Podcast appearances and mentions of Sinclair Lewis

Episode 307Guest: Dmitry SamarovBooks: Moby Dick, The Marvel Universe, Babbitt---This week on Salt Lake Dirt, Kyler welcomes back the talented artist and author Dmitry Samarov to discuss his latest projects, including the visually stunning reissue of Moby Dick, The Marvel Universe by Bruce Wagner, and Babbitt by Sinclair Lewis. Dmitry shares insights into his creative process and the challenges of illustrating public domain texts, revealing how his artistic vision brings new life to classic literature.The conversation dives into Dmitry's journey of self-publishing and the unique approach he takes to each project, emphasizing the importance of tangible imagery that complements the written word. He discusses the intricacies of formatting and the labor-intensive nature of his work, as well as the excitement surrounding his upcoming release of Moby Dick, which features his illustrations and is set to launch in May through Maudlin House.Listeners will enjoy this episode as it explores themes of artistic expression, the relationship between text and illustration, and the evolving landscape of publishing in the digital age. Dmitry's passion for his craft and his thoughtful reflections on the current state of literature make this a compelling discussion for artists, readers, and anyone interested in the intersection of art and storytelling.Thanks for listening!---Episode Links:Purchase Moby Dick from Maudlin HouseDmitrySamarov.comPurchase The Marvel UniversePurchase Babbitt

