Podcasts about theater studies

Héctor Álvarez | Theater Studies, Emory University "Dilating Time: Tempo as Contemplative Tool in Ota Shogo's Poetics of Deceleration" This talk explores Ota Shogo's groundbreaking wordless play "The Water Station" as a paradigm of temporal expansion in contemporary theater, examining how extreme deceleration creates unique spaces for audience reflection and embodied awareness. Together we'll investigate how slowed theatrical time functions not merely as stylistic choice but as philosophical intervention—challenging our accelerated cultural rhythms and opening possibilities for deeper environmental and existential awareness. ------------------------------------------------------------------------------------------------------ Héctor Álvarez is an interdisciplinary artist and scholar working in performance, theater, film, and contemporary opera, who has recently joined the faculty at Emory in Theater Studies. This event marks the first in a planned series of dialogues between the Center for Mind, Brain, and Culture and the Keio University Centre for Contemplative Studies in Tokyo, Japan, an interdisciplinary group of contemplative scholars, cognitive scientists and artists.    If you would like to become an AFFILIATE of the Center, please let us know.Subscribe to our YouTube channel to get updates on our latest videos.Follow along with us on Instagram | Facebook NOTE: The views and opinions expressed by the speaker do not necessarily reflect those held by the Center for Mind, Brain, and Culture or Emory University.

F*ck The Army! How Soldiers and Civilians Staged the GI Movement to End the Vietnam War (NYU Press, 2024) offers a comprehensive history of the FTA, an antiwar variety show featuring Jane Fonda that played to tens of thousands of active-duty troops over nine months in 1971. From its conception, the civilian-led show was directed towards making visible the growing antiwar movement organized GIs, inspired by but also acting as a rebuttal to the USO tours presented by Bob Hope. Through an analysis of the FTA's tactical performances of solidarity and resistance, Lindsay Goss brings into view the theatrical dimensions of the GI movement itself, revealing it as representative of the revolutionary and theatrical politics of the period. Dr. Lindsay Goss is a theater historian, artist, and lecturer in English and Theater Studies at the University of Melbourne. Her work explores how popular discourses of authenticity and identity rely upon historical anxieties about the actor in proximity to politics, and how these anxieties shape the fields of theater history, activism, and contemporary performance. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

F*ck The Army! How Soldiers and Civilians Staged the GI Movement to End the Vietnam War (NYU Press, 2024) offers a comprehensive history of the FTA, an antiwar variety show featuring Jane Fonda that played to tens of thousands of active-duty troops over nine months in 1971. From its conception, the civilian-led show was directed towards making visible the growing antiwar movement organized GIs, inspired by but also acting as a rebuttal to the USO tours presented by Bob Hope. Through an analysis of the FTA's tactical performances of solidarity and resistance, Lindsay Goss brings into view the theatrical dimensions of the GI movement itself, revealing it as representative of the revolutionary and theatrical politics of the period. Dr. Lindsay Goss is a theater historian, artist, and lecturer in English and Theater Studies at the University of Melbourne. Her work explores how popular discourses of authenticity and identity rely upon historical anxieties about the actor in proximity to politics, and how these anxieties shape the fields of theater history, activism, and contemporary performance. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

F*ck The Army! How Soldiers and Civilians Staged the GI Movement to End the Vietnam War (NYU Press, 2024) offers a comprehensive history of the FTA, an antiwar variety show featuring Jane Fonda that played to tens of thousands of active-duty troops over nine months in 1971. From its conception, the civilian-led show was directed towards making visible the growing antiwar movement organized GIs, inspired by but also acting as a rebuttal to the USO tours presented by Bob Hope. Through an analysis of the FTA's tactical performances of solidarity and resistance, Lindsay Goss brings into view the theatrical dimensions of the GI movement itself, revealing it as representative of the revolutionary and theatrical politics of the period. Dr. Lindsay Goss is a theater historian, artist, and lecturer in English and Theater Studies at the University of Melbourne. Her work explores how popular discourses of authenticity and identity rely upon historical anxieties about the actor in proximity to politics, and how these anxieties shape the fields of theater history, activism, and contemporary performance. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

F*ck The Army! How Soldiers and Civilians Staged the GI Movement to End the Vietnam War (NYU Press, 2024) offers a comprehensive history of the FTA, an antiwar variety show featuring Jane Fonda that played to tens of thousands of active-duty troops over nine months in 1971. From its conception, the civilian-led show was directed towards making visible the growing antiwar movement organized GIs, inspired by but also acting as a rebuttal to the USO tours presented by Bob Hope. Through an analysis of the FTA's tactical performances of solidarity and resistance, Lindsay Goss brings into view the theatrical dimensions of the GI movement itself, revealing it as representative of the revolutionary and theatrical politics of the period. Dr. Lindsay Goss is a theater historian, artist, and lecturer in English and Theater Studies at the University of Melbourne. Her work explores how popular discourses of authenticity and identity rely upon historical anxieties about the actor in proximity to politics, and how these anxieties shape the fields of theater history, activism, and contemporary performance. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

F*ck The Army! How Soldiers and Civilians Staged the GI Movement to End the Vietnam War (NYU Press, 2024) offers a comprehensive history of the FTA, an antiwar variety show featuring Jane Fonda that played to tens of thousands of active-duty troops over nine months in 1971. From its conception, the civilian-led show was directed towards making visible the growing antiwar movement organized GIs, inspired by but also acting as a rebuttal to the USO tours presented by Bob Hope. Through an analysis of the FTA's tactical performances of solidarity and resistance, Lindsay Goss brings into view the theatrical dimensions of the GI movement itself, revealing it as representative of the revolutionary and theatrical politics of the period. Dr. Lindsay Goss is a theater historian, artist, and lecturer in English and Theater Studies at the University of Melbourne. Her work explores how popular discourses of authenticity and identity rely upon historical anxieties about the actor in proximity to politics, and how these anxieties shape the fields of theater history, activism, and contemporary performance. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

F*ck The Army! How Soldiers and Civilians Staged the GI Movement to End the Vietnam War (NYU Press, 2024) offers a comprehensive history of the FTA, an antiwar variety show featuring Jane Fonda that played to tens of thousands of active-duty troops over nine months in 1971. From its conception, the civilian-led show was directed towards making visible the growing antiwar movement organized GIs, inspired by but also acting as a rebuttal to the USO tours presented by Bob Hope. Through an analysis of the FTA's tactical performances of solidarity and resistance, Lindsay Goss brings into view the theatrical dimensions of the GI movement itself, revealing it as representative of the revolutionary and theatrical politics of the period. Dr. Lindsay Goss is a theater historian, artist, and lecturer in English and Theater Studies at the University of Melbourne. Her work explores how popular discourses of authenticity and identity rely upon historical anxieties about the actor in proximity to politics, and how these anxieties shape the fields of theater history, activism, and contemporary performance. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

F*ck The Army! How Soldiers and Civilians Staged the GI Movement to End the Vietnam War (NYU Press, 2024) offers a comprehensive history of the FTA, an antiwar variety show featuring Jane Fonda that played to tens of thousands of active-duty troops over nine months in 1971. From its conception, the civilian-led show was directed towards making visible the growing antiwar movement organized GIs, inspired by but also acting as a rebuttal to the USO tours presented by Bob Hope. Through an analysis of the FTA's tactical performances of solidarity and resistance, Lindsay Goss brings into view the theatrical dimensions of the GI movement itself, revealing it as representative of the revolutionary and theatrical politics of the period. Dr. Lindsay Goss is a theater historian, artist, and lecturer in English and Theater Studies at the University of Melbourne. Her work explores how popular discourses of authenticity and identity rely upon historical anxieties about the actor in proximity to politics, and how these anxieties shape the fields of theater history, activism, and contemporary performance. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

This spring, Henry will appear in the Broadway revival of CABARET at the Kit Kat Club as Ernst Ludwig. His directing and associate directing credits include Broadway and Off-Broadway projects, as well as NYC concerts and the development of new works. Henry has also developed new plays as a director/collaborative dramaturg at Ojai Playwrights Conference, Hedgebrook Playwrights Festival, and Vineyard Arts Project. As an actor, he has performed in the Broadway production of WAITRESS (original cast; later, the role of Dr. Pomatter), the national tours of BRIGHT STAR (Billy) and PIPPIN (u/s Pippin), and the world premiere production of THE DEVIL WEARS PRADA at Chicago's Nederlander Theatre. Henry performed with the televised broadcast of Peter Pan Live! on NBC and has appeared on Good Morning America and the Macy's Thanksgiving Day Parade. Henry holds a BA in Theater Studies from Yale University. At Yale he traveled with the world-famous Whiffenpoofs to over 30 countries worldwide. To try working with Built for the Stage at no cost go to www.builtforthestage.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This spring, Henry will appear in the Broadway revival of CABARET at the Kit Kat Club as Ernst Ludwig. His directing and associate directing credits include Broadway and Off-Broadway projects, as well as NYC concerts and the development of new works. Henry has also developed new plays as a director/collaborative dramaturg at Ojai Playwrights Conference, Hedgebrook Playwrights Festival, and Vineyard Arts Project. As an actor, he has performed in the Broadway production of WAITRESS (original cast; later, the role of Dr. Pomatter), the national tours of BRIGHT STAR (Billy) and PIPPIN (u/s Pippin), and the world premiere production of THE DEVIL WEARS PRADA at Chicago's Nederlander Theatre. Henry performed with the televised broadcast of Peter Pan Live! on NBC and has appeared on Good Morning America and the Macy's Thanksgiving Day Parade. Henry holds a BA in Theater Studies from Yale University. At Yale he traveled with the world-famous Whiffenpoofs to over 30 countries worldwide. To try working with Built for the Stage at no cost go to www.builtforthestage.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Watch/Listen to this and all episodes ad free by joining the ITBR Patreon for only $5 a month! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/ivorytowerboilerroom⁠⁠ Dr. Ryan Donovan, Assistant Professor of Theater Studies at Duke University, enters the ITBR to discuss Broadway's complicated history with LGBTQ+ representation and different sized bodies. Right away they both gush over their mutual love for Betty Buckley and talk about Nicole Scherzinger's performance as Norma Desmond in "Sunset Boulevard." Then, Ryan explains how he became a professional dancer and then decided to transition from his NYC performance career to enrolling in the CUNY Graduate Center's PhD in Theater program. Ryan is extremely transparent about the difficulty of securing a Humanities faculty position at a university, and he provides advice as well as discussing with Andrew other career avenues for PhD grads. Interestingly, being an academic and a performer are very similar! Ryan provides a critique of how Broadway has privileged certain bodies over others, and he turns to "A Chorus Line," "Hairspray," and "Dreamgirls" for his argument. Then, Andrew asks Ryan why so many straight men have played queer male roles on Broadway, and why there's still a lack of nuanced queer Broadway narratives. Like Dr. Stacy Wolf, David Armstrong, and Jesse Green's episodes, Ryan takes us backstage to look at new approaches to understand Broadway's history with the LGBTQ+ community. Be sure to follow Ryan on Instagram, @ryan_donovan and X, @ryan_donovan. Get your hands on his books "Broadway Bodies: A Critical History of Conformity" and "Queer Approaches in Musical Theater" here: https://www.ryan-donovan.com/ Be sure to follow The SoapBox on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thesoapboxny⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and TikTok, ⁠⁠⁠⁠⁠⁠⁠@thesoapboxny⁠⁠⁠⁠⁠⁠⁠ and call or message them to get your hands on their Four For Fall products! To subscribe to The Gay and Lesbian Review visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠glreview.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Click Subscribe, and enter promo code ITBR50 to receive 50% off any print or digital subscription. Follow them on IG, ⁠⁠⁠⁠⁠⁠⁠@theglreview⁠⁠⁠⁠⁠⁠⁠. Head to Broadview Press, an independent academic publisher, for all your humanities related books. Use code ivorytower for 20% off your⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ broadviewpress.com ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠order. Follow them on IG, ⁠⁠⁠⁠⁠⁠⁠@broadviewpress⁠⁠⁠⁠⁠⁠⁠. Order and follow ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@mandeemadeit⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (on IG) mention ITBR, and with your first order you'll receive a free personalized gift! Follow That Ol' Gay Classic Cinema on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@thatolgayclassiccinema⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and listen here: ⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/that-ol-gay-classic-cinema/id1652125150⁠⁠⁠⁠⁠⁠⁠ Follow ITBR on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, TikTok, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and X, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@IvoryBoilerRoom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Thanks to the ITBR team! Dr. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Andrew Rimby⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (Host/Director) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Mary DiPipi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (Chief Contributor) --- Send in a voice message: https://podcasters.spotify.com/pod/show/ivorytowerboilerroom/message Support this podcast: https://podcasters.spotify.com/pod/show/ivorytowerboilerroom/support

