all three discussions in this episode and then head on over to our website to get your tickets! 

THE SCOTTSBORO BOYS ran for only two months on Broadway at the end of 2010, but in that short time it managed to spark controversy that not only brought protestors outside the theatre, but 12 Tony nominations the following Spring. Luckily our special guest this week is able to provide us with some context. Original off-Broadway and Broadway cast member Josh Breckenridge (COME FROM AWAY, THE BOOK OF MORMON) joins us to jump into some very difficult conversations with one intention in mind: to help us understand "the boys." Follow Josh on Instagram @j.breckenridge.music and visit his website at j-breckenridge.com. He can currently be heard on the new BPN comedy ROLLING CALLS. Be sure to share "A Musical Theatre Podcast" with your friends by leaving us a nice review or following us on Instagram, Twitter, or TikTok. You can also subscribe to PATREON! for only $1 a month and receive bonus content each month. Don't forget about our TeePublic Store that benefits Broadway Cares/Equity Fights AIDS. Most of all, thank you for being part of this wonderful podcasting community. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kevin Adams shares developments in the craft of lighting, assembling his lighting department, and why he enjoys designing pop rock musicals specifically as it relates to A Beautiful Noise! If you are listening to this on Apple Podcast, we'd love it if you could share your love in a review! ABOUT KEVIN ADAMS Four-time Tony winner Kevin Adams has designed SpongeBob SquarePants (Tony nom.), Head Over Heels, Hedwig and the Angry Inch (Tony and Outer Critics Award), American Idiot (Tony Award), Spring Awakening (Tony Award; Olivier nom for the West End production), Next To Normal (Tony nom), The 39 Steps (Tony and Drama Desk Awards), Hair (Tony nom), Man And Boy, Everyday Rapture, Passing Strange, Take Me Out, A Class Act, Hedda Gabler with Kate Burton, solo shows by Eve Ensler and John Leguizamo. Off-Broadway he has worked on the original production of Hedwig and the Angry Inch, The Scottsboro Boys, Rent, Carrie, new work by Edward Albee, Eric Bogosian, Christopher Durang, Richard Greenberg, Tony Kushner, Terrence McNally, Neil Simon, Anna Deveare Smith and Paula Vogel. His work has also been seen at the Metropolitan Opera, Steppenwolf Theatre, Yale Rep, Berkeley Rep, Donmar Warehouse, and City Center Encores! On screen, he's worked on Mildred Pierce (HBO), Audra McDonald in concert (Town Hall, Joe's Pub, Lincoln Center), staged concerts featuring Patti Lupone (Gypsy, Candide, Anyone Can Whistle, Sunday in the Park with George and Regina) and Blue Man Group in Las Vegas and the Hollywood Bowl. For his work off-Broadway he has received an Obie for sustained excellence and two Lucille Lortel awards. MENTIONED IN THIS EPISODE: A Beautiful Noise on Instagram: instagram.com/abeautifulnoisemusical A Beautiful Noise on Facebook: facebook.com/ABeautifulNoiseMusical Get Your Tickets: abeautifulnoisethemusical.com ambermylar.com --- Come say hi to us! Facebook: @PageToStagePodcast @BroadwayPodcastNetwork Instagram: @PageToStagePodcast @TheMaryDina @BrianSedita @BroadwayPodcastNetwork Twitter: @TheMaryDina @BwayPodNetwork YouTube: @PageToStagePodcast @BroadwayPodcastNetwork #PageToStagePodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest on this episode is Tony Award winning lighting designer Ken Billington who created the lighting for an incredible 105 Broadway plays and musicals, including 21 productions that were directed by Harold Prince.  Ken's career spans from his very first Broadway show in 1967 when he was the assistant to legendary lighting designer Tharon Musser, to his most recent Broadway show, the hit musical, Waitress.  Along the way he designed the original productions of Sweeney Todd, On The 20th Century, The Drowsy Chaperone, The Scottsboro Boys, The Search For Signs Of Intelligent Life In the Universe starring Lily Tomlin, three revivals of Fiddler On The Roof, two revivals of Sunday In The Park with George, and the still running 1996 revival of Chicago for which he received the Tony Award. I have had the great pleasure of knowing and working with Ken for more than 40 years, and it is always fascinating, and always a delight to speak with him. Theatrical lighting design is a very young art form. Its history begins primarily in the early 20th Century -- just as the Broadway musical was being invented. Lighting design's earliest innovators include the American actress Maude Adams – most famous today for her performance as Peter Pan – and producer, director, playwright, and theater owner David Belasco.  