Pusztító lesz a Popeye-horrorfilm, itt az új előzetes! Mafab     2025-02-07 04:00:03     Film Mozi A Shiver Me Timbers teljesen újragondolja a közkedvelt Popeye, a tengerész karakterét, amely idén márciusban debütál majd a mozikban. Az Operaház több mint 300 fős előadással búcsúzik az Erkel Színháztól Librarius     2025-02-07 10:00:11     Zene Színház Magyar Állami Operaház Történelmi búcsú: Az Erkel Színháztól 1949-től 2024-ig, vagyis 75 éven át volt a Magyar Állami Operaház játszóhelye. Sinclair Lewis a színtelen sorsokat is színesen tudta ábrázolni kultura.hu     2025-02-07 08:00:00     Könyv USA Nobel-díj Száznegyven éve, 1885. február 7-én született Sinclair Lewis író, A sólyom útja, a Babbitt, az Arrowsmith és az Ez nálunk lehetetlen című regények szerzője, az első amerikai, aki irodalmi Nobel-díjat kapott. Programok a hétvégére Tudás.hu     2025-02-07 10:34:52     Zene Hétvége Müpa Nézze meg, milyen programokat ajánlunk a hétvégére. Hangvár a Müpában Különböző zenei formációkkal ismerkedhetnek meg a gyerekek a Müpában a szombaton debütáló Hangvár – Építsünk zenét sorozat első előadásán. A Hangvár sorozat azt mutatja meg a gyerekeknek, hogyan épülnek egymásra a zene építőkövei. Sőnfeld Mátyás vezetésével az érdeklődők megtudha A gyerekkorunknak vége: Harrison Ford visszavonul Blikk     2025-02-06 21:50:36     Film háború Interjú Harrison Ford A 82 éves filmes legendát, Harrison Fordot egy friss interjúban arról kérdezték, milyen tervei vannak még a karrierjét tekintve. Ám a Csillagok háborújának sztárja csak annyit felelt, miszerint készen áll rá, hogy felhagyjon a munkával. A színész azt ígérte, a jelenleg zajló munkáit még befejezi, de utána végleg elköszön a filmipartól. VHK: Tudtuk, hogy képesek vagyunk megmozdítani a világot Telex     2025-02-06 19:29:57     Zene Koncert Az 50 éve aktív Vágtázó Halottkémek 2025-ben új lemezzel és jubileumi koncerttel jelentkezik. Az Afterben blöffölve összehozott külföldi koncertjükről, titkosrendőrökről és a zenekar különcségéről is beszélgettünk velünk. Kísértet járja be Amerikát, a filmrendező kísértete 24.hu     2025-02-06 19:47:55     Film USA A Jelenlétben végig egy kopogó szellem nézőpontjából látjuk egy család életének eseményeit. Igazán rémisztő alapötlet, de nem a szellem, hanem a család miatt. Kritika. Gyűlöletcunami sodorta el Tóth Verát Story     2025-02-06 20:56:23     Bulvár Tóth Vera Az énekesnő pszichológus segítségét kérte, aki felvilágosította: tudományos oka van, miért bántják még a saját rajongói is. Post Malone, Taylor Swift, Charli Xcx és Harry Potter filmzene is lesz az idei Lemezboltok Napja kínálatában refresher.hu     2025-02-07 09:02:00     Zene Taylor Swift Harry Potter Idén is lesz Lemezboltok napja, aminek alkalmából exklúzív megjelenések árasztják majd el a világ, és ezzel együtt Budapest független lemezboltjait. Jurassic World: Újjászületés - megérkezett a trailer Origo     2025-02-06 20:00:00     Film Mozi Jurassic Park 2025. február 5-én futott be az Universal új, nagyszabású dinós mozijának trailere. A Jurassic World: Újjászületés Scarlett Johannson főszereplésével érkezik. Michael Ende: Momo Ekultura     2025-02-07 10:00:00     Könyv Olaszország Hihetetlen, hogy ez a könyv először 1972-ben jelent meg, vagyis már több mint ötven éves, ráadásul német nyelven íródott, miközben szerzője Olaszországban élt. Különlegességét jelzi, A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Pusztító lesz a Popeye-horrorfilm, itt az új előzetes! Mafab     2025-02-07 04:00:03     Film Mozi A Shiver Me Timbers teljesen újragondolja a közkedvelt Popeye, a tengerész karakterét, amely idén márciusban debütál majd a mozikban. Az Operaház több mint 300 fős előadással búcsúzik az Erkel Színháztól Librarius     2025-02-07 10:00:11     Zene Színház Magyar Állami Operaház Történelmi búcsú: Az Erkel Színháztól 1949-től 2024-ig, vagyis 75 éven át volt a Magyar Állami Operaház játszóhelye. Sinclair Lewis a színtelen sorsokat is színesen tudta ábrázolni kultura.hu     2025-02-07 08:00:00     Könyv USA Nobel-díj Száznegyven éve, 1885. február 7-én született Sinclair Lewis író, A sólyom útja, a Babbitt, az Arrowsmith és az Ez nálunk lehetetlen című regények szerzője, az első amerikai, aki irodalmi Nobel-díjat kapott. Programok a hétvégére Tudás.hu     2025-02-07 10:34:52     Zene Hétvége Müpa Nézze meg, milyen programokat ajánlunk a hétvégére. Hangvár a Müpában Különböző zenei formációkkal ismerkedhetnek meg a gyerekek a Müpában a szombaton debütáló Hangvár – Építsünk zenét sorozat első előadásán. A Hangvár sorozat azt mutatja meg a gyerekeknek, hogyan épülnek egymásra a zene építőkövei. Sőnfeld Mátyás vezetésével az érdeklődők megtudha A gyerekkorunknak vége: Harrison Ford visszavonul Blikk     2025-02-06 21:50:36     Film háború Interjú Harrison Ford A 82 éves filmes legendát, Harrison Fordot egy friss interjúban arról kérdezték, milyen tervei vannak még a karrierjét tekintve. Ám a Csillagok háborújának sztárja csak annyit felelt, miszerint készen áll rá, hogy felhagyjon a munkával. A színész azt ígérte, a jelenleg zajló munkáit még befejezi, de utána végleg elköszön a filmipartól. VHK: Tudtuk, hogy képesek vagyunk megmozdítani a világot Telex     2025-02-06 19:29:57     Zene Koncert Az 50 éve aktív Vágtázó Halottkémek 2025-ben új lemezzel és jubileumi koncerttel jelentkezik. Az Afterben blöffölve összehozott külföldi koncertjükről, titkosrendőrökről és a zenekar különcségéről is beszélgettünk velünk. Kísértet járja be Amerikát, a filmrendező kísértete 24.hu     2025-02-06 19:47:55     Film USA A Jelenlétben végig egy kopogó szellem nézőpontjából látjuk egy család életének eseményeit. Igazán rémisztő alapötlet, de nem a szellem, hanem a család miatt. Kritika. Gyűlöletcunami sodorta el Tóth Verát Story     2025-02-06 20:56:23     Bulvár Tóth Vera Az énekesnő pszichológus segítségét kérte, aki felvilágosította: tudományos oka van, miért bántják még a saját rajongói is. Post Malone, Taylor Swift, Charli Xcx és Harry Potter filmzene is lesz az idei Lemezboltok Napja kínálatában refresher.hu     2025-02-07 09:02:00     Zene Taylor Swift Harry Potter Idén is lesz Lemezboltok napja, aminek alkalmából exklúzív megjelenések árasztják majd el a világ, és ezzel együtt Budapest független lemezboltjait. Jurassic World: Újjászületés - megérkezett a trailer Origo     2025-02-06 20:00:00     Film Mozi Jurassic Park 2025. február 5-én futott be az Universal új, nagyszabású dinós mozijának trailere. A Jurassic World: Újjászületés Scarlett Johannson főszereplésével érkezik. Michael Ende: Momo Ekultura     2025-02-07 10:00:00     Könyv Olaszország Hihetetlen, hogy ez a könyv először 1972-ben jelent meg, vagyis már több mint ötven éves, ráadásul német nyelven íródott, miközben szerzője Olaszországban élt. Különlegességét jelzi, A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