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. APEX Express celebrates Filipino American History Month. Host Miko Lee is joined by guest Aisa Villarosa. They learn about the origin story of Filipino American History Month with Dr. Emily Lawsin and talk about the critical importance of ethnic studies with Dr. Dylan Rodriguez. We also get to hear music from Power Struggle's Aspirations album. More information from and about our guests Emily Lawsin Filipino American National Historical Society Dylan Rodriguez and his writing:  https://www.beyond-prisons.com/home/dylan-rodriguez-part-i-abolition-is-our-obligation https://millennialsarekillingcapitalism.libsyn.com/white-reconstruction-dylan-rodriguez-on-domestic-war-the-logics-of-genocide-and-abolition https://www.blackagendareport.com/cops-colleges-and-counterinsurgency-interview-dylan-rodriguez Musician Power Struggle and their collection: https://beatrockmusic.com/collections/power-struggle APEX Express Episodes featuring subjects discussed in this episode: 11.8.18 – Dawn Mabalon is in the Heart – entire show dedicates to Dawn 11.18.21 – We Are the Leaders – Labor features Gayle Romasanta on Larry Itliong book co-written by Dawn Mabalon   Show Transcript Filipino American History Month 10.26.23 [00:00:00] Miko Lee: Good evening and welcome to Apex Express. This is Miko Lee and I am so thrilled to have a guest co host this night, the amazing and talented Aisa Villarosa. Aisa can you please introduce yourselves to our audience? Say who you are, where you come from, and a little bit about yourself. [00:00:44] Aisa Villarosa: Thank you so much, Miko, and it's a joy to be with you and the Apex Express family. My name is Aisa, my pronouns are she, her, and I'm a Michigan born gay Filipino artist, activist, attorney with roots in ethnic studies organizing and teaching Filipino studies, in the wonderful Pa'aralang Pilipino of Southfield, Michigan. If you ever find yourself at the intersection of Eight Mile and Greenfield near Detroit, stop on by. [00:01:19] Miko Lee: Aisa, talk to me about this episode and what we're featuring in honor of the final week of Filipino American History Month. [00:01:28] Aisa Villarosa: I'd be honored to, Miko. We'll be doing a deep dive into Filipino American History Month today, including its origins and how the month acknowledges the first Filipinos who reached the shores of Morro Bay, California in 1587. We're going to be talking about what this month means in the context of today, how Filipinos are honoring the ongoing struggles for civil rights, for human rights, and we'll be talking to some personal heroes of mine. We'll also be talking about ethnic studies, which shares with new generations, these events and stories of Filipino Americans. [00:02:12] Miko Lee: Aisa, talk to me about ethnic studies. What is the background that we need to know? It's been a big part of our Asian American movement struggle with the fight for ethnic studies. give our audience a definition about what ethnic studies is and why is it important right now. [00:02:29] Aisa Villarosa: That's a great question, Miko. And I really love the definition of ethnic studies offered by the Coalition of Liberated Ethnic Studies. And they have said that this is essentially the knowledge, narratives, experiences, and wellness of Black, indigenous and people of color and their communities so that liberation of all peoples and relations are realized. And when we really break that down, this is the study of collective liberation. Part of why ethnic studies is so important is that this is really a root key to unlocking systemic change against hate. If it's taught in an intersectional approach, it really is a preventative tactic against racism. It's also rooted in storytelling. It's rooted in multi generational learning. And the best thing, in my opinion, with ethnic studies is we see the community as a living classroom. [00:03:32] Miko Lee: And , I know Ethnic Studies is part of your background. You came up as a student of Ethnic Studies. I came up in Women's Studies and Theater Studies not Ethnic Studies, but I took so many Ethnic Studies classes at San Francisco State that really profoundly shaped how I work and live as an activist and artist. Can you talk about how being a Filipino Studies student impacted you in your present day? [00:03:57] Aisa Villarosa: Absolutely. And oh, Miko, I feel like we would just be nerding out together in a theater or activism class. So thanks for sharing. Quite simply, I wouldn't be who I am without Ethnic Studies and the incredible folks behind this movement, including some voices that we'll be hearing from soon. It is encouraging that even in California, for example, ethnic studies was mandated in high schools in 2021. We are seeing a lot of progress across the nation with more and more school districts, more and more classrooms incorporating ethnic and Asian American, Pacific Islander, Native Hawaiian studies. And yet we also know that passing a law to teach ethnic studies is but one step and this isn't very well known, but ethnic studies is actually under attack. It's under attack from attempts to censor and limit the history and teaching, especially around colonization and militarization experienced by communities. And why this is really problematic is this sort of censorship can keep communities from finding one another, from finding that common ground, from seeing each other in their full humanity. [00:05:18] Miko Lee: Aisa there's so much going on in our world right now with what's happening in Palestine and Israel. And what does this have to do with the work of ethnic studies? [00:05:29] Aisa Villarosa: It has everything to do with ethnic studies, and right now we're seeing some targeting of students and activists speaking out for nonviolence, for a ceasefire, and an end to military occupation in Palestine, in Hawaii, across the world. And these activists and young folks are being targeted really, As Palestinian identity and people endure tremendous loss and mass displacement, why this matters is ethnic studies is living history and ethnic studies challenges us to take stock of moments where we can either be silent, or we can take action, including first steps to understand the history and the narratives behind these conflicts to really unpack the global impacts of colonization. It doesn't matter whether one is Filipino or Asian American or Black or Latinx or Indigenous or from any one of the countless communities living under the impacts of systemic violence and oppression. [00:06:36] Miko Lee: Thank you for sharing. I feel like we could do a whole series on why ethnic studies is so critical and important. But look forward to hearing from two people that are professors, educators, and activists and tell me who we're going to be talking with first. [00:06:51] Aisa Villarosa: We'll be talking first to Ate Emily Lawsin, a poet and an activist. She'll be sharing more about the establishment of Filipino American History Month. And then we'll be talking with activist and scholar Dylan Rodriguez, about Filipino American history in the context of today's struggles against white supremacy, military exploitation, and government violence. [00:07:16] Miko Lee: So let's take a listen to our interviews. [00:07:18] Aisa Villarosa: We are here tonight with one of my dearest mentors, heroes, big sister, a. k. a. Ate, Ate Emily Lawson. Emily, you have, over the course of your career, taught and made a difference in thousands of people's lives, including mine. For folks who are just getting to know you, can you share a little bit about your work and perhaps, you working on right now? [00:07:49] Emily Lawsin: My name is Emily Lawsin and I'm a second generation Filipino American, or pinay, as we say. I was born and raised in “she-attle” Washington and I'm the National President Emerita of the Filipino American National Historical Society or FANHS. I was on the board of trustees for 30 years no longer on the board, but still do supportive work for the organization. It's a completely volunteer run organization founded by Dorothy Ligo Cordova, Dr. Dorothy Ligo Cordova in 1982, I used to teach Asian Pacific Islander American studies and women's studies at different universities across the country in California and other states I was really blessed to be able to teach some of the first Filipino American history courses on different campuses and really utilize our FANHS curriculum in doing that. Now I work for four Culture which is King County's Cultural Development Authority, and I'm the Historic Preservation program manager there. I'm also a spoken word performance poet and oral historian [00:08:59] Aisa Villarosa: and for folks who have not had the privilege of watching Emily perform. You are a powerhouse. And a confession, I have inspirational post it notes around my laptop and I have one post it that says no more moments of silence. It's from a performance you gave, gosh, it was maybe sometime in 2008, [00:09:22] Emily Lawsin: yeah, that's awesome. Oh, thank you. [00:09:25] Aisa Villarosa: Yes. It's come full circle because I have remained a supporter of ethnic studies and part of why I am talking with you today is because October is Filipino American History Month and even breaking down every single word. In that phrase, there was a battle and a journey to even get the national recognition that y'all were able to get especially through your advocacy. So if you could tell the listeners maybe a bit about that journey and even for folks who are newer to the month, what is the difference between, say, heritage and history? [00:10:08] Emily Lawsin: Oh, that's awesome question. Thank you. Yeah, Filipino American History Month was really started by my Uncle Fred Cordova, Dr. Fred Cordova, who was the founding president of the Filipino American National Historical Society, or FANHS. He came up with the idea in 1991 and really wanted to recognize October as Philippine American History Month because the first documented landing of the first Filipinos in what is now known as the continental United States, specifically Morro Bay, California, happened on October 18th 1587. When Lizones Indios or Filipinos who were a crew and a slave slaves really on Spanish galleon ships were sent ashore off the coast of Morro Bay as like a landing party to scout out the area. If you actually look at a Instagram reel that our current FANHS President, Dr. Kevin Nadal made he tells you the history of, why October 18th, 1587 is important and it's not necessarily to celebrate that landing because people did die. But it's to commemorate and to remember that history and that memory where a Chumash Indupinos. Indigenous Filipinos Indupinos is what they call themselves too. They actually were instrumental in creating that moral based site as a historic marker for FANHS. That date is significant for Filipinos because of that first landing. And Then in the 1760s the first communities and families were created in the Bayou of Louisiana. Where these same crew folks or Filipinos jumped ship from those Spanish galleon and were called Manila Men by Marina Espina, who wrote the book Filipinos in Louisiana. Those families that jumped ship, created seven different villages in the bayous of Louisiana and intermarried with the local Creole communities there. Those families are now in their eighth and ninth generations. We wanted to recognize that history as being really the first Asian Americans in what is now known as the continental United States. Uncle Fred wrote the resolution for the FANHS Board of Trustees and they passed it in 1991 with the first observance nationally in 1992. Our FANHS chapters around the country started commemorating Philippine American History Month activities in October. It just grew from there. Institutions, schools, a lot of universities picked them up libraries city governments, county governments, state governments started picking up the resolution to honor our Filipino American history. We say Filipino American history, not heritage because we are a historical society, number one. But Number two, to recognize the history and the contributions of Filipinos to these United States of America. Not necessarily just Lumpia and dances and food. We are more than Ube. That's right. And there's nothing wrong with that. We're more than that, because Filipino American history is American history as well. And so then in the 2000s as our membership was growing And as our conferences were being more and more attended, a lot of our members in Washington, D. C. wanted to advocate and took up the charge from Uncle Fred, right? Uncle Fred asked them, hey, let's try to get this through Congress. And it went. For a few years and didn't necessarily pass as, as a history month until 2009. So 2009 we had representatives present the bill. We mobilized a lot of our members to call their Congress. People and it went through and then subsequent bills happened in 2011 and other years to officially recognize October as Philippine market history month. Barack Obama was the first White House celebration of Filipino American History Month. That meant a really big deal for us in FANHS that it was being recognized nationwide. President Biden and Vice President Kamala Harris also issued proclamations resolutions this year. It's grown as our communities have grown, as our historical society has grown and it has expanded throughout the country and even in the curriculums. So we're really proud of that. [00:15:09] Aisa Villarosa: the success would not be possible, but for intergenerational solidarity, right? Almost being hand in hand with generations past and present and food, food is totally political Ate Em. So, so yes, calling, the great Dawn Maboulon, into the space, many Americans, are taught, unfortunately, by sort of the dominant structures that food is not political, but it's absolutely political, right? And I appreciate you sharing with the listeners the history behind the history, right? That this is both an accounting of the triumphs, the heartache, the fact that Many Filipinos use the term barkata, and when we look at the genesis of the word barkata, that term, which is almost like a friend that is really family, there's a spiritual bond there that was born of Spanish enslavement and colonization. So important that we ground the conversation in this. [00:16:09] Emily Lawsin: Yeah, and I thank you for bringing up my My Kumadre, the late Dr. Dawn Bohulano Mabalon. For the listeners who don't know, we consider her the queen and really was the foremost Filipino American historian of our generation. She passed away in 2018. Dawn was a incredibly gifted scholar was a very good friend of mine. Dawn was also a food historian, a labor historian a women's historian but she was also an activist she was a film producer she was a hip hop head she was a baker. the most incredible ube cupcakes you'd ever have. She was multi talented . Every day I think about how blessed we are to have known her, have her research still with us. I think, carries a lot of us who are close to her forward in the work that we do, but it also is continuing to teach younger generations now. You mentioned the intergenerational nature. That's totally what FANHS is. Dawn and I both came into FANHS as students. I came in as a high school student volunteering in Seattle and Dawn came in to our Los Angeles chapter. She was one of the founding student members of our Los Angeles chapter and then became a trustee and national scholar and was author of several books primarily her book on Little Manila in Stockton. Little Manila is in the heart. Since her death, I think a lot more young folks have mobilized and learned about her great activism to save Little Manila is not only in Stockton, but in other cities and towns all over the country to document Filipino American history through recordings, through music, through art. She's just inspired a whole, new generation because of the great work that she did. She wrote the landmark children's book on Larry Itliong one of the founders of the United Farm Workers Union. It was really the first illustrated children's book on Filipino American history. Gail Romasanta, our friend from Stockton was her co author and really wanted to thank Gail for Carrying forward Dawn's vision and publishing that children's book and her comadre, Dr. Allison Tintanco Cobales from San Francisco State University and Pinay Pinoy Educational Partnerships, created an incredible accompanying curriculum guide. Which a lot of us use at all different levels. The book is supposed to be for like middle school age students, but I assigned it for my college and university students. Because it was such a pathbreaking book. It's so informative and the accompanying curriculum guide really helps teachers and students, even families, engage with the material more and gives you discussion prompts and ideas as well. It is really an example of a researched children's book and grassroots effort to spread that knowledge around. After Dawn died we told Gail the publisher and co author, we're still going to do the book tour. I had promised Dawn that we would do that. I think it was like 20 cities across the country. It was amazing. It's really a testament to the intergenerational nature, the grassroots nature of FANHS. We run totally volunteer up until probably next year. Wow. Next year we'll probably hire our first staff person in 43 years. Because Auntie Dorothy Ligel Cordova has done it as a volunteer executive director. Oh my gosh. [00:20:16] Aisa Villarosa: Just a labor of love and also it's so important to build out the infrastructure so that that is good news. [00:20:23] Emily Lawsin: Totally labor of love. So if y'all are looking for a really worthy donation place, then that is it. Totally tax deductible. [00:20:32] Aisa Villarosa: And our listeners. can check out. We'll have some links related to this episode where folks can support you Ate Em as well as FAHNS. And as you were sharing, I kept thinking, some folks say art is our memory of love. But teaching is also an act of love. As you do as Ate Dawn Allison, so many have done are doing it is an act of love. And yet, Because of the violence of our systems we have book bans, we have attacks on ethnic studies still in 2023. How do you keep yourself nourished? [00:21:12] Emily Lawsin: Oh, such a good question. We had a penialism. Peniaism is a term that Dr. Allison Tintiaco Cabal has created, wow, 30 years ago now, or maybe less, maybe 25, I'm dating ourselves. She says peniaism equals love and pain and growth. That is so true. I believe in writing as my kind of outlet. Write for two reasons, love and revenge. Because what other reason would you write, right? So that's like a therapy outlet. To keep myself nourished, I'm really blessed to have a very loving partner and a very loving family. They nourish me. every day, literally feed me when I'm working late. But also with their love and their kindness and their brilliance. My two daughters are incredibly gifted and brilliant and just really blessed to have them. But also I think when I look at our community. Our Filipino American community specifically and how it's grown and changed through the years. Auntie Dorothy, when I was in college, was my professor and she used to say that our Filipino American community is built on many different layers. We have so many different generations that have immigrated over the years. And so every generation builds upon the other, the next generation. It's all these different layers. And I think that really helped me conceive of What it means to be in community with such a diverse Filipino American population. That education that knowledge has nourished me more than really anything else, because then I could. Always fall back to those teachings that Uncle Fred and Auntie Dorothy gave me. I was very blessed to have grown up on the Filipino Youth Activities Drill Team in Seattle that Uncle Fred and Auntie Dorothy co founded with other families, Filipino American families, as a way to keep Pinoy kids off the streets, right? It taught us our history and our pride, and gave me confidence in being Filipino, right? Being brown, being different. So that has constantly nourished me. My parents and their memory has nourished me because basically the work that we do, whether it's paid or not whether it's art, whether it's performance, whether it's history, writing, activism, or working for the man, making the dollar, whatever. To me, that's all fueled by the ancestors, and they literally plowed these fields before us, right? My uncles were farm workers. They were migrant farm workers. My mother was one of the first Filipino American women to work in the Alaskan cannery as an alaskera. You hear a lot about the Alaskeros or maybe you don't, I don't know. But she was one of the women and that is really. important to me. It's important for my children and others to, to know that history. If I remind myself that we're really doing the work of the ancestors then it's all worth it. It's all really worth it. [00:25:07] Aisa Villarosa: They say we don't know who all our ancestors are, but they know who we are. What you shared is also similar to Kapua, right? This concept that our identities are shared. So thank you for giving us your time and also just sharing what keeps you running on love in each moment. [00:25:32] Emily Lawsin: Absolutely. I just wanted to add a big thank you to you. I'm going to play the interviewer because I am the oral historian. I want listeners to know the good work that you've done. Since you were a student, a mentor activist yourself, an attorney working with youth and now working in the anti Asian violence movement, it's really important. In Philippine American History Month, it's not just about celebration. It is about commemorating the memories of those who've been killed. The memories of those who've passed I know you know about Joseph Aleto the Filipino American postal worker who was killed by a white supremacist on his work route a mile from my house. I was teaching at California State University, Northridge then, and the students said something incredible when they were organizing around that case. They said he was not in the wrong place at the wrong time, because people say that, right? When those kind of what they call random acts of violence happen, it wasn't random at all. He chose to kill Joseph Aletto because he looked like a person of color. He worked for the federal government. So the student at Cal State Northridge said, no, he wasn't in the wrong place at the wrong time. He was at his place, at his time, doing his job, just doing his job. The killer, the white supremacist, was the wrong person, at the wrong time. Joseph Aletto did not deserve to be killed like that. After he was killed, his memory was immediately ignored. And it wasn't until his family, his mother, Lillian, his brother, Ishmael, and his sister in law, Dina, stood up and said, “We will not have this happen to another family. We will not be ignored. ” they started a movement Join Our Struggle, Educate to Prevent Hate. And still love equality and tolerance and others, which is an acronym for his, the letters in his name. I totally supported that and love the Alato family for their activism to this day. So I want to thank you. For educating others in the work that you do now, you want to tell that because that's part of Philippine American history. [00:28:17] Aisa Villarosa: Thank you. And especially given our hard and painful moments right now thinking of. The pain felt by both Students and teachers of ethnic studies to many miles away the pain felt by Palestinians, right? There is a challenge and a duty that we have to both see the humanity in ourselves, but also bridge the shared struggles to humanize when we can because the stakes are too high. So thank you for reminding us of that. It was so beautiful to talk with you today. I hope listeners check out the links on our page and can learn more about Atta Emily Lawson's work and the work of FAHNS. [00:29:12] Emily Lawsin: Thank you, Aisa. I appreciate you. Mahal to everybody and Salama. Thank you. [00:29:20] Miko Lee: Aisa, I'm so glad that you're also sharing some music with us tonight. Can you tell us about the musician we're going to be hearing from? [00:29:28] Aisa Villarosa: Absolutely. I'm honored to introduce my friend and colleague, Mario, a. k. a. Power Struggle, who has been a behemoth in the Bay Area and global music and activism scene for many years. Power Struggle tells the story of The Filipino community, both in the Philippines, as well as connecting the dots to social justice and economic justice in the Bay Area and beyond. [00:30:00] Miko Lee: Coming up next is Cultural Worker featuring Equipto by Power Struggle. Welcome back. You are tuned into apex express, a 94.1 KPFA and 89.3 KPF. Be in Berkeley and online@kpfa.org [00:34:45] Aisa Villarosa: You were listening to Cultural Worker featuring Equipto by the Bay Area's own Power Struggle. I am here tonight talking to the incredible Dylan Rodriguez. Dylan, it is a pleasure to have you on the show with us. [00:35:01] Dylan Rodriguez: I've never been introduced that way. Thank you. Thank you for doing that. I decline. I decline all of the superlatives, humbled. I'm very humbled to the conversation. I'm grateful for the invitation. [00:35:12] Aisa Villarosa: Let me, I'll try that again. Here is Rabble Rouser Scholar extraordinaire Dylan Rodriguez. [00:35:18] Dylan Rodriguez: Yeah, troublemaking, troublemaking's good. Yeah, I'm down for that. [00:35:22] Aisa Villarosa: Dylan, I have to say most folks tuning in are based on the west coast, but you are gracing us with your presence from the east coast. So thank you. Thank you for being on late with us tonight. Can you tell the audience a little bit about yourself? Maybe starting with what do you do? [00:35:41] Dylan Rodriguez: I'm a professor at the University of California, the Riverside campus. This is now my 23rd year there. Despite multiple efforts, they have not been able to get rid of me yet. And I'm very proud to say that my primary vocation extends significantly beyond my day job. I think perhaps the most important part of What I would say I do biographically is that my life work is adjoined to various forms of collaborative attempts at radical political activity, speculative and experimental forms of organizing and community. I've been engaged in abolitionist Forms of practice and teaching and scholarship and organizing since the mid to late 90s. I'm interested in collaborating with people who are down with Black liberation anti colonialism opposition to anti Black racist colonial state. I've been involved so many different organizations and movements that I lose track, but I think that's, in a nutshell, what I'm about. [00:36:39] Aisa Villarosa: So you're in Your 23rd year the Michael Jordan year, and thank you for sharing with us. It sounds like you are a world builder Grace Lee Boggs often says that how can we build the future if we're not visioning it and working toward it. So thank you for everything you've been doing and In terms of in the classroom, can you talk a little bit about what you teach? [00:37:04] Dylan Rodriguez: I teach a variety of different classes that center the archives, the thoughts, the writing, the poetry, the art of radical revolutionary liberationists and anti colonial organizers, thinkers, and scholars. For example, this right now, for example, right now I'm teaching a graduate class in anti Blackness and racial colonial state violence. And we're reading a variety of people. I'm interested in, in the whole spectrum. of thought and praxis that is attacking the racist and anti Black and colonial state. I teach another class on the prison industrial complex and that's a class I've been teaching for more than 20 years and I teach it from in a in an unapologetically experimental abolitionist position. So I'm interested in stoking and supporting whatever forms of collective and collaborative activity are possible to at bare minimum to undermine The premises of this carceral regime that we all live under and I teach a bunch of other things too, but I think the overall trajectory that I'm interested in is some combination of radical autonomy revolutionary trajectory and also just. As I get older, I become less patient. So I'll say that I feel like a lot of the way I teach all the content what I teach now, whether it's in a classroom or somewhere else is increasingly militantly accelerationist I think that there is a place and a necessity for accelerating, militant opposition and confrontation with this unsustainable, genocidal, civilizational project that we all differently inhabit. I feel like it's an obligation to teach and work within an identification of that context. [00:38:47] Aisa Villarosa: What I heard you say is. You're less patient and it sounds like it's because we are running out of time. [00:38:53] Dylan Rodriguez: Yeah, we are living. I think we're outta time. I think we're outta time. I'm unprecedented times. Yes, we're out of time and mean as we have this conversation and as I've been saying to anybody that listen to me, these these last several days. We're in a moment of an actual unfolding genocide, and I'm not sure, I'm not sure that those who identify themselves as the left, particularly the North American and U. S. left, have an adequate sense of urgency and honesty about what it means to be in this historical moment. [00:39:26] Aisa Villarosa: I'd love for you to break this down. I wonder if at this moment, there are folks listening who are completely in agreement. There might be some other folks who perhaps are not sure what to think. And some of that, a lot of that is the impacts of colonization itself, right? We are trained to think small culturally, put your head down. You mentioned you teach anti Blackness and as someone who grew up in racially segregated Michigan with a Black and white and Filipino family, people used to joke that we were the United Nations of families. And yet we did not have the words to talk about anti Blackness. We did not. Unpack it in any sort of meaningful way. And we didn't consider what it meant for our Black family members. So for folks listening who are perhaps new to unpacking anti Blackness, unpacking the genocide in Palestine. Can you connect the dots a little bit? [00:40:33] Dylan Rodriguez: I can do so in a provisional way. I have no definitive answers for anybody who hears this broadcast or reads this transcript. So let me just start with that. I don't present myself as having answers really at all. What I have are urgent, ambitious and militant attempts. But let me just say that's where I'm coming from. I believe in experimentation. I believe in collective, collaborative. militant work that, first of all, identifies the very things you just did. So I want to just, first of all, reflect back to you how important, how courageous it is to just use the terms, right? To use the terms, to center the terms of anti Blackness, to focus on anti Blackness is so principled and it is also principled it is a principle and it is principled to focus on anti Blackness as a specific way in which to experience and confront and deal with the civilizational project that is so completely foundationally violent. To name what is happening right now in Palestine by way of the United States and its militarization support of the state of Israel as genocide. That takes some courage on the part of whoever says it, and I think it's a courage that is emboldened when it's a collective courage. So what I'll say about it as a provisional response as a partial response to what you said is that. I think everything that we do in relation to these dynamics to these forms of violence that are so foundational to the way in which the present historical tense is formed around us, meaning genocide of Palestinians displacement genocide apartheid against Palestinians, and this foundational modern structure of anti Blackness that naming those things, and then identifying how it is that it is not an option to develop it. It's principled, political, ideological, spiritual collective relationship, you have to figure out what your relationship is to those dynamics. You have no choice. What I have no patience for are those who would treat these things genocide in Palestine, the global logic of anti Blackness, as if it's somehow optional. As if it's somehow as if it's somehow elective that it's a volunteeristic kind of alternative to deal. You have no choice. You have to figure out, articulate, and hopefully you're doing this in collaboration with other people. You've got to figure out what your position is. And once you do that, things tend to map themselves out because you get pulled in and invited into projects and collective work that actually tends to be really emboldening and beautiful. So I'll say that like wherever you are, whether it's northern Southern California, whether it's I happen to be right now on the East Coast in the state of New Hampshire I live in Southern California. I think identifying those things is the first and most important courageous collective step. [00:43:18] Aisa Villarosa: And turning a little bit to ethnic studies, which we heard previously from Atta Emily Lawson about the power of ethnic studies and if done right, if taught in a liberatory way, it gives us the answers. It helps us bridge gaps that oppression wrought on us, and some would say that's dangerous. Can you share what you have experienced as An instructor as a scholar of ethnic studies in your long career, [00:43:54] Dylan Rodriguez: So first of all, shout out to Dr. Emily Lawson, one of my Thank you. youngest old friends. All respect and all empowerment to everything that she says. So I just I do my best to amplify whatever it is that she's done and said. So I come out of ethnic studies. I got my Ph. D. In ethnic studies. I'm one of the people who was humbled to be part of, I think, the new kind of the most recent revision and reification the newest chapter of ethnic studies, which people call critical ethnic studies. So I've been in, in the ethnic studies project for essentially my whole adult life. I'm now 49 plus years old, so it's been for, it's been a while that I've been involved. So ethnic studies, As far as what it does in the world, I'm going to go the opposite direction that some of my colleagues do, and I don't mean this to contradict them, this to compliment them. I think ethnic studies is productively endangering. I think it is constructively violent. I think ethnic studies is beautifully displacing. That's been my experience with it, and what I mean by those things is this. I'm convinced that if one approaches ethnic studies as something more than just an academic curriculum, if one approaches it as a way to reshape how you interpret the world around you, how you understand history, how you understand your relationship, both to history and to other people, that it should shake you to your foundations. It really should. And the reason I say that is because, for the most part, the ways in which people, especially in North America, are ideologically trained in whatever school systems they experience from the time they enter a language is to assimilate, to accept and to concede to the United States nation building project, which is empire, right? It's a continuation of anti Black chattel. It's all of these things, which we started this conversation with. It's all those things. So what ethnic studies does is it should shake you to your foundations by way of exposing exactly what it is that you have been. In some ways, literally bred into loyalty to so so when it shakes with your foundations, that's an endangering feeling. I've had it so many times in the classroom where I can sense it. I can. And sometimes students, the students who are the most, I think audacious will articulate it that way, right? And they will, they'll sometimes hold it against the teacher, right? Whether it's me or somebody else. And I'll say I feel like I'm being attacked, right? And you know what? I used to be defensive about that, but you know what? In probably the last 15 to 20 years, I tell them, you know what that's how you should feel. Because what's happening right now is that you're experiencing an archive and a history and a way of seeing the world that is it's forcing you to question Essentially some of the most important assumptions that have shaped your way of identifying who you are on this planet and in the United States and in relation to the United States and the violence of the United States. You've never thought about the United States as a violent genocidal anti Black nation building project. Now that we're naming that. Yeah, you know you're feeling a kind of violence through that and ideological violence you feel displaced by that you feel endangered by that. That's all right. That's all right because I'm here with you. You know I'm here with you and we're all in this. At the same time, and the point is to figure out what's going to be the right some people will just disavow it and they'll do their best to fabricate their own return to the point from which they started. And then a lot of other people will never be able to go back to that same place that is the beauty of what I understand to be the best of ethnic studies is it displaces people from this default loyalty to the United States nation building project it disrupts the kind of default Americanism. That seems to shape the horizon of people's political, cultural, ideological ambitions, and it says that there's got to be something on the other side of this that is liberatory, that's a different way of being in the world. That's the best of ethnic studies. And so I do my best to work within that lineage, within that tradition, within that ambition. [00:48:02] Aisa Villarosa: I am thinking about. Adrienne Marie Brown and folks who say subscribe to the Nap ministry, et cetera. And as we progress generationally, we, in some cases, get a more nuanced vocabulary for times to pause, times to recharge you know, COVID 19 name your thing. Is there room in this struggle knowing that essentially we're out of time, right? The timer is going off. Can we rest? And how can we find rest in each other? [00:48:46] Dylan Rodriguez: That's such a hard one. I'll be completely vulnerable with the people that are listening, reading, and experiencing my comments right now. I would be a hypocrite to say That I fully ascribe to any regime that is committed to self care, right? I'd be lying. I'd be lying. I feel like I'm mostly committed to trying to engage with whatever forms of possibility radical possibility are available at my best to the point of getting close to exhaustion and then stopping and taking a rest and just asking people to give me a break and people are very just so let me back up the people who I tend to collaborate with nowadays are incredibly generous. They look out for each other. They give me more of a break than I probably need or deserve. All right, so but I'll say at the very same time with what is. obsessing me is this kind of humble notion that I want to maximize whatever contribution I can make to advancing some form of a liberation and abolitionist and anti colonial and Black liberation project before I walk off the mortal coil. That's it. That's my contribution. I feel honored to be part of that. I don't expect to necessarily see the liberation, the revolution, the decolonization in my lifetime, it's not about that. It's not that narcissistic. I got over that many years ago. So I'll say that with all humility with all vulnerability to people here, and I don't prescribe it. I'm not saying anybody should be like me. To the contrary. I think the lesson that I've learned from a variety of comrades who are much more mature than I am in terms of understanding the limitations of doing work this way and people have exemplified. A version of collective self care that attacks the kind of neoliberal individualized notion of self care that frankly really gets under my skin. They have taught me what my friends at the what [Big Tree & Martine] and I'll send you the link so people can check them out. They're the co founders of Ujima Medics in Chicago. I quote them all the time on this. But they have talked to me more than once about the notion. Of collective and deep responsibility. So I think I would use the term of deep responsibility, rather than self care I would use the term deep responsibility as a way to understand what it means to be in community with people who will make sure that you take the time that you take the space to recharge and pause that people who will recognize your vulnerability and your exhaustion. And make sure that you're able to rest to the point where you will remain a warrior that's effective in this ongoing struggle. And warrior when I say warrior I mean that all different kind of ways, right? There's all different kind of warriors. So I think what Martine and Amika talk about is deep responsibility is the one I would really emphasize because I think it's a notion of collectivity and it means that we're actually looking out for each other. And what it means is that we are pushing each other to care. For ourselves and others are caring for us, maybe in a way. That is wiser than we are capable, than what we are capable of doing for ourselves. And I know, and again, with all humility and vulnerability, I feel like that's what I need from people around me is to be around people who believe in that form of deeper collective responsibility. I'm probably not capable of it, right? That makes me, I know that makes me a bad abolitionist, everybody, but but others have taught me that's my limitation. So I feel like that's where I'm at. [00:52:10] Aisa Villarosa: You're winning the. Award for most honest guest star on this show, Dylan. [00:52:17] Dylan Rodriguez: I have no choice. I have no choice. [00:52:20] Aisa Villarosa: How can people support [00:52:21] Dylan Rodriguez: you? Oh man I don't need support. I don't need support from people. I don't. I don't. I don't I feel like there's so many, there's so many collective organizations and What I'd rather do is if you wanna get in touch with me, I'm happy to do that. People hit me up. I'm on social media, like I'm on Instagram and Twitter. Just look me up. Dylan Rodriguez 73 on Instagram. Dylan at Dylan Rodriguez. On Twitter. I guess it's called X Now. I don't know, I'm gonna jump off those platforms at some point, but for now I'm still on 'em. Email. You can email me at Dylan Rodriguez, collaborate@gmail.com. So that's a cool way to get in touch. So I feel like I'm Profoundly privileged position. Again I get to participate in all different forms of collective work. I have plenty of support. So I don't want people supporting me. What I want people to do is figure out what kinds of collaborative collective collaborative and collective project around them that are seeking autonomy. That's what I want people to do. That's what I want you to support. I want you to support autonomous projects. For liberation revolutionary struggle. And if it if there's decolonization there as well autonomous projects that are not dependent on the state that are not dependent on the Democratic Party that are not dependent on nonprofit organizations, non governmental organizations that don't Rely on public policy reforms. If there are communities organizations around that are seeking to create autonomous forms of power. That's what I want people to support. I think that's what needs to be modeled. That is what is on the other side of this collapsing civilization. Are these forms of autonomy, the sooner that we can begin to participate and experiment and autonomous forms of community that creates autonomous forms of things like justice, freedom, security. You know what I mean? It's secure. Health security, food security, education security, recreation security, the security of joy, collective love, all that stuff. The sooner that we can figure out different models to do that there may be an other side to the collapse of the civilization, which could very well happen in the coming days. I think depending where you are right now, it might be happening now. So that's what I would ask people to do, would be to support something like that. And if not, instigate and create it. [00:54:28] Aisa Villarosa: So appreciate that. And earlier… Off the recording, you and I were talking about something doesn't need to last forever to be successful. There is a molting that is happening now, a shedding, if you will. And so for listeners who are beginning their journey, you've made them feel just a little bit less lonely. So thank you for being on the show with us tonight, Dylan. Do you want to close with any final words for the audience? [00:55:01] Dylan Rodriguez: Yeah first of all, thank you for inviting me. I hope we can do this again sometime soon. This is a beautiful few minutes I shared. I do not take for granted that people are listening to this and taking it to heart. So I think the closing words I would offer to anybody who is interested in being engaged with the historical record to which we are speaking. I would just ask you if you're not already involved in some form of collective creative work. Whether it's something you would call a social movement, whether it's formal organization or whether it's something else. I will just ask that everybody here that's listening to this, if you're not already involved in something that's collective that is collaborative and ideally that is radically experimental and willing to look beyond. The horizons that have been presented to you as the farthest possibility. I want people to speculate and to figure out what is beyond the horizons that have been presented to them as the limit. What is beyond that? And I'm talking to artists. I'm talking to poets, scholars, activists, organizers, whoever is here, people who are incarcerated, everybody who's here, like there are so many different traditions that we can attach ourselves to all those traditions are collaborative and collective. So please just be part of a collective. Be part of a collective and for whatever it's worth reach out to somebody who can help you facilitate joining a collective. That's why I left you on my contact information, because for whatever it's worth, if I can play a small role in that, I'm down to do it. You probably don't need me. You probably got somebody else in your life that can help you do that. But do something that is collective, collaborative, experimental. That's my that's what I would leave with people. Yeah, that's the last words I would leave with people. [00:56:38] Aisa Villarosa: Borders are meant to be broken. So thank you, Dylan, for expanding folks vision tonight. Thank you for inviting me. [00:56:47] Miko Lee: Thank you so much for joining us. Please check out our website, kpfa.org backslash program, backslash apex express to find out more about the show tonight and to find out how you can take direct action. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important. [00:57:11] Miko Lee: Apex express is produced by me. Miko Lee. Along with Paige Chung, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaida. Kiki Rivera, Swati Rayasam, Nate Tan, Hieu Nguyen and Cheryl Truong tonight's show is produced by me Miko thank you so much to the team at kpfa for their support have a great Night The post APEX Express – 10.26.23 – Filipino American History Month appeared first on KPFA.