One of the recurring themes of this podcast, and one of my obsessions, is how the art and craft of the Broadway Musical has been handed down directly – first hand – from artists to artists, from craftsperson to craftsperson.  Ken Billington's long career and especially his early experiences as the assistant to the pioneering designers Peggy Clark, Pat Collins, Tom Skelton, William Rittman, and Tharon Musser make him the ideal guest for this episode. And of course, after Ken stopped being an assistant, he eventually became one of Broadway's most acclaimed and most prolific lighting designers. And we'll hear the story of how that came about on the next episode of Broadway Nation! You can learn more about Jean Rosenthal, Tharon Musser and other great women lighting designers on Episode 8 of Broadway Nation, which is titled, “Agnes DeMille & The Women That Invented Broadway”. It's a fascinating episode and I encourage you to check it out. Broadway Nation is written and produced by me, David Armstrong. Special thanks to Pauls Macs for his help with editing this episode, to KVSH 101.9 The Voice of Vashon, and to the entire team at the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the remarkable myths of the American Revolution is that it was an all male affair. Really? An eight year home front war and American women didn't notice it? In fact, women played vital roles throughout the war — from enforcing the boycotts of British imports to writing and publishing propaganda, from nursing the soldiers at Valley Forge to scavenging active battle fields for usable clothing and weapons. Carol Berkin dispels the myth that the success of the war rested solely on the shoulders of "great men" and explores the valuable contributions that women made to the effort — and beyond. Carol Berkin is Presidential Professor of History at Baruch College and a member of the history faculty of the Graduate Center of CUNY. She has worked as a consultant on several PBS and History Channel documentaries, including, The Scottsboro Boys, which was nominated for an Academy Award.See omnystudio.com/listener for privacy information.

SHOWS: Merrily We Roll Along, She Loves Me, Curtains David Loud occupies a unique place in Broadway history: in addition to his distinguished body of work as a music director and vocal arranger, he has also originated three roles as an actor. He most recently served as Music Director for the Broadway premiere of The Visit, starring Chita Rivera and Roger Rees. Other credits include the original Broadway productions of The Scottsboro Boys, Sondheim on Sondheim, Curtains, Ragtime, A Class Act, Steel Pier, and revivals of Porgy and Bess, She Loves Me, Company, and Sweeney Todd. He originated the role of Manny in Terrence McNally's Master Class (starring Zoe Caldwell), played Sasha (the conductor) in Curtains, and made his Broadway debut in Harold Prince's original 1981 production of Stephen Sondheim's Merrily We Roll Along. Off-Broadway, David created the vocal and dance arrangements for Kander & Ebb's And the World Goes ‘Round. He has created arrangements for Marin Mazzie, Jason Danieley, Audra MacDonald, Victoria Clark, Paulo Szot, Liz Callaway, Betty Buckley, and Barbara Cook. He conducted the incidental music for Mike Nichols's revival of Death of a Salesman and collaborated with Wynton Marsalis and John Doyle on A Bed and a Chair, a jazz interpretation of Sondheim's music. Other recent projects include The Land Where the Good Songs Go, a concert of Jerome Kern songs at Merkin Concert Hall; First You Dream, a concert of Kander & Ebb songs that was broadcast on PBS; and three programs in the 92nd Street Y's Lyrics and Lyricists series: On A Clear Day: The Musical Vision of Burton Lane, Taking a Chance on Love: The Music of Vernon Duke, and A Good Thing Going: The Stephen Sondheim and Harold Prince Collaboration. He is a graduate of Yale University and has been on the faculty of the Yale School of Drama and Fordham University. Learn more about your ad choices. Visit megaphone.fm/adchoices