In der neuen Folge heben Jan und Daniel ab: Mit dem Roman "Umlaufbahnen" von Samantha Harvey kreisen sie buchstäblich sechzehnmal am Tag um die Erde. Auch kulinarisch gibt es Astronautennahrung, denn Daniel hat astronomisch guten Borschtsch gekocht. Andere Bücher gehen mitten hinein ins irdische Familienglück oder eher: Unglück. Ein Debütroman über das Zerbrechen einer Ehe begeistert die beiden, geschrieben hat ihn Nora Schramm, sie ist Gast der Folge. Auch der Bestseller "Zwischen Ende und Anfang" von Jojo Moyes kreist ganz nah im familiären Orbit von Trennung und neuer Liebe. Alle Infos zum Podcast: https://ndr.de/eatreadsleep Mail gern an: eatreadsleep@ndr.de Unseren Newsletter gibt es hier: https://ndr.de/eatreadsleep-newsletter Podcast-Tipps: Alles in Butter: https://www.ardaudiothek.de/sendung/wdr-5-alles-in-butter/55477020/ Die Bücher der Folge: (00:05:36) Jojo Moyes: "Zwischen Ende und Anfang". Wunderlich (Bestsellerchallenge) (00:15:53) Tommy Orange: "Verlorene Sterne". Hanser Berlin (Tipp von Jan) (00:24:22) Samantha Harvey: "Umlaufbahnen". dtv (Tipp von Daniel und Literarische Vorspeise) (00:33:31) Nora Schramm: "Hohle Räume". Matthes & Seitz (Unser Gast) (00:50:07) Philipp Roth: "Verschwörung gegen Amerika".Rowohlt (All Time Favourite von Daniel) (00:51:46) Sinclair Lewis: "Das ist bei uns nicht möglich". Aufbau (All Time Favourite von Jan) (00:54:35) Colum McCann: "Der Tänzer". Rowohlt (Buchladentipp von Daniel) (00:57:20) Daphne Kalotay: "Die Tänzerin im Schnee". Aufbau Taschenbuch (Buchladentipp von Jan) Ausgelost für die Bestsellerchallenge: Tommy Goertz: "Im Schnee". Piper Das Rezept für Astronauten-Borschtsch gibt es hier http://www.ndr.de/kultur/buch/eatreadsleep998.html eat.READ.sleep. ist der Bücherpodcast, der das Lesen feiert. Jan Ehlert, Daniel Kaiser und Katharina Mahrenholtz diskutieren über Bestseller, stellen aktuelle Romane vor und präsentieren die All Time Favorites der Community. Egal ob Krimis, Klassiker, Fantasy, Science Fiction, Kinder- und Jugendbücher, Urlaubsbücher, Gesellschafts- und Familienromane - hier hat jedes Buch seinen Platz. Und auch kulinarisch (literarische Vorspeise!) wird etwas geboten und beim Quiz am Ende können alle ihr Buch-Wissen testen und Fun Facts für den nächsten Smalltalk mitnehmen.

The Stuph File Program Featuring Louis Ferrante, author of Borgata: Clash Of The Titans, A History Of The American Mafia; & Stuart Nulman with Book Banter Download Former mobster, Louis Ferrante, is back on the show, to talk about the second book in his Mafia history trilogy. This one is called Borgata: Clash Of Titans, A History Of The American Mafia. Stuart Nulman with another edition of Book Banter. This week it's a themed segment featuring classic books that were banned. The reviewed titles are: Elmer Gantry by Sinclair Lewis (originally published in 1927). All Quiet on the Western Front by Erich Maria Remarque (originally published in 1929) The Diary of A Young Girl by Anne Frank (originally published in 1947) Doctor Zhivago by Boris Pasternak (originally published in 1957) The Handmaid's Tale by Margaret Atwood (originally published in 1985) Banned Books: The World's Most Controversial Books, Past and Present (Dorling Kindersley Publishing, $23.99) You can also read Stuart's reviews in The Montreal Times and his articles in The Main. This week's guest slate is presented by Jim Connell, the morning man and programmer for CFQR600 in Montreal.