From the conversation I had with actress, voiceover artist, and coach Simone Serra these are my takeaways. Expectations are a funny thing. If we can come into more experiences in our life without expectations we make space to receive and have the freedom to try what comes. Next, Success is an ever changing landscape and it encompasses both your personal and professional life. It's ok to ask yourself, what does it mean to me to be successful and questioning whether your own limiting beliefs are getting in the way of your definition. And finally where focus goes energy flows so where are you focusing? Simone is Voiceover Artist and Coach who has cultivated a successful Voiceover career over the last five years, having her voice streamed on all media platforms from Spotify to TikTok. With an extensive resume of working with clients from The Late Show With Stephen Colbert, Nutella, Dominos and Ulta Beauty, she attributes her accomplishments and success to the many years she dedicated to her education and training. She received her Bachelor's Degree in Theater Studies at Montclair State University, followed by completing a two-year conservatory training at the Maggie Flanigan Studio, which specializes in the Meisner Technique. Soon she will add adjunct professor to her resume and begin teaching a Beginner Voiceover Workshop at Tisch Drama School this fall. Her pivot into the Voiceover world and the following successes have given her the confidence to reverse course and begin to pursue acting on stage and film again.  Get in touch: Simone Serra  Website: https://www.simoneserra.com/ Instagram: @mssimoneserra  Ayana Major Bey  Website: www.ayanabey.com Instagram: @ayanambey, @theartistpivot  Monthly Newsletter: https://www.ayanabey.com/podcast Show Sponsors:  BetterHelp: Get 10% off your first month with BetterHelp at https://betterhelp.com/artistpivot  WeAudition: Get 25% off your membership when you use the code PIVOT, join at https://www.weaudition.com/ ******* Host & Exec. Producer: Ayana Major Bey  Editor: Kieran Niemand  