With credits in singing, dancing, acting and choreographing, and now a 2022 Tony Nominee for his role in Broadway's first-ever revival of Funny Girl, Jared Grimes deserves the title “quadruple threat”. The Broadway Star recalls his early days when he would tap dance and perform in the New York City subway and other spots in the city. Jared shares the story of how he landed a gig as Mariah Carey's backup dancer, and how he pulled off filming Manifest and rehearsing for Funny Girl at the same time. He talks about his inspiring outlook regarding rejection and why he considers it as "just a different path to another opportunity", resilience as one of his superpowers, and the importance of finding your purpose. Jared is a dancer, singer, actor, and choreographer whose long list of credits includes touring with iconic singer, Mariah Carey, and dancing for popular artists like Salt-n-Pepa and Busta Rhymes. His theatre performance credits include "A Soldiers Play on Broadway", "The Radio City Spring Spectacular", "After Midnight on Broadway", "Twist", "Babes in Arms", and "Gentlemen Prefer Blondes". His TV credits include NBC's Manifest, Fox's "Fringe" and HBO's "Boardwalk Empire". His choreography credits include “Banana Shpeel” off-broadway, “After Midnight” on Broadway, and “Holler If You Hear Me”, “Jelly's Last Jam”, “The Scottsboro Boys”, "Ain't Misbehaving", “42nd Street” where he won a Jeff Award for Best Choreography and “Lights Out: Nat King Cole” where he won a Barrymore Award for Best Choreography. Jared has also choreographed his first film, "Breaking Brooklyn". His film credits include "The Marc Pease Experience", "Little Manhattan" and "First Born. In this episode, we talk about: The history of tap dancing Dancing for Mariah Carey, Busta Rhymes, Salt-n-Pepa, and more Bailing school to audition as one of Mariah Carey's backup dancers Trying out for his middle school basketball team and getting cut twice Getting the role of Eddie Ryan in Funny Girl Connect with Jared: Twitter: @JaredMGrimes Instagram: @grimeystepz Website: jaredmgrimes.com Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast TikTok: @thetheatrepodcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this first study of Black radicalism in midwestern cities before the civil rights movement, Melissa Ford connects the activism of Black women who championed justice during the Great Depression to those involved in the Ferguson Uprising and the Black Lives Matter movement. A Brick and a Bible: Black Women's Radical Activism in the Midwest During the Great Depression (Southern Illinois UP, 2022) examines how African American working-class women, many of whom had just migrated to “the promised land” only to find hunger, cold, and unemployment, forged a region of revolutionary potential. A Brick and a Bible theorizes a tradition of Midwestern Black radicalism, a praxis-based ideology informed by but divergent from American Communism. Midwestern Black radicalism that contests that interlocking systems of oppression directly relates the distinct racial, political, geographic, economic, and gendered characteristics that make up the American heartland. This volume illustrates how, at the risk of their careers, their reputations, and even their lives, African American working-class women in the Midwest used their position to shape a unique form of social activism. Case studies of Detroit, St. Louis, Chicago, and Cleveland—hotbeds of radical activism—follow African American women across the Midwest as they participated in the Ford Hunger March, organized the Funsten Nut Pickers' strike, led the Sopkin Dressmakers' strike, and supported the Unemployed Councils and the Scottsboro Boys' defense. Ford profoundly reimagines how we remember and interpret these “ordinary” women doing extraordinary things across the heartland. Once overlooked, their activism shaped a radical tradition in midwestern cities that continues to be seen in cities like Ferguson and Minneapolis today. Omari Averette-Phillips is a doctoral student in the department of history at UC Davis. He can be reached at okaverettephillips@ucdavis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In this first study of Black radicalism in midwestern cities before the civil rights movement, Melissa Ford connects the activism of Black women who championed justice during the Great Depression to those involved in the Ferguson Uprising and the Black Lives Matter movement. A Brick and a Bible: Black Women's Radical Activism in the Midwest During the Great Depression (Southern Illinois UP, 2022) examines how African American working-class women, many of whom had just migrated to “the promised land” only to find hunger, cold, and unemployment, forged a region of revolutionary potential. A Brick and a Bible theorizes a tradition of Midwestern Black radicalism, a praxis-based ideology informed by but divergent from