5/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Panics of 1938"

8/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Power"

6/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 federal Theater "She Stoops to Conquer"

7/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Ferdinand the Bull"

4/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Mikado"

3/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Ferdinaand the Bull."

2/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Dance of the Nations"

1/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "It Can''t Hppen Here"

Joan discusses an intriguing book titled 'The Algonquin Roundtable: 25 Years with the Legends Who Lunch,' edited by Mirana Comstock and originally authored by Konrad Bercovici. The book explores the vibrant history of the Algonquin Hotel in New York City, a famed gathering spot for writers, musicians, and actors like Dorothy Parker, Sinclair Lewis, and John Barrymore. Joan and Marana delve into the hotel's impact on New York's artistic scene and Comstock personal connection and efforts in bringing her grandfather's manuscripts to light. Stories of Charlie Chaplin, Ernest Hemingway, and more are highlighted, along with insights into the cultural and historical significance of the Algonquin Roundtable. Learn more about your ad choices. Visit megaphone.fm/adchoices

PREVIEW: PRESIDENTIAL PARDON Andrew McCarthy of National Review examines the limits of presidential pardon powers regarding Hunter Biden, considering known and unknown aspects of alleged influence peddling from 2014 to 2019. More tonight. 1937 Federal Theater: "It Can't Happen Here," by Sinclair Lewis.

POTUS: The Biden Pardon and After. Thaddeus McCotter, American Greatness 1937 "It Can't Happen Here" by Sinclair Lewis, Federal Theater

Merriam-Webster's Word of the Day for November 16, 2024 is: steadfast • STED-fast • adjective Someone described as steadfast is very devoted or loyal to a person, belief, or cause. Steadfast is also used to describe something, such as support, that remains unchanging. // Despite the singer's recent change in creative direction, his true fans have remained steadfast. // She remained committed to her steadfast belief in nature's ability to heal itself. See the entry > Examples: "Describing the slowness of change is often confused with acceptance of the status quo. It's really the opposite: an argument that the status quo must be changed, and it will take steadfast commitment to see the job through. It's not accepting defeat; it's accepting the terms of possible victory." — Rebecca Solnit, LitHub.com, 11 Jan. 2024 Did you know? Steadfast has held its ground for many centuries. Its Old English predecessor, stedefæst, combines stede, meaning "place," and fæst, meaning "fixed." Steadfast was first used in battle contexts to describe warriors who literally stood their ground, which led to its "immovable" sense, as when Sinclair Lewis wrote of "a castle, steadfast among storms." (The word was also once used to describe steady hands, as well as substances that keep their solid, firm state.) These senses were soon joined by one applied to people's character, implying unswerving faith, loyalty, or devotion; arriving in the 12th century, this meaning has remained steady in the English language ever since.

Do you believe in bones? This week the Abyss crew gets Ghoulish with Max Booth to discuss their newest book I Believe in Mister Bones. Before they start questioning what those bones are doing, they chat about Heretic, Justin Lutz's Give Unto Us, The Flick by Annie Baker, Sinclair Lewis' It Can't Happen Here, and Tone-Bone by Kyle Winkler. Now strap those jaws to a garage door opener and listen in!   Buy I Believe in Mister Bones 