For episode 066 of Actorcast, we chat with James Bundy, Dean at the Yale School of Drama (recently renamed the David Geffen School of Drama at Yale). I actually borrowed this episode from my previous podcast, Relate with Patrick McAndrew, because it was so chock full of wisdom for actors that I had to bring it over to Actorcast. We chat about common traps for actors, the types of actors Yale's program looks for, and why acting is so helpful in understanding our own humanity. You can learn more about Yale's acting program by visiting https://www.drama.yale.edu/ James Bundy has served as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre since 2002. He teaches in the Acting program at the School and in the Theater Studies program in Yale College. During his tenure, Yale Rep has produced more than thirty world, American, and regional premieres, nine of which have been honored by the Connecticut Critics Circle as Best Production of the year and two of which have been Pulitzer Prize finalists. James has directed productions at Theater for a New Audience, Oregon Shakespeare Festival, Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division.  James is a graduate of Harvard College; he trained at the London Academy of Music and Dramatic Art and Yale School of Drama. Follow my work at https://patrick-mcandrew.com.

In the new book, “Broadway Bodies: A Critical History of Conformity," Ryan Donovan looks at Broadway musicals and casting from 1970 to 2020 and the bodies that Broadway has historically excluded from its stages, based on size, gender, disability, and how that intersects with race and ethnicity, and the shows that are not making an effort to be more inclusive.  Ryan Donovan, an Assistant Professor of Theater Studies at Duke University joins the show to talk about his new book, “Broadway Bodies: A Critical History of Conformity." 