American Communism. Midwestern Black radicalism that contests that interlocking systems of oppression directly relates the distinct racial, political, geographic, economic, and gendered characteristics that make up the American heartland. This volume illustrates how, at the risk of their careers, their reputations, and even their lives, African American working-class women in the Midwest used their position to shape a unique form of social activism. Case studies of Detroit, St. Louis, Chicago, and Cleveland—hotbeds of radical activism—follow African American women across the Midwest as they participated in the Ford Hunger March, organized the Funsten Nut Pickers' strike, led the Sopkin Dressmakers' strike, and supported the Unemployed Councils and the Scottsboro Boys' defense. Ford profoundly reimagines how we remember and interpret these “ordinary” women doing extraordinary things across the heartland. Once overlooked, their activism shaped a radical tradition in midwestern cities that continues to be seen in cities like Ferguson and Minneapolis today. Omari Averette-Phillips is a doctoral student in the department of history at UC Davis. He can be reached at okaverettephillips@ucdavis.edu. 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 this first study of Black radicalism in midwestern cities before the civil rights movement, Melissa Ford connects the activism of Black women who championed justice during the Great Depression to those involved in the Ferguson Uprising and the Black Lives Matter movement. A Brick and a Bible: Black Women's Radical Activism in the Midwest During the Great Depression (Southern Illinois UP, 2022) examines how African American working-class women, many of whom had just migrated to “the promised land” only to find hunger, cold, and unemployment, forged a region of revolutionary potential. A Brick and a Bible theorizes a tradition of Midwestern Black radicalism, a praxis-based ideology informed by but divergent from American Communism. Midwestern Black radicalism that contests that interlocking systems of oppression directly relates the distinct racial, political, geographic, economic, and gendered characteristics that make up the American heartland. This volume illustrates how, at the risk of their careers, their reputations, and even their lives, African American working-class women in the Midwest used their position to shape a unique form of social activism. Case studies of Detroit, St. Louis, Chicago, and Cleveland—hotbeds of radical activism—follow African American women across the Midwest as they participated in the Ford Hunger March, organized the Funsten Nut Pickers' strike, led the Sopkin Dressmakers' strike, and supported the Unemployed Councils and the Scottsboro Boys' defense. Ford profoundly reimagines how we remember and interpret these “ordinary” women doing extraordinary things across the heartland. Once overlooked, their activism shaped a radical tradition in midwestern cities that continues to be seen in cities like Ferguson and Minneapolis today. Omari Averette-Phillips is a doctoral student in the department of history at UC Davis. He can be reached at okaverettephillips@ucdavis.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Today I am going to start with a question. What would it take to bring an entirely segregated city to its knees?  What if I told you, it would only take one woman who was simply tired of giving in.This is a two-part series covering the life of the American Icon, Rosa Parks.We are looking for hometown True Crime stories for future episodes.  Please send your stories to us at: TheSecretSitsPodcast@gmail.comPodcast Promo from: The Crime Diner Podcasthttps://podcasts.apple.com/us/podcast/crime-diner/id1483359151Support the showhttps://www.buymeacoffee.com/TheSecretSitsFollow us on our social media at:https://www.youtube.com/channel/UCwnfvpNBYTo9BP1sVuFsfGQTheSecretSitsPodcast (@secretsitspod) / Twitterhttps://www.instagram.com/thesecretsitspodcast/https://www.facebook.com/TheSecretSitsPodcasthttps://www.tiktok.com/@thesecretsitspodcast?lang=en#RosaParks #RaymondParks #Montgomery #MontgomeryBusBoycott #Boycott #Tuskegee #NAACP #ScottsboroBoys #USSC #SupremeCourt #segregation #VoterRegistration #USConstitution #SeparatebutEqual #Equality #ThurgoodMarshall #KetanjiBrownJackson #Birmingham #VirginiaDurr #BLMShooting Straight Radio PodcastWelcome to 2nd Amendment University!! This podcast (formerly known as "Shooting...Listen on: Apple Podcasts SpotifySupport the show