Basados en video: Why did the middle classes support fascism? Jonas Čeika - CCK Philosophy https://www.youtube.com/watch?v=RqESHNvmP20 “No todo pequeño burgués desesperado se va a convertir en un Hitler, pero hay una partícula de Hitler dentro de todo pequeño burgués desesperado” Trotsky Primer segmento: ¿Cómo definimos fascismo? The 10 tactics of fascism | Jason Stanley | Big Think https://www.youtube.com/watch?v=CpCKkWMbmXU 14 Characteristics of Fascism https://www.youtube.com/watch?v=oBqBbBGsqts Pasado idealizado Hipernacionalimo Religioso Xenofóbico Militarista Corporativista Anti intelectualismo “Ley y orden” Raza Clase Necesidad de controlar la otredad Trabajo Cárcel Antisindicalismo Bipolaridad urbano y rural Uso propaganda Gerarquias Victimas de “la igualdad” Caudillismo como alternativa Segundo segmento: ¿Cómo definimos la clase media? Creyentes en el individualismo Industriales Militares Clase media (pequeña burguesía) En EEUU los pequeños comerciantes Auto empleados Clase gerencial Agricultores con tierras En Puerto Rico la clase burocrática, la tecnócrata y la gerencial La clase medía como espacio social: En EEUU reproduce el imaginario del mito fundacional del sujeto libre e independiente Si bien puede tener “simpatía por el pobre que sufre”, se identifican con la visión de mundo de la clase dominante Cree y reproduce la narrativa del empresarismo y el logro individual Tercer segmento: Manipulación de esa clase Promesas de “revitalización” del prestigio Proteción ante el abuso de otros sectores (progresistas o radicales) Reafirmación del miedo a ser vistos como meros obreros Demonización de las otras clases Capitalista explotadora con influencias Revolucionarios anti propiedad privada Obreros organizados exigiendo seguridad social y mejor salarios Paranoia simple Xenofobía Otrades Cuarto segmento: ¿Quiénes le hacen frente a este fascimo? Creyente en soluciones colectivas, comunitarias, solidarias Sectores realmente pobre Obreros organizados Miedos y preocupaciones socializados y solidarios Diversidad en el taller, genera tolerancia y respeto al otro Cooperativista A la hora de la toma del poder: Apoyo al gran capital y al capital monopolista Persecución a los sectores demonizados Represión de todo sector contestario, sobre todo el organizado Eliminación de protecciones sociales y ambientales “Cuando el fascismo llegue a Estados Unidos lo hará envuelto en la bandera y portando una cruz” Sinclair Lewis, novelista sátiro y premio Novel de la Literatura 1930 El cuadro actual: Trump Jgo

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  5/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935 FEDERAL THEATER

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1940 HUAC

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  2/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 FEDERAL THEATER

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 3 /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 "IT CAN'T HAPPEN HERE"

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 4 /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1953 HUAC

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  6/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 FEDERAL THEATER 

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  7/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal.

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 8 /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal.

Lux Radio Theatre | Dodsworth (Walter Huston, Nan Sunderland) || Stella Dallas (Barbara Stanwyck, John Boles) || Broadcast: October 4, 1937; October 11, 193700:00 ... Dodsworth -- Dodsworth was a 1936 American drama film directed by William Wyler, and starring Walter Huston, Ruth Chatterton, Paul Lukas, Mary Astor and David Niven. Sidney Howard based the screenplay on his 1934 stage adaptation of the 1929 novel of the same name by Sinclair Lewis. Huston reprised his stage role.56:17 ... Stella Dallas -- was a 1937 American drama film based on Olive Higgins Prouty's 1923 novel of the same name. It was directed by King Vidor and stars Barbara Stanwyck, John Boles, and Anne Shirley. At the 10th Academy Awards, Stanwyck and Shirley were nominated for Best Actress in a Leading Role and Best Actress in a Supporting Role, respectively.: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES -- THE COMPLETE ORSON WELLESSubscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#dramaclassics #oldtimeradio #otr #radiotheater #radioclassics #luxradio #cecilbdemille #gunsmoke #oldtimeradioclassics #classicradio #crimeclassics #duaneotr:::: :

Send us a textElizabeth Garver Jordan's riveting coverage of the Lizzie Borden trial for The New York World captivated true-crime junkies of the late 19th-century, and her lengthy career as a journalist, fiction writer and literary editor still resonates today. Lori Harrison-Kahan and Jane Carr, editors of a brand new collection of Garver Jordan's work, join us this week to discuss her courtroom dispatches, her connection to today's #MeToo movement and how her “invisible labor” shaped the writing of literary giants like Sinclair Lewis and Henry James. Mentioned in this Episode: The Case of Lizzie Borden & Other Writings by Jane Carr and Lori Harrison-KahanElizabeth Garver Jordan's work:The Sturdy OakThe Whole Family The Lady of PentlandsThree Rousing Cheers“Ruth Herrick's Assignment”“The Cry of the Pack”The Superwoman and Other Writings by Miriam MichelsonHeirs of Yesterday by Emma WolfThe New York WorldNellie BlyThe Lizzie Borden caseThe Lizzie Borden house in Fall River, Mass.Harper's BazaarHarper and BrothersThe White Negress: Literature, Minstrelsy, and the Black Jewish Imaginary by Lori Harrison KahanAmish RumspringaSupport the showFor episodes and show notes, visit: LostLadiesofLit.comDiscuss episodes on our Facebook Forum. Follow us on instagram @lostladiesoflit. Follow Kim on twitter @kaskew. Sign up for our newsletter: LostLadiesofLit.com Email us: Contact — Lost Ladies of Lit Podcast