In the new book, “Broadway Bodies: A Critical History of Conformity," Ryan Donovan looks at Broadway musicals and casting from 1970 to 2020 and the bodies that Broadway has historically excluded from its stages, based on size, gender, disability, and how that intersects with race and ethnicity, and the shows that are not making an effort to be more inclusive.  Ryan Donovan, an Assistant Professor of Theater Studies at Duke University joins the show to talk about his new book, “Broadway Bodies: A Critical History of Conformity." 

Ali Khan is a television host and multi-hyphenate “creative” in the food and comedy space. The current host of Food Network's Spring Baking Championship, is most known for his breakout series, Cheap Eats. Cheap Eats is Hands Down one of my FAVORITE shows on the Food Network!! He is So Funny!!!!! Cheap Eats ran for 5 seasons on Cooking Channel, internationally on Food Network and is currently streaming on Discovery Plus. Ali is also a regular on, The Best Thing I Ever Ate, a judge on Food Network's Chopped and Chopped Junior and he recently launched his own YouTube Series, ALI VS THE DOME!!!His food writing has appeared in magazines and award-winning digital publications such as Highways, Black Book Magazine, Urban Daddy, James Beard winner LA TACO, You Gotta Eat This, as well as authoring his own food blogs, Bang for your Burger Buck and Ali Khan Eats! Having a child with food allergies, Ali is also an official spokesman for FARE, a food allergy advocacy group. In addition to food writing, Ali is a natural born performer trained in the Theatrical Arts at Carnegie Mellon University and the University of Southern California where he earned his B.A. in Theater Studies.Everyone, Ali Khan is one of my Most FAVORITE Food Network stars!! I absolutely adore His Big Authentic and FUN energy BUT the reason I invited him to be my guest on Empowered Conversations is because of this INCREDIBLE journey he has embarked on to Much Greater health and wellness and his physical transformation is TREMENDOUS!!!!! https://www.instagram.com/alikhaneats/?__coig_restricted=1https://alikhaneats.com/

In this episode, Jennifer talks to talent manager, ChiChi Anyanwu, about her journey to becoming a talent manager, what it is like working with her in this capacity, and the makings of a successful client-manager relationship. ChiChi gives tools for submissions, social media, and branding. She also shares the importance of taking one's power back, collaborating, and focusing on doing the work.    About ChiChi: ChiChi Anyanwu founded CHI Talent Management in 2020, after 10 + years of working in talent representation and casting in New York. Her experiences in casting made her discover that her true passion was nurturing and developing aspiring talent. The clients she has represented have been seen on Broadway in MJ, Clyde's, Ain't Too Proud, Chicago, and in national tours of Tina, Wicked, Charlie and the Chocolate Factory, and Jesus Christ Superstar. Films: Otherhood, Standing Up, Falling Down, Boogie, Vampires vs. the Bronx. Television: The Deuce, Fosse/Verdon, Power, Gotham, Snowfall, Bull,  Madam Secretary, The Code, Alternatino, Godfather of Harlem, Law & Order, Law & Order: SVU, FBI, Wu-Tang: An American Saga, Blacklist. She is a producer for the NOW AFRICA: Playwrights Festival. NOW AFRICA is in partnership with the Center for Art and Public Policy and the Institute of Performing Arts at NYU Tisch School of the Arts and Anna Deavere Smith's Institute on the Arts and Civic Dialogue. NOW AFRICA's mission is to bridge the continental divide and to expose the community to playwrights from the African Diaspora. Other past producing projects include workshop productions of the 1st Gen Nigerian Project at the Bank Street Theatre and the Humanitas Award-winning play Good Grief written by her sister, award-winning playwright/actress, Ngozi Anyanwu, at the INTAR Theatre. ChiChi also teaches at Stonestreet Studios, The New School of Drama and serves as a diversity audience consultant for Broadway and Off-Broadway theatres. ChiChi Anyanwu is a graduate of the University of Pittsburgh with a B.A. in Communication, Theater Studies minor & Certificate in African Studies. Awards/Honors: 2020 grant recipient of the American Express 100 for 100 program. Diverse Representation "The Ten to Watch in 2021" list. ChiChi's IG: @chitalentmgmt ChiChi's Website: www.chitalentmanagement.com Want to coach with Jennifer? Schedule a session here! https://appt.link/jenniferapple Monologue Sourcing Promo Link! https://empoweredartistcollective.com/podcastpromo Learn more: https://www.empoweredartistcollective.com/podcast EAC IG: @EmpoweredArtistCollective  EAC TikTok: @EmpowerArtistCollective EAC Facebook: https://www.facebook.com/empoweredartistcollective/ Check Out Our Merch! https://www.empoweredartistcollective.threadless.com/ Any thoughts you'd like to share? Email us at EmpoweredArtistCollective@gmail.com  

Dr. Whitney Dirks, Visiting Assistant Professor in the Gustavus Department of History, talks about her young “gender bending” acting in Shakespeare plays, her self-designed interdisciplinary major in Renaissance and Theater Studies at Beloit College in Wisconsin, her research on the production, circulation, consumption, and meanings of print materials in early modern England about “monsters” like hermaphrodites, conjoined twins, and an alleged porcine-faced lady, teaching and learning the early modern period through hands-on student projects using period skills, and the value of historical skills and the liberal arts.

Drawing on a rich body of archival and ethnographic research, Queering Drag: Redefining the Discourse of Gender-Bending (Indian UP, 2020) illuminates diverse examples of theatrical gender-bending. It shows how, in each case, standard drag discourses do not sufficiently capture the complexity of performers' intents and methods or provide a strong enough foundation for holistically evaluating the impact of this work. Queering Drag offers a redefinition of the genre centralized in the performer's construction and presentation of a "queer" version of hegemonic identity. It also models a new set of tools for analyzing drag as a process of intents and methods enacted to effect specific goals. The book won the 2021 John Leo and Dana Heller Award for Best Book in LGBTQ Studies from the Popular Culture Association and was named one of NBC's "10 LGBTQ books to watch out for in 2020.” Dr. Meredith Heller is an Associate Teaching Professor in the Women's and Gender Studies Program at Northern Arizona University, where she has taught since 2014. She earned a Ph.D. in Theater Studies with a Feminist Studies doctoral emphasis from the University of California, Santa Barbara. She specializes in queer theory and critical identity studies, with additional expertise in performance studies, digital media, and popular culture.  Isabel Machado is a cultural historian whose work often crosses national and disciplinary boundaries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Drawing on a rich body of archival and ethnographic research, Queering Drag: Redefining the Discourse of Gender-Bending (Indian UP, 2020) illuminates diverse examples of theatrical gender-bending. It shows how, in each case, standard drag discourses do not sufficiently capture the complexity of performers' intents and methods or provide a strong enough foundation for holistically evaluating the impact of this work. Queering Drag offers a redefinition of the genre centralized in the performer's construction and presentation of a "queer" version of hegemonic identity. It also models a new set of tools for analyzing drag as a process of intents and methods enacted to effect specific goals. The book won the 2021 John Leo and Dana Heller Award for Best Book in LGBTQ Studies from the Popular Culture Association and was named one of NBC's "10 LGBTQ books to watch out for in 2020.” Dr. Meredith Heller is an Associate Teaching Professor in the Women's and Gender Studies Program at Northern Arizona University, where she has taught since 2014. She earned a Ph.D. in Theater Studies with a Feminist Studies doctoral emphasis from the University of California, Santa Barbara. She specializes in queer theory and critical identity studies, with additional expertise in performance studies, digital media, and popular culture.  Isabel Machado is a cultural historian whose work often crosses national and disciplinary boundaries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Drawing on a rich body of archival and ethnographic research, Queering Drag: Redefining the Discourse of Gender-Bending (Indian UP, 2020) illuminates diverse examples of theatrical gender-bending. It shows how, in each case, standard drag discourses do not sufficiently capture the complexity of performers' intents and methods or provide a strong enough foundation for holistically evaluating the impact of this work. Queering Drag offers a redefinition of the genre centralized in the performer's construction and presentation of a "queer" version of hegemonic identity. It also models a new set of tools for analyzing drag as a process of intents and methods enacted to effect specific goals. The book won the 2021 John Leo and Dana Heller Award for Best Book in LGBTQ Studies from the Popular Culture Association and was named one of NBC's "10 LGBTQ books to watch out for in 2020.” Dr. Meredith Heller is an Associate Teaching Professor in the Women's and Gender Studies Program at Northern Arizona University, where she has taught since 2014. She earned a Ph.D. in Theater Studies with a Feminist Studies doctoral emphasis from the University of California, Santa Barbara. She specializes in queer theory and critical identity studies, with additional expertise in performance studies, digital media, and popular culture.  Isabel Machado is a cultural historian whose work often crosses national and disciplinary boundaries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Drawing on a rich body of archival and ethnographic research, Queering Drag: Redefining the Discourse of Gender-Bending (Indian UP, 2020) illuminates diverse examples of theatrical gender-bending. It shows how, in each case, standard drag discourses do not sufficiently capture the complexity of performers' intents and methods or provide a strong enough foundation for holistically evaluating the impact of this work. Queering Drag offers a redefinition of the genre centralized in the performer's construction and presentation of a "queer" version of hegemonic identity. It also models a new set of tools for analyzing drag as a process of intents and methods enacted to effect specific goals. The book won the 2021 John Leo and Dana Heller Award for Best Book in LGBTQ Studies from the Popular Culture Association and was named one of NBC's "10 LGBTQ books to watch out for in 2020.” Dr. Meredith Heller is an Associate Teaching Professor in the Women's and Gender Studies Program at Northern Arizona University, where she has taught since 2014. She earned a Ph.D. in Theater Studies with a Feminist Studies doctoral emphasis from the University of California, Santa Barbara. She specializes in queer theory and critical identity studies, with additional expertise in performance studies, digital media, and popular culture.  Isabel Machado is a cultural historian whose work often crosses national and disciplinary boundaries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Drawing on a rich body of archival and ethnographic research, Queering Drag: Redefining the Discourse of Gender-Bending (Indian UP, 2020) illuminates diverse examples of theatrical gender-bending. It shows how, in each case, standard drag discourses do not sufficiently capture the complexity of performers' intents and methods or provide a strong enough foundation for holistically evaluating the impact of this work. Queering Drag offers a redefinition of the genre centralized in the performer's construction and presentation of a "queer" version of hegemonic identity. It also models a new set of tools for analyzing drag as a process of intents and methods enacted to effect specific goals. The book won the 2021 John Leo and Dana Heller Award for Best Book in LGBTQ Studies from the Popular Culture Association and was named one of NBC's "10 LGBTQ books to watch out for in 2020.” Dr. Meredith Heller is an Associate Teaching Professor in the Women's and Gender Studies Program at Northern Arizona University, where she has taught since 2014. She earned a Ph.D. in Theater Studies with a Feminist Studies doctoral emphasis from the University of California, Santa Barbara. She specializes in queer theory and critical identity studies, with additional expertise in performance studies, digital media, and popular culture.  Isabel Machado is a cultural historian whose work often crosses national and disciplinary boundaries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

Alys Ayumi Ogura (she/her/hers) is a storyteller through her movement, voice and quirky humor. Her dance training began in Japan, where she learned from the now late Mika Kurosawa, the famed godmother of Japanese contemporary dance. She earned a BA in Theater Studies from Westmar University, and her theater training concluded with her earning the “most outstanding student” award from the school's Theater and Dance Department.Her choreographies and performances have been curated for the Walker Art Center's Choreographer's Evening by Megan Mayer, and for BodyCartography Project's/HIJACK's Future Interstates. Ogura has worked since 2010 in the Twin Cities' thriving arts community. As a way of giving back to the Twin Cities arts community, Ogura serves as a DanceMN steering-committee member, and she supports MN Artist Coalition efforts. She most recently performed in Generic Minneapolis, by Emily Gastineau, and she is set to be part of the April Sellers Dance Collective's summer residency/tour. Ogura is a former Arts Organizing Institute fellow (2017-18) through the Pangea World Theater, and a 2021 Naked Stages fellow, managed by Pillsbury House Theatre and funded by the Jerome Foundation.