“To see your heroes fail,” continues Loud, “is to learn something really important at the beginning of someone's career. Anybody can have a bomb. Anybody can flop. And to start out your career with a monumental flop, the way I did, boy do I appreciate a show that goes well and hits now!” We're speaking with a multi-hyphenate legend, here.  “That need to be in the theatre, that yearning to be in a musical or to work on a musical and have that be your life is so powerful,” says Loud. “And it bites us at different times in our lives. I knew for six years old what I wanted to do with my life and I never waivered.” While Mr. Loud knew what he wanted, he still had to figure out how and where he belonged in the industry – which took him a few tried to make sure he was going down the right road. After his first Broadway musical, the legendary Merrily We Roll Along, flopped – he had to pivot. And now, in 2022, Mr. Loud continues to work with Parkinson's disease, still figuring out ways to pivot and continue to tell his stories.  David Loud, famed Broadway music director, arranger, performer, and teacher continues the multi-hyphenate theatre artist legacy by adding author to his hyphens. His new book, Facing the Music, is now available for purchase.  “I have always been a multi-hyphenate, I think,” says Loud. “I always found this niche for myself of the pianist who can say a few lines on stage. I've never quite fit into only one category. I love doing lots of different things in the theatre. I've always wanted to do everything in the theatre.” And now, theatre lovers everywhere can read about Mr. Loud's fantastic journey in show business. One can begin to understand what a multi-hyphenate's life was life before the word multi-hyphenate grew in popularity.  “When we moved to New York to go into showbusiness – we were not graduates of musical theatre academies,” continues Loud. “We learned by doing and we learned from our friends and we learned by imitating and we went to auditions and we figured out what worked and what didn't work. We had to be self-starters in that way.” In this episode, we speak about our love for musical theatre, what it was really like to work with Stephen Sondheim, how multi-hyphenating stems out of need to be a part of any aspect of the theatre, his experience working on Merrily We Roll Along, casting choices that have excited us throughout the years, and the importance of failure.  David Loud occupies a unique place in Broadway history. In addition to his distinguished career as one of Broadway's most respected music directors and arrangers, he originated three Broadway roles as an actor, including his appearance in the original cast of Stephen Sondheim's legendary failure (and cult classic) Merrily We Roll Along, directed by Harold Prince. In a career spanning several decades, he served as music director for the original Broadway productions of Ragtime, Curtains, Sondheim on Sondheim, The Visit, The Scottsboro Boys, A Class Act, The Look of Love, and Steel Pier, as well as revivals of She Loves Me, Company, and Sweeney Todd. He also appeared alongside Zoe Caldwell and Audra McDonald in Terrence McNally's Tony-winning play, Master Class. About Facing the Music – Musical Director and arranger David Loud, a legendary Broadway talent, recounts his wildly entertaining and deeply poignant trek through the wilderness of his childhood and the edge-of-your-seat drama of a career on, in, under, and around Broadway for decades. He reveals his struggle against the ravages of Parkinson's and triumphs repeatedly. This memoir is also a remarkable love letter to music. Loud is the 'Ted Lasso' of the theater business, ever the optimist. An inspiration to all! Learn more about your ad choices. Visit megaphone.fm/adchoices

David has a unique place in Broadway history. No only has he music directed some of your favorite Broadway shows of the last 20+ years (Ragtime, Company 1995, She Loves Me 1993, to name a few) but he is also the originator of the three roles on the Broadway stage in Master Class, Curtains, and Merrily We Roll Along. Topics include: Stro's kitchen table, touring with Scott Ellis, wanting to be Paul Gemignani, and the 7-hour version of Curtains. Get David's memoir Facing the Music Featured recordings: The Scottsboro Boys - Original Cast Recording (2010) • Curtains - Original Broadway Cast Recording (2007) Visit our Patreon for access to our monthly live stream The Original Cast at the Movies where this year we're talking musical sequels and musical biopics! Patreon • Twitter • Facebook • Email