Less than two weeks before the election, Donald Trump's former White House Chief of Staff tells the New York Times that he believes the former president meets the definition of a fascist. The Washington Post's Philip Bump tells us more. Then, Matthew Broderick stars in a new adaptation of "Babbitt," the acclaimed Sinclair Lewis novel. Broderick talks about how the play brings the 1922 book into the present. And, more than 24 million Americans listen to noncommercial music stations each week. For Public Radio Music Day, we highlight two of those stations.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Today we have our weekly review from Midday theater critic J. Wynn Rousuck. This week she explores Babbitt starring two-time Tony award winner Matthew Broderick.  The play is a stage adaptation of Sinclair Lewis's politically satirical critique of the American dream. Babbitt runs through November 3 at the Shakespeare Theatre Company in Washington.Email us at midday@wypr.org, tweet us: @MiddayWYPR, or call us at 410-662-8780.

Theatre and baseball were the topics of Wednesday's program. We chatted with Karen Braz and Glenn Stuart of the Community Players of Concord. Karen is directing this weekend's production of "Charlotte's Web" with the Children's Theatre Project and Glenn is the director of next week's presentation of Sinclair Lewis' "It Can't Happen Here." For more information: www.communityplayersofconcord.org We talked baseball with Dave Brown, co-author along with Jeff Rodimer of the new book "Shadows of Glory: Memorable and Offbeat World Series Stories."

And exclusive sneak peek of a brand new radio play starring Edie Falco, John Turturro and Tony Shalhoub. Inspired by Sinclair Lewis' dystopian novel, It Can't Happen Here, Richard Dresser's novel, and now 6-part radio play called It Happened Here 2024, offers a glimpse of what could happen after the 2024 election if fascism creeps into the USA. The story centers around the Weeks family as they brace for the election. Paul and Ruth's family work to defeat the so-called Great Leader. Paul's brother Garret and his family are on the other side. Family get-togethers are tense. When the Great Leader, with a giant boost from the Supreme Court, shockingly wins the quote, “most important election ever,” the family is thrown into chaos.It Happened Here 2024 describes a country that still has Netflix and free two-day delivery, where the only thing lost is freedom....Listen to the rest of the episodes wherever you get your podcasts!  On the Media is supported by listeners like you. Support OTM by donating today (https://pledge.wnyc.org/support/otm). Follow our show on Instagram, Twitter and Facebook @onthemedia, and share your thoughts with us by emailing onthemedia@wnyc.org.

8/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H rom 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal.5  1905 HIPPODROME NYC

GOOD EVENING: The show begins in Pennsylvania with Salena Zito commenting on the maverick and compelling Senator John Fetterman of Braddock, PA. 1912 Breaker Boys Pennsylvania CBS EYE ON THE WORLD WITH JOHN BATCHELOR FIRST HOUR 9-915 #KeystoneReport: John Fetterman just didn't care to go to Chicago. Salena Zito, Middle of Somewhere, @DCExaminer Pittsburgh Post-Gazette, New York Post, SalenaZito.com 915-930 #PacificWatch: #VegasReport: The Sphere brings in $1 million a day. @JCBliss 930-945 #SmallBusinessAmerica: The Fed and small business. @GeneMarks @Guardian @PhillyInquirer 945-1000 #SmallBusinessAmerica: Boomers sell to Millennials. @GeneMarks @Guardian @PhillyInquirer SECOND HOUR 10-1015 #CALIFORNIA: Gavin Newsom left off the stage at Chicago, why? Bill Whalen, Hoover Institution 1015-1030 #KURSK: Another nuclear power plant in a war zone. Henry Sokolski, NPEC 1030-1045 #SCOTUS: On "price-gouging" home mortgage "subsidizing" and other micromanagement tools. Richard Epstein, Hoover Institution 1045-1100 #SCOTUS: Both parties and candidates fail on entitlements. Richard Epstein, Hoover Institution THIRD HOUR 1100-1115 5/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by James Shapiro (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two-thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted "un-American" activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House Un-American Activities Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, "the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent." A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1115-1130 6/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War Kindle Edition by James Shapiro (Author) 1130-1145 7/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War Kindle Edition by James Shapiro (Author) 1145-1200 8/8: The Playbook: A Story of Theater, Democracy, and the Making of a Culture War Kindle Edition by James Shapiro (Author) FOURTH HOUR 12-1215 LANCASTER REPORT: zDiscounts: Jim McTague, former Washington Editor, Barrons. @MCTagueJ. Author of the "Martin and Twyla Boundary Series." #FriendsofHistoryDebatingSociety 1215-1230 #ITALY: Overtourism. Lorenzo Fiori, Ansaldo Foundation 1230-1245 #NASA: Starliner's fate. Bob Zimmerman BehindtheBlack.com 1245-100 am MOON: China strikes water. Bob Zimmerman BehindtheBlack.com