On this episode of ActorSpeak, Austin Basis continues to speak with actor Reggie Austin (On My Block, Agent Carter, Pretty Little Liars, Life Unexpected, The Starter Wife). In Part 3, we talk Life Unexpected chemistry, admiring Denzel, On My Block, always getting better, M. Night Shyamalan's skill, earning insurance, his dream to be David Schwimmer, being an assistant storyteller, bringing a warm seriousness to roles, and his one-offer a year proposition. Born in Peekskill, NY- Reggie Austin was a Theater Studies major at Yale University. There he appeared in numerous stage productions, including starring roles in Macbeth and Othello. After graduating, Reggie moved to New York City, where he studied with Susan Batson and performed on stage and in several films & TV shows before relocating to Los Angeles in 2005. You may recognize Reggie from his extensive commercial experience, but he is best known for his recurring roles on Marvel's Agent Carter, Devious Maids, Pretty Little Liars, Life Unexpected, The Fosters, The Starter Wife, and most recently the Netflix series On My Block. He has appeared as a guest star on shows including Homeland, The Good Doctor, Bones, Desperate Housewives, Grey's Anatomy, and NCIS: New Orleans, and in films including The Omen and Friends with Money. He also took his talents on the road for a few years with Acts The 3-Man Show, a full length action drama inspired by the New Testament book. His grace, charm & intelligence make him a great actor, but it's his sincere goodness that makes him a great person, devoted husband & father, and friend. WE AUDITION is a video-chat community where actors can audition, self-tape, rehearse, and get expert industry advice. USE promo code: ACTORSPEAK to get 25% off when joining at WeAudition.com

On this episode of ActorSpeak, Austin Basis continues to speak with actor Reggie Austin (On My Block, Agent Carter, Pretty Little Liars, Life Unexpected, The Starter Wife). In Part 2, we discuss hating headshots, commercials as our bread & butter, facets of the "diamond," not being attached to a result, asking for one more take, learning to watch himself onscreen, making the crew laugh, doing improv on Up All Night, and knowing his strengths & weaknesses. Born in Peekskill, NY- Reggie Austin was a Theater Studies major at Yale University. There he appeared in numerous stage productions, including starring roles in Macbeth and Othello. After graduating, Reggie moved to New York City, where he studied with Susan Batson and performed on stage and in several films & TV shows before relocating to Los Angeles in 2005. You may recognize Reggie from his extensive commercial experience, but he is best known for his recurring roles on Marvel's Agent Carter, Devious Maids, Pretty Little Liars, Life Unexpected, The Fosters, The Starter Wife, and most recently the Netflix series On My Block. He has appeared as a guest star on shows including Homeland, The Good Doctor, Bones, Desperate Housewives, Grey's Anatomy, and NCIS: New Orleans, and in films including The Omen and Friends with Money. He also took his talents on the road for a few years with Acts The 3-Man Show, a full length action drama inspired by the New Testament book. His grace, charm & intelligence make him a great actor, but it's his sincere goodness that makes him a great person, devoted husband & father, and friend. WE AUDITION is a video-chat community where actors can audition, self-tape, rehearse, and get expert industry advice. USE promo code: ACTORSPEAK to get 25% off when joining at WeAudition.com

On this episode of ActorSpeak, Austin Basis speaks with actor Reggie Austin (On My Block, Agent Carter, Pretty Little Liars, Life Unexpected, The Starter Wife). In Part 1, we talk about the "fart loft", Three's Company, aspiring to be a doctor, studying at Yale & with Susan Batson, "into-me-see", wanting art to be math, pounding the pavement, and the constant battle with his artist vs. his technician. Born in Peekskill, NY- Reggie Austin was a Theater Studies major at Yale University. There he appeared in numerous stage productions, including starring roles in Macbeth and Othello. After graduating, Reggie moved to New York City, where he studied with Susan Batson and performed on stage and in several films & TV shows before relocating to Los Angeles in 2005. You may recognize Reggie from his extensive commercial experience, but he is best known for his recurring roles on Marvel's Agent Carter, Devious Maids, Pretty Little Liars, Life Unexpected, The Fosters, The Starter Wife, and most recently the Netflix series On My Block. He has appeared as a guest star on shows including Homeland, The Good Doctor, Bones, Desperate Housewives, Grey's Anatomy, and NCIS: New Orleans, and in films including The Omen and Friends with Money. He also took his talents on the road for a few years with Acts The 3-Man Show, a full length action drama inspired by the New Testament book. His grace, charm & intelligence make him a great actor, but it's his sincere goodness that makes him a great person, devoted husband & father, and friend. WE AUDITION is a video-chat community where actors can audition, self-tape, rehearse, and get expert industry advice. USE promo code: ACTORSPEAK to get 25% off when joining at WeAudition.com

“Expertise is the new genius" is the second episode that follows a conversation with theorist, DJ and composer Justyna Stasiowska. After completing her degree in Drama and Theater Studies, Justyna Stasiowska is a PhD student at the Performance Studies Department at the Jagiellonian University in Kraków. In addition to her theoretical work, contributing to diverse media on theatre and contemporary music, she also collaborates as sound designer with various choreographers.With "Expertise is the new genius" Justyna encapsulates in a few words a cultural narrative strongly rooted in contemporary music. This narrative gives special relevance to the mastery of technology by musicians, who know their own instruments like no one else does, after years of difficult and painstaking never-ending learning. One keeps feeding the narrative of expertise that, at the same time, offers resistance to being fully achieved. Moreover, the notion of expertise also resonates with a monogamous relationship to sound, in which each musician is the connoisseur, protector and keeper of a very specific type of music that distinguishes them from each other. The cultural logic of specialized expertise means, that, by contrast, a preference for eclecticism is perceived as not very serious, as recreation or as a weak commitment to musical learning.There are further narratives arising from the patriarchal gaze that are assumed as norm in the field of music. Not only logics of progress and development, of improvement and advancement, are part of the history of sound. Also, the popular use of military concepts applied to the context of sound is very common, especially in the description of albums, songs or concerts. The genealogy of this language goes unnoticed, turning the musician into a sonic warrior. In her sophisticated perception of language, Justyna's definition of noise is not so much about sound as sonic matter per se, but about contextual perception and possible shifts in meaning. This conversation began with the relationship between sound and theatre, questioning the priority of the eye in what happens on stage and in the stalls, and ended by talking about a different kind of relationship to language through dyslexia and its resistance to normative learning sequences. Many other things came in between, including the desire to listen to music producers speak of intuition and the pleasures of the still unidentified.

“Expertise is the new genius" is the second episode that follows a conversation with theorist, DJ and composer Justyna Stasiowska. After completing her degree in Drama and Theater Studies, Justyna Stasiowska is a PhD student at the Performance Studies Department at the Jagiellonian University in Kraków. In addition to her theoretical work, contributing to diverse media on theatre and contemporary music, she also collaborates as sound designer with various choreographers. With "Expertise is the new genius" Justyna encapsulates in a few words a cultural narrative strongly rooted in contemporary music. This narrative gives special relevance to the mastery of technology by musicians, who know their own instruments like no one else does, after years of difficult and painstaking never-ending learning. One keeps feeding the narrative of expertise that, at the same time, offers resistance to being fully achieved. Moreover, the notion of expertise also resonates with a monogamous relationship to sound, in which each musician is the connoisseur, protector and keeper of a very specific type of music that distinguishes them from each other. The cultural logic of specialized expertise means, that, by contrast, a preference for eclecticism is perceived as not very serious, as recreation or as a weak commitment to musical learning. There are further narratives arising from the patriarchal gaze that are assumed as norm in the field of music. Not only logics of progress and development, of improvement and advancement, are part of the history of sound. Also, the popular use of military concepts applied to the context of sound is very common, especially in the description of albums, songs or concerts. The genealogy of this language goes unnoticed, turning the musician into a sonic warrior. In her sophisticated perception of language, Justyna's definition of noise is not so much about sound as sonic matter per se, but about contextual perception and possible shifts in meaning. This conversation began with the relationship between sound and theatre, questioning the priority of the eye in what happens on stage and in the stalls, and ended by talking about a different kind of relationship to language through dyslexia and its resistance to normative learning sequences. Many other things came in between, including the desire to listen to music producers speak of intuition and the pleasures of the still unidentified.

“Listen for what you’re really good at - and embrace your superpower.” Amanda Clark is Chief Development Officer at Papa John’s International, where she leads the company’s strategy to continue expanding its restaurant footprint in North America and internationally. Prior to Papa John’s, Amanda was Executive Vice President of the Restaurant Experience at Taco Bell where she reinvented the customer experience across 7,000 restaurants by bringing together marketing, technology, architecture and design, and construction to create a unified vision. During her seven years at Taco Bell, she served on numerous other leadership roles, including SVP North America Development and General Manager for Taco Bell Canada. Amanda began her career at P&G, where she spent nearly 12 years working on some of the company’s biggest brands like Olay, Pampers and Oral-B. Amanda graduated from Yale University with a Bachelor of Arts degree in Psychology and Theater Studies. In this candid conversation about being your best self, Amanda talks about the importance of finding what you’re good at - and how that might not always be the path you think you were meant to be on. You’ll enjoy hearing Amanda’s perspective on what it takes to intentionally build a diverse and inclusive team, and how you sometimes in the face of organization inertia - you have to be willing to push back to move forward.

In this episode we’re talking to Hallie Hobson, who I first met at the Cave Canem summer poetry retreat in 2007, which was also the year I graduated from undergraduate school at UNC Chapel Hill. I knew I was moving to NYC and so meeting a Black woman who lived and worked there—and especially Harlem—was exciting, and I had NO IDEA at the time what development meant, but I was jealous Hallie got to work at a museum—then I think the Museum of Modern Art. When it became time for me to understand the idea of fundraising for culture, and doing that work as a Black woman, I turned to Hallie as a possibility model and way maker. I’m super honored to call her colleague today, and to think about what it means for us to be poets and creatives doing the work of institutional cultural storytelling in order to do the work of fundraising--what I define as moving people and resources towards a mission. As the founder of HSH Consulting LLC, Hallie S. Hobson contributes to the vitality and health of philanthropic and nonprofit institutions by developing and implementing innovative planning, fundraising and patron engagement strategies including: philanthropic strategy development and implementation; capital campaign and strategic planning; individual giving program design; major gift pipeline development; department buildout and optimization-staffing and systems; CDO coaching; board development. Current clients include Destination Crenshaw, The Ford Foundation, Junebug Productions, and The Laundromat Project. Prior to launching her consultancy, Hallie served as the Director of Institutional Advancement for the Studio Museum in Harlem and led that organization’s Capital Campaign. Prior to that she was at The Metropolitan Museum of Art where she served as Deputy Chief Development Officer for Individual Giving and the Senior Development Officer at The Museum of Modern Art. She has also held roles at a number of other cultural institutions including the New York Foundation for the Arts and The House Foundation for the Arts/Meredith Monk and has lectured about her profession at New York University, the Yale World Fellows Program, and Sotheby's Institute of Art. In addition, Hallie is an accomplished poet and playwright. She holds an M.F.A. in Playwriting from UCLA and a B.A. in African-American and Theater Studies from Yale University. This episode was recorded on January 15, 2021. Produced by Lauren Francis Music by audionautix.com Note: In the interview, Hobson refers to Kinshasha Holman Conwill and it sounds like "is the director of AAMHC...". Ms. Holman Conwill is the Deputy Director of AAMHC.

Devon Michaels is an actor, writer, and Director who grew up doing theater in New York at age 12. Devon graduated from Yale University with a degree in Theater Studies and Psychology with a Philosophy concentration. He’s better known for his portrayal of Bill in the award-winning TV show Gilmore Girls. Other TV credits include Frasier, The West Wing, Monk, Grace & Frankie, and NCIS Los Angeles, just to name a few. You can find Devon on Instagram & Twitter @devonmaycare and on his new Podcast “Asked and Answered”. Please enjoy this conversation with Devon Michaels! ** Welcome to CineDharma! Hosted by Paul Guerra (IG @paulguerratv), CineDharma is a space where I can be open, vulnerable, and curious with creative people and get to know who they are. I invite you to join me as we traverse their stories,  get inspired by their struggles, celebrate their setbacks, and ultimately get to learn from their journey in the entertainment industry. If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It takes less than 60 seconds, and it really makes a difference in helping to convince hard-to-get guests -I also love reading reviews! ;) Let's connect on social media: Twitter: @PaulGrra Facebook: Paul Guerra YouTube Channel (video version of this Podcast): TBD TikTok: @paulguerratv Pinterest: @paulguerratv --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/cinedharma/message Support this podcast: https://anchor.fm/cinedharma/support

Joanna Mahoney, an in-house graphic designer at the Museum of Fine Arts in Boston, Massachusetts. For the majority of 2020, she and her team worked hard to produce meaningful digital content for Museum members and visitors to engage with from the comfort of their homes. Mahoney is also known for her impressive talents in motion graphics, illustration, and hand-lettering art. Before completing her master's degree in Graphic Design at Suffolk University, Mahoney earned her undergraduate degree in Theater Studies at Emerson College, where she learned the ins and outs of designing the set and prop pieces for theater and film. Her creative journey is certainly full of twists and turns and is super exciting. We had a fun conversation not only catching up as a mini Suffolk alumni reunion, but discussing her design journey of becoming a leader in inspiring women, particularly young female creatives to break the wage gap, be open to talking about their “imposter syndrome” struggles, and be brave to pursue their leadership positions with confidence and joy in the creative field. Throughout this talk, you will also discover her grassroots Valkyrie mentorship campaign, her #100dayproject on Instagram, her passion for theater, and her other beautiful artworks. Joanna Mahoney's Instagram: https://www.instagram.com/joamahoney/ Joanna Mahoney's Portfolio: https://www.joannamahoney.com/   Pixel Perfect's Instagram: https://www.instagram.com/pixelperfecttalk/ Pixel Perfect's Website: https://www.pixelperfect.blog/    

"The Bonobo Way" with Dr. Susan Block Susan Marilyn Block, Ph.D. is founder and director of the Dr. Susan Block Institute for the Erotic Arts & Sciences. A world-renowned sexologist and best-selling author, her book, "The Bonobo Way: The Evolution of Peace through Pleasure," has garnered critical acclaim from a variety of media outlets and celebrities, from politicians to porn stars. A magna cum laude graduate of Yale University “with distinction” in Theater Studies, Dr. Block, aka “Dr. Suzy,” received her master's and doctorate in psychology from California Miramar University and an honorary doctorate from the Institute for the Advanced Study of Human Sexuality. In our conversation, we started with the basics of Bonobo life, and then moved on to the effects of geography on their evolution; how sex makes you smarter; the "Bonobo handshake;" how male Bonobos are "mama's boys;" releasing your inner-Bonobo; sexual puritanism on the left; scarcity issues with sex in contemporary society; how humans were more egalitarian and sexually adventurous as gatherer-hunters than we are today; the problem of increasing screen time in the our culture; and efforts to save Bonobos and their habitat in the wild. DrSusanBlock.com Youtube Channel: https://www.youtube.com/user/DrSusanBlock BlockBonoboFoundation.org Sex therapy: 213-291-9497 F.D.R. -- F*ck Da Rich! podcast, live on Saturday nights! Call in at: 866-289-7068 Wherever you find podcasts, plus on YouTube: https://www.youtube.com/watch?v=AHU3oZaLJvA&list=PLRnnn7gHDW4auLrpsw56q9zH8EaxkTHue Organizations working to save Bonobos in the wild: Lola Ya Bonobo, a sanctuary for orphaned Bonobos: https://www.bonobos.org/ Bonobo Conservation Initiative: http://www.bonobo.org/ The Bonobo Project: http://bonoboproject.org/ Episode introduction music is "EastAndW" by Romariogrande https://freesound.org/people/Romariogrande/sounds/399354/ RADIO FREE SUNROOT: Podcasting by Kollibri terre Sonnenblume: https://radiofreesunroot.com KOLLIBRI'S BLOG & BOOKSHOP: https://macskamoksha.com/ ONE-TIME DONATION: http://paypal.me/kollibri https://venmo.com/Kollibri KOLLIBRI'S PATREON: Get access to members-only content https://www.patreon.com/kollibri Support Voices for Nature & Peace by donating to their Tip Jar: https://tips.pinecast.com/jar/voices-for-nature-and-peace This podcast is powered by Pinecast. Try Pinecast for free, forever, no credit card required. If you decide to upgrade, use coupon code r-a50345 for 40% off for 4 months, and support Voices for Nature & Peace.

Our guest on this episode of Crossings Conversations is Bishop Jennifer Reddall of the Diocese of Arizona. Bishop Reddall talks about new models of leadership formation for rural parishes in the Diocese of Arizona. She also discusses the importance of laughter and flexibility in church leadership. Download full episode transcript hereGuest Bio: The Right Reverend Jennifer Reddall is Bishop of the Episcopal Diocese of Arizona. She formerly served as Rector of the Church of the Epiphany in New York City, proclaiming a message of joy, love, and justice. She grew up in California and graduated from Yale University with a degree in Theater Studies before pursuing her vocation in the Church and graduating from General Theological Seminary in 2002. About the Show: Crossings Conversations is a co-production of Church Divinity School of the Pacific and Trinity Church Wall Street. If you enjoyed the show, please rate and review it on Apple Podcasts or share it with a colleague. You can learn more about the only Episcopal seminary on the West Coast and subscribe to Crossings magazine at cdsp.edu.

Gary Jaffe is a Brooklyn-based writer, filmmaker, and persimmon lover. He recently participated as a fellow in the 2020 Outfest Screenwriting Lab, a screenwriting contest and mentoring program to advance the visibility of LGBTQIA+ storytelling. He earned his BA in Theater Studies from Yale University. Easy Cook Bear is a food and culture show about how we cook, connect, and create. Host Lee-Sean Huang and guests share stories, swap recipes, and explore the creative processes of people who make art, culture, food, music, and more. Links to people/things referenced in the episode: Japanese Dried Persimmon https://amzn.to/2KH1SiK Shishito Pepper https://en.wikipedia.org/wiki/Shishito Sectumsempra curse from Harry Potter https://harrypotter.fandom.com/wiki/Sectumsempra#:~:text=Sectumsempra%20was%20a%20curse%20invented,became%20one%20of%20his%20specialities Persimmon Video by Li Ziqi https://www.youtube.com/watch?v=YKIXHn3kDL0 Richard Linklater https://en.wikipedia.org/wiki/Richard_Linklater Kairos https://en.wikipedia.org/wiki/Kairos Ichi-go ichi-e https://en.wikipedia.org/wiki/Ichi-go_ichi-e Eminem, Lose Yourself https://www.youtube.com/watch?v=_Yhyp-_hX2s Yugen https://en.wikipedia.org/wiki/Japanese_aesthetics#Y%C5%ABgen Nesby Phips https://en.wikipedia.org/wiki/Nesby_Phips Torimono http://eos.kokugakuin.ac.jp/modules/xwords/entry.php?entryID=1024 Yasujiro Ozu https://en.wikipedia.org/wiki/Yasujir%C5%8D_Ozu Kakiage https://en.wikipedia.org/wiki/Kakiage Jiro Dreams of Sushi https://en.wikipedia.org/wiki/Jiro_Dreams_of_Sushi The Long Christmas Ride Home https://en.wikipedia.org/wiki/The_Long_Christmas_Ride_Home Joe Hisaishi https://open.spotify.com/artist/7nzSoJISlVJsn7O0yTeMOB Uchiko https://uchikoaustin.com/ Omakase https://en.wikipedia.org/wiki/Omakase Betsubara https://jpninfo.com/50578 Ursula K. Le Guin https://amzn.to/2KRghJ9 Gary on Instagram https://www.instagram.com/garysjaffe/ Gary's IMDB profile and list of films: https://www.imdb.com/name/nm8464073/ --- Send in a voice message: https://anchor.fm/easycookbear/message Support this podcast: https://anchor.fm/easycookbear/support

Episode Summary: In this week’s unique gallery, Yassi and Haddy invite their good friend, Dan Boulus, to talk about “Art and the City” --how arts institutions shape the literal infrastructure and cultural feel of a city. Then to kick off our hometown series, they interview 2019 Reno City Artist and figurative abstractionist, Tom Drakulich. Finally, this week’s provocation asks you to confront a piece of abstraction and figure out what it means to you. Dan Boulos received his PhD in Theater Studies from the University of California Santa Barbara in 2018. His dissertation examined the founding of the Repertory Theatre of Lincoln Center in New York City and Center Theatre Group in Los Angeles and situated their histories in the context of urban renewal during the Cold War in the United States. Earlier graduate research led to his Master’s thesis on the redevelopment of New York’s City’s Forty-Second Street and Times Square, reflecting a life-long fascination with American cities, the majority of which he got to see while spending nearly two years touring North America in a giant lizard costume in The Magic School Bus Live. Biography: Born and raised in Reno, NV, Tom Drakulich is a process based, figurative abstractionist whose art practice navigates the play between the unique and the familiar. Having grown up exploring the Nevada landscape, he is influenced by the ways in which the physicality and form of the desert can be connected to the aesthetics of the body and his relationship with human nature. Tom is an interdisciplinary artist working in ceramics, mixed media painting and drawing, and site-specific sculpture. Tom received his A.A. in Art History from Truckee Meadows Community College, his B.A. in Criminal Justice from the University of Nevada, Reno, and his M.F.A. from the University of Nevada, Reno. In 2019, he was selected as the City of Reno’s inaugural City Artist. Find Tom online: https://www.instagram.com/tomdrakulich/ Provocation (#artifpodcast): Find a piece of abstract art that you don’t understand and use this simple checklist to interpret it. Describe, Analyze, Interpret, and then Judge the artwork. Mentions: Carnaby Street Lincoln Center Mark Taper Forum The Public Theater Joseph Papp UNR Kintsugi Richard Jackson Fred Reid Lynda Yuroff Walter McNamara Kelsie Harder Jim McCormick Kiki Smith --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

James Bundy, Dean of Yale School of Drama, joins us in episode 119 of Relate. On this episode, we dissect the art of acting, beginning with a tendency and temptation actors have to focus on how "good" our acting is. James makes clear that the actor sees what the audience sees and, as such, we must follow our curiosities as actors. We discuss the importance of vivid and big imaginations, how chasing perfection is an illusion, and why we must, from time to time, entertain the ideas of our mortal enemies. To learn more about James and the Yale School of Drama, please visit https://www.drama.yale.edu/ James Bundy has served as Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre since 2002. He teaches in the Acting program at the School and in the Theater Studies program in Yale College. During his tenure, Yale Rep has produced more than thirty world, American, and regional premieres, nine of which have been honored by the Connecticut Critics Circle as Best Production of the year and two of which have been Pulitzer Prize finalists. James has directed productions at Theater for a New Audience, Oregon Shakespeare Festival, Great Lakes Theater Festival, The Acting Company, California Shakespeare Festival, Alabama Shakespeare Festival, and The Juilliard School Drama Division. James is a graduate of Harvard College; he trained at the London Academy of Music and Dramatic Art and Yale School of Drama. --- Send in a voice message: https://anchor.fm/relate-patrick-mcandrew/message Support this podcast: https://anchor.fm/relate-patrick-mcandrew/support

This world is made of some brilliant women and we have got one on the show today.  Tatianna Mott chats with Ashley about Broadway, dance, perfectionism, and creating your own work. Tatianna hosts a wonderful podcast called Take Each Moment which includes music, testimonies, and guided meditations that remind listeners that we are all in this together. The Eff Your Fears Podcast https://www.patreon.com/effyourfears https://www.effyourfears.com/ More on Tatianna Mott https://www.instagram.com/tatiannamott/ https://www.takeeachmoment.com/media https://www.instagram.com/takeeachmomentpodcast/  https://www.youtube.com/watch?v=U3HtJfEkdAQ An Equity actor, singer, and dancer, Tatianna Mott got her start in the Arts at the age of 3 under the tutelage of Broadway veteran Betsy Dickerson. She studied theater at UCL in London, UK and at the Michael Howard Studios Conservatory in NYC, and received a B.A. in Theater Studies from Duke University. In addition to her performance career, Tatianna has worked as a writer, director, and producer on various projects including Roc Nation/Peace Industry Music Group artists Infinity's Song and Victory Boyd's Apollo Theater debut concert, Oprah's 2020 Vision Tour, and The Grio. ​In 2016, Tatianna founded Take Each Moment, a live events and media production company aimed at telling stories that uplift and inspire.  --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/effyourfears/support

Since 2016, the students have been collectively translating Don Quixote into English. With the help of dozens of dictionaries and the approval of acclaimed Don Quixote translator Edith Grossman, they are adapting the 400-year-old Spanish tale—a story about a traveling dreamer who never gives up—into a bilingual musical based also on their own lives. Six-year old Sarah tells of her mother’s journey across the desert from Mexico riding on the back of a tiger. Alex, a very private teenager, sings her coming out song to standing ovations. As the kids perform their work, they deliver a message of diversity, love, hope, and resilience essential to us all. “People in the audience have told me that the performances lifted up their hearts, made them laugh, and moved them to compassion,” explained Haff. “The kids have said that after performing far and wide in college classrooms and government offices they now feel they belong, in the worlds of higher education and civic power; they belong in this country.” Drawing from his experiences inside and outside the classroom, Stephen Haff developed a new teaching method using AA meetings, Quaker prayers and psychotherapy to create a more empathetic and collaborative way to learn. In this welcoming environment, all agreed that there would only be one rule: “Everyone listens to everyone,” a rule that has unlocked spectacular potential. Kids as young as five and as old as 17 arrive at Still Waters in a Storm, an after-school program in a small room in Bushwick, Brooklyn, where they practice reading and writing in English, Spanish, and Latin. For the students, many living in constant fear of deportation, Still Waters is a refuge. For Haff, it is the sanctuary he built following a breakdown caused by bipolar depression Written with the same collaborative spirit that fills Still Waters, Kid Quixotes is both an inspirational memoir and expert examination of the power of translation, listening, and education, including in its pages a variety of voices and stories that often go unheard. About the Author: Stephen Haff is the founder of Still Waters in a Storm, a one-room school serving Spanish-speaking immigrant children in Bushwick, Brooklyn. Previously, he taught English at a public school in Bushwick for nearly a decade. He earned his MFA in Theater Studies at Yale, and has made a living directing plays and writing essays for the Village Voice and other publications. Stephen lives in Queens with his wife, children’s book author Tina Schneider, and their three children.

Since 2016, the students have been collectively translating Don Quixote into English. With the help of dozens of dictionaries and the approval of acclaimed Don Quixote translator Edith Grossman, they are adapting the 400-year-old Spanish tale—a story about a traveling dreamer who never gives up—into a bilingual musical based also on their own lives. Six-year old Sarah tells of her mother’s journey across the desert from Mexico riding on the back of a tiger. Alex, a very private teenager, sings her coming out song to standing ovations. As the kids perform their work, they deliver a message of diversity, love, hope, and resilience essential to us all. “People in the audience have told me that the performances lifted up their hearts, made them laugh, and moved them to compassion,” explained Haff. “The kids have said that after performing far and wide in college classrooms and government offices they now feel they belong, in the worlds of higher education and civic power; they belong in this country.” Drawing from his experiences inside and outside the classroom, Stephen Haff developed a new teaching method using AA meetings, Quaker prayers and psychotherapy to create a more empathetic and collaborative way to learn. In this welcoming environment, all agreed that there would only be one rule: “Everyone listens to everyone,” a rule that has unlocked spectacular potential. Kids as young as five and as old as 17 arrive at Still Waters in a Storm, an after-school program in a small room in Bushwick, Brooklyn, where they practice reading and writing in English, Spanish, and Latin. For the students, many living in constant fear of deportation, Still Waters is a refuge. For Haff, it is the sanctuary he built following a breakdown caused by bipolar depression Written with the same collaborative spirit that fills Still Waters, Kid Quixotes is both an inspirational memoir and expert examination of the power of translation, listening, and education, including in its pages a variety of voices and stories that often go unheard. About the Author: Stephen Haff is the founder of Still Waters in a Storm, a one-room school serving Spanish-speaking immigrant children in Bushwick, Brooklyn. Previously, he taught English at a public school in Bushwick for nearly a decade. He earned his MFA in Theater Studies at Yale, and has made a living directing plays and writing essays for the Village Voice and other publications. Stephen lives in Queens with his wife, children’s book author Tina Schneider, and their three children.