7/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H rom 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1915 WASHINGTON DC

6/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H rom 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1919 MISSOURI

5/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H rom 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1920 GLOBE THEATER NYC

1/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1924 FDR nominating Al Smith

2/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1934 FDR

3/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1936 FDR and Sara Roosevelt

4/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1940 FDR at Pear lwith Nimitz and MacArthur

PREVIEW: FEDERAL THEATER: SINCLAIR LEWIS: Conversation with Professor James Shapiro of Columbia University regarding his new work, THE PLAYBOOK, telling the vast romantic tale of the five years of the Federal Theater during the Great Depression -- and the anecdotes are endlessly rich, such as this story of Sinclair Lewis preparing his novel IT CAN'T HAPPEN HERE, for the stage across America. MORE TONIGHT and next week. 1929 The Wall Street Crash

note from the archivist: Jimmy did not write episode notes for the remaining episodes artwork by Dakota (@DEEP_RED_BELLS) and Mr. Laaksonen Episode 89 Songs: Race For the Prize by the Flaming Lips Waiting for Superman by the Flaming Lips Dream On by Aerosmith

note from the archivist: Jimmy did not write episode notes for the remaining episodes artwork by Dakota (@DEEP_RED_BELLS) and Mr. Laaksonen Songs: Smoke! Smoke! Smoke! by Tex Williams Chan Chan by Buena Vista Social Club Cryin' by Aerosmith

In the 1930s, Grant Wood is one of the most famous people in America, the artist behind "American Gothic"—the painting of the man, the woman, and the pitchfork, standing outside their house. An artwork so celebrated and so curious it's called the “modern Mona Lisa.” But as times change and jealousy spreads, Wood suddenly finds himself fighting for his life and livelihood, protecting a secret he hid almost everywhere but in his achingly quirky, queer art. You can see Wood's curious, nostalgic style in "The Birthplace of Herbert Hoover," in the collection of the Minneapolis Institute of art: https://collections.artsmia.org/art/2805/the-birthplace-of-herbert-hoover-grant-wood Some see a self-portrait in "Sentimental Yearner," a drawing made for Sinclair Lewis's "Main Street": https://collections.artsmia.org/art/22510/sentimental-yearner-grant-wood

Sinclair Lewis' George F. Babbitt is a complicated and conflicted character. When you think you have his next move figured out he surprises you. As you begin to like him, he does something to evoke the “what a rat” response. At a pudgy balding forty six he looks at his life, wife, family and business. He sees himself as a pretty successful business man, but when Tanis, the lonely widow, has a leaky roof, he sees an opportunity for perhaps a more fulfilling relationship then he has at home. Add to Tanis a foray into radical politics, and we are about to witness an emotional and financial train wreck with Babbitt at the throttle.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Shattering Ceilings, Shaping a Nation: The Frances Perkins Story with Stephanie Dray on The Not Old Better Show The Not Old Better Show, Art of Living Interview Series Welcome to The Not Old Better Show, Art of Living Interview Series on radio and podcast, where history and the present converge to inspire, inform, and ignite our audience. Today, we're embarking on a journey through time, guided by the New York Times Bestselling author, Stephanie Dray, a master of historical fiction who brings to life the stories of women whose legacies have sculpted our world. In this episode, we delve deep into the heart of early 20th-century America with Stephanie Dray's latest tour de force, which is available at Apple Books, "Becoming Madam Secretary." This riveting novel chronicles the real life of Frances Perkins, a woman of indomitable spirit and intellect, who shattered glass ceilings to become the first female Cabinet member in U.S. history, serving as Secretary of Labor under President Franklin D. Roosevelt. Raised on tales of revolutionary ancestors, Perkins' journey from the tenements of New York City's Hell's Kitchen to the corridors of power in Washington, D.C., is a testament to her unwavering determination to enact change. Through Dray's meticulous research and compelling narrative, we witness Perkins navigating a world dominated by men, her life intertwined with figures like Sinclair Lewis and Eleanor Roosevelt, and her pivotal role in shaping policies that remain cornerstones of American society, such as social security and labor rights. But "Becoming Madam Secretary" is more than a chronicle of political achievement; it's a story of personal sacrifice, love, loss, and the balance between public service and private life in times of national crisis. It's a tale that resonates profoundly with our audience, reminding us of the enduring impact of perseverance, vision, and the courage to challenge the status quo. Join us for an enlightening conversation with NYT best-selling author Stephanie Dray, as we explore the depths of Frances Perkins' legacy, the challenges of bringing historical figures to life, and the lessons their stories hold for us today. This is not just history; it's inspiration for living our best lives, understanding the power of resilience, and the importance of contributing to a world that future generations will inherit. Prepare to be captivated by the story of a woman who dared to dream, fight, and pave the way for a better tomorrow. This is The Not Old Better Show, where the past is always present, and the future is something we create together. Stay tuned. My thanks to  NYT best-selling author Stephanie Dray who's written the new book, "Becoming Madam Secretary”.  My thanks to you, our wonderful audience here on radio and podcast.  My thanks to Executive Producer, Sam Heninger.  Please be well, be safe, and Let's Talk About Better™. The Not Old Better Show, Art of Living Interview Series  on radio and podcast. Thanks, everybody, and we'll see you next week.

Author Peter Kurth takes the Gaslit Nation Self Care Q&A!  In the second part of this special interview, Andrea interviews Peter Kurth, author of American Cassandra: The Life of Dorothy Thompson, which helped inspire Andrea's latest screenplay based on Thompson and her urgent lessons for us today. Gaslit Nation has always been a show that combines the power of art with fighting fascism, and this interview captures that call-to-arms.  To our Patreon community at the Truth-teller level and higher, save the date for our January 18th 8 pm ET Quit Twitter Social Media Workshop. If you hate social media, if you miss Old Twitter before Apartheid Barbie Musk deliberately destroyed it, if you want to elevate your voice for those who need your solidarity and support, then this is the workshop for you! We'll be joined by organizer Rachel Brody who helps various campaigns with their social media strategy and helps lead the statewide coalition to replace Jay Jacobs, the useless chair of the New York state Democratic Party who, from George Santos to Republican control of the House running through New York, has cost this country so much. This is an event not to miss! To get access, subscribe to the show at the Truth-teller level or higher on Patreon.com/Gaslit  To get access to our January 18th social media workshop, subscribe at the Truth-teller level or higher on Patreon.com/Gaslit  Thank you to everyone who supports the show – we could not make Gaslit Nation without you!

Dorothy Thompson was the leading journalist of the 1930s and 1940s, considered as influential as Eleanor Roosevelt. After becoming the first foreign correspondent to be expelled from Germany by Hitler, Thompson advised President Roosevelt, Prime Minister Churchill, testified to Congress, and destroyed the public career of American aviator and Nazi medal-recipient Charles Lindbergh with the power of her pen. She crashed the 1939 Nazi rally in Madison Square Garden and heckled over 20,000 American Nazis until the police had to drag her out, and she warned the world relentlessly about fascism and its useful idiots in the U.S., like America First. Her warnings inspired her husband Sinclair Lewis, the first American to win the Nobel Prize for literature, to write It Can't Happen Here, the now classic novel about the rise of an American dictator. That novel and Thompson's 1941 essay for Harper's “Who Goes Nazi?”, her macabre game on how to tell who among you at a dinner party would become a Nazi, went viral when Trump came to power in 2016.  In this special episode, Andrea interviews Peter Kurth, author of American Cassandra: The Life of Dorothy Thompson, which helped inspire Andrea's latest screenplay based on Thompson and her urgent lessons for us today. Gaslit Nation has always been a show that combines the power of art with fighting fascism, and this interview captures that call-to-arms.  To our Patreon community at the Truth-teller level and higher, save the date for our January 18th 8 pm ET Quit Twitter Social Media Workshop. If you hate social media, if you miss Old Twitter before Apartheid Barbie Musk deliberately destroyed it, if you want to elevate your voice for those who need your solidarity and support, then this is the workshop for you! We'll be joined by organizer Rachel Brody who helps various campaigns with their social media strategy and helps lead the statewide coalition to replace Jay Jacobs, the useless chair of the New York state Democratic Party who, from George Santos to Republican control of the House running through New York, has cost this country so much. This is an event not to miss! To get access, subscribe to the show at the Truth-teller level or higher on Patreon.com/Gaslit  Thank you to everyone who supports the show – we could not make Gaslit Nation without you!