Since 2016, the students have been collectively translating Don Quixote into English. With the help of dozens of dictionaries and the approval of acclaimed Don Quixote translator Edith Grossman, they are adapting the 400-year-old Spanish tale—a story about a traveling dreamer who never gives up—into a bilingual musical based also on their own lives. Six-year old Sarah tells of her mother’s journey across the desert from Mexico riding on the back of a tiger. Alex, a very private teenager, sings her coming out song to standing ovations. As the kids perform their work, they deliver a message of diversity, love, hope, and resilience essential to us all. “People in the audience have told me that the performances lifted up their hearts, made them laugh, and moved them to compassion,” explained Haff. “The kids have said that after performing far and wide in college classrooms and government offices they now feel they belong, in the worlds of higher education and civic power; they belong in this country.” Drawing from his experiences inside and outside the classroom, Stephen Haff developed a new teaching method using AA meetings, Quaker prayers and psychotherapy to create a more empathetic and collaborative way to learn. In this welcoming environment, all agreed that there would only be one rule: “Everyone listens to everyone,” a rule that has unlocked spectacular potential. Kids as young as five and as old as 17 arrive at Still Waters in a Storm, an after-school program in a small room in Bushwick, Brooklyn, where they practice reading and writing in English, Spanish, and Latin. For the students, many living in constant fear of deportation, Still Waters is a refuge. For Haff, it is the sanctuary he built following a breakdown caused by bipolar depression Written with the same collaborative spirit that fills Still Waters, Kid Quixotes is both an inspirational memoir and expert examination of the power of translation, listening, and education, including in its pages a variety of voices and stories that often go unheard. About the Author: Stephen Haff is the founder of Still Waters in a Storm, a one-room school serving Spanish-speaking immigrant children in Bushwick, Brooklyn. Previously, he taught English at a public school in Bushwick for nearly a decade. He earned his MFA in Theater Studies at Yale, and has made a living directing plays and writing essays for the Village Voice and other publications. Stephen lives in Queens with his wife, children’s book author Tina Schneider, and their three children.

In Episode 62, Morgan Hoit (Associate Marketing Manager at Avid Reader Press & @nycbookgirl) and I go behind-the-scenes of book marketing…including read-alikes, celebrity book clubs, author blurbs, and cover art. Morgan also shares some of her favorite memoirs, a genre she’s been loving lately. This post contains affiliate links, through which I make a small commission when you make a purchase (at no cost to you!). Highlights How Morgan made the jump from #bookstagrammer to working for a publisher. The most surprising thing she learned when she began working for a publisher. Who the “quarterback” is for a book. How the process of coming up with a book’s marketing plan works (including how much the author is involved). How Avid tracks #bookstagrammers’ reading taste. Morgan’s take on posting negative reviews online. How coronavirus has changed book marketing (and the changes Morgan thinks might live on post-coronavirus). The “holy grail” of celebrity book clubs. How those read-alikes are chosen. How publishers get author blurbs for their books. How publishers choose cover art. Morgan’s Book Recommendations [32:52] Two OLD Books She Loves The Opposite of Loneliness by Marina Keegan | Buy from Amazon [33:03] Places I Stopped on the Way Home by Meg Fee | Buy from Amazon [35:19] Two NEW Books She Loves Uncanny Valley by Anna Wiener (My Review) | Buy from Amazon [37:54] Stray by Stephanie Danler (My Review) | Buy from Amazon [39:59] Two Books She DIDN’T Like American Psycho by Bret Easton Ellis | Buy from Amazon [42:51] I Am Charlotte Simmons by Tom Wolfe | Buy from Amazon [42:51] One NEW RELEASE She’s Excited About A Burning by Megha Majumdar (Release Date: June 2, 2020) | Buy from Amazon [47:04] Rate It Game [49:15] Other Books Mentioned The Only Plane in the Sky: An Oral History of 9/11 by Garrett M. Graff (My Review) | Buy from Amazon [12:45]  Three Womenby Lisa Taddeo (My Review) | Buy from Amazon [20:42] Perfect Tunes by Emily Gould (My Review) | Buy from Amazon [20:42]  An American Marriage by Tayari Jones (My Review) | Buy from Amazon [21:37]  All Adults Here by Emma Straub | Buy from Amazon [21:52]  The Secret History by Donna Tartt | Buy from Amazon [25:09] The Girl on the Train by Paula Hawkins (My Review) | Buy from Amazon [25:09]  Educated by Tara Westover (My Review) | Buy from Amazon [25:09]  Small Fry by Lisa Brennan-Jobs (My Review) | Buy from Amazon [29:24]  The Last Lecture by Randy Pausch | Buy from Amazon [34:56]  Sweetbitter by Stephanie Danler (My Review) | Buy from Amazon [40:07] My Sister, the Serial Killer by Oyinkan Braithwaite (My Review) | Buy from Amazon [43:49] Bright Lights, Big City by Jay McInerney | Buy from Amazon [45:09]  Bonfire of the Vanities by Tom Wolfe | Buy from Amazon [46:25]  A Man in Full by Tom Wolfe | Buy from Amazon [46:39]  The Interestings by Meg Wolitzer (My Review) | Buy from Amazon [47:26] The Gunners by Rebecca Kauffman (My Review) | Buy from Amazon [47:26] The Vanishing Half by Brit Bennett (My Review) | Buy from Amazon [48:45] Other Links Avid Reader Press Bonus Episode: Favorite Books by Black Authors About Morgan Blog | Instagram | Twitter Prior to joining Avid Reader Press, Morgan worked as an Associate at Jill Furman Productions for two and a half years, where she assisted in the producing of new plays and musicals for Broadway and the NYC theater industry. At Avid Reader Press, Morgan is the voice of the imprint on social media and also manages title marketing campaigns, working closely with authors on their digital presence and social media strategy. In her free time, Morgan is also the content creator and book worm behind nycbookgirl – a blog dedicated to book recommendations, guides to NYC, and more.  She was born in NYC and raised in New Jersey, and she graduated from Duke University magna cum laude with degrees in English and Theater Studies. Next Episode There will not be a new episode next week since the podcast is on its bi-weekly summer schedule. The following week, there will be a full length episode featuring Helena Dea Bala, author of Craigslist Confessional (airing July 8). Support the Podcast Support on Patreon – When you support the podcast on Patreon for $5/month, get bonus podcast episodes and other goodies! ShareIf you like the podcast, I’d love for you to share it with your reader friends…in real life and on social media (there’s easy share buttons at the bottom of this post!). Subscribe …wherever you listen to podcasts, so new episodes will appear in your feed as soon as they’re released. Rate and ReviewSearch for “Sarah’s Bookshelves” in Apple Podcasts…or wherever you listen to podcasts!

Stephen Haff is the founder of Still Waters in a Storm, a one-room school serving mostly Spanish-speaking immigrant children in Bushwick, Brooklyn. Previously, he taught English at a public school in Bushwick for nearly a decade, before leaving to recover from the effects of extreme psychological stress that led him to re-evaluate how he would return to serve kids as an educator and activist. In his new book, Kid Quixotes (https://amzn.to/34zxPit). Stephen shares a powerful story about the kids and an incredible 5-year project to translate and perform a modern version of Don Quixote. He earned his MFA in Theater Studies at Yale, and has made a living directing plays and writing essays for the Village Voice and other publications.You can find Stephen Haff at: Website: http://www.stillwatersinastorm.org/Check out our offerings & partners: OMGyes!: The Science of Women's Pleasure. Go to OMGyes.com/goodlife for a special discount.Better Help: Join the over 800,000 people talking charge of their mental health with the help of an experienced professional. Get 10% off your first month at betterhelp.com/GOODLIFE

Mr. Matt Mazur is the executive director of AutismFriendlyShows.com and Turtle Dance Music. He loves to help kids of all abilities come out of their shells. He has performed engaging music programs and concerts for thousands of children and families throughout the Northeast and Mid-Atlantic regions. He recently performed for Delaware’s Secretary of Education, Dr. Susan Bunting, First Lady Tracey Quillen Carney and all 33 public libraries throughout the State of Delaware. He and his companies regularly perform at New York Public Library, Queens Public Library, Bergen Performing Arts Center and several major autism centers throughout New York, New Jersey, Connecticut, Pennsylvania and Delaware. Mr. Matt has trained thousands of teachers, librarians, regional theater administrators and daycare center owners on techniques for effective autism-friendly programming. Mr. Matt received his Bachelor's of Fine Arts from NYU's Tisch School of the Arts. He received his graduate degrees in Developmental Models of Autism Intervention from the Center for Autism and Early Childhood Mental Health and his Master's Degree in Theater Studies focusing on Theater for Young Audiences at Montclair State University.

Andrei Zinca has worked, and successfully worn many hats, within the film industry over the last 40 years, from director to CEO of several field-related companies, including the Miami and Los Angeles based Double 4 Studios (www.double4studios.com). He has thoroughly sown his creative industrial oats, making him highly knowledgeable and well connected with many pioneers and tastemakers in the global film and television industries. Mr. Zinca is a native of Romania, where he graduated from the Institute for Film and Theater Studies. Once in the United States, he completed his graduate studies at USC in Los Angeles. As a director and producer, he was one of the pioneers of scripted production in the US Hispanic television market and was nominated for several regional Emmy Awards. In 2005, he reconnected with the Romanian film and TV industry and since then, he directed and/or co-produced in Romania one TV series, two features, and served as line producer for a major USproduction. For a few years now, he's been working in partnership with The Romanian Film Fund (C.N.C.), and the Romanian Filmmakers Association ( U.C.I.N.) to promote cooperation between creative and financial forces in the entertainment industries in the US and Romania. His work as a director and producer was awarded in international film festivals in the US, and in Romania by The Filmmakers Association, The TV Professionals Association and The Producers Guild. To find out more about Laura and her work please visit her website at www.laurapowers.net. You can also find Laura on twitter @thatlaurapowers, on Facebook @thatlaurapowers, and on instagram at laurapowers44.

Andrei Zinca has worked, and successfully worn many hats, within the film industry over the last 40 years, from director to CEO of several field-related companies, including the Miami and Los Angeles based Double 4 Studios (www.double4studios.com). He has thoroughly sown his creative industrial oats, making him highly knowledgeable and well connected with many pioneers and tastemakers in the global film and television industries. Mr. Zinca is a native of Romania, where he graduated from the Institute for Film and Theater Studies. Once in the United States, he completed his graduate studies at USC in Los Angeles. As a director and producer, he was one of the pioneers of scripted production in the US Hispanic television market and was nominated for several regional Emmy Awards. In 2005, he reconnected with the Romanian film and TV industry and since then, he directed and/or co-produced in Romania one TV series, two features, and served as line producer for a major USproduction. For a few years now, he's been working in partnership with The Romanian Film Fund (C.N.C.), and the Romanian Filmmakers Association ( U.C.I.N.) to promote cooperation between creative and financial forces in the entertainment industries in the US and Romania. His work as a director and producer was awarded in international film festivals in the US, and in Romania by The Filmmakers Association, The TV Professionals Association and The Producers Guild. To find out more about Laura and her work please visit her website at www.laurapowers.net. You can also find Laura on twitter @thatlaurapowers, on Facebook @thatlaurapowers, and on instagram at laurapowers44.

John M. Clum, Professor Emeritus of Theater Studies and English at Duke University, joins George and Oliver 'Inside the Huddle'. Professor Clum has written nine books about theater and staging. He’s also a playwright and an experienced stage director, as well as being a librettist for contemporary American operas... He’ll also be with us for ‘The Two Minute Drill’, when you get all your opera headlines from the past week, and our hot takes on them... And then, it’s our new segment ‘Fantasy Fachball’. Oliver and the Professor face off by backing different singers tackling the same aria. OBS co-host Matt Cummings will the judge as to who's the best. It could get nasty... www.facebook.com/OBSCHI1/

That Deep Ocean… by Ana Cândida Carneiro Translated from the Italian by Stephen PidcockIn Brazilian-Italian author Ana Cândida Carneiro’s That Deep Ocean…, a two-character audio play written in Italian and translated into English by Stephen Pidcock, a single day in a woman’s life becomes an epic journey of self-discovery. The action shifts between the character’s everyday world, where she's trapped in a dreary job, and an alternative realm, part dreamscape, part subconscious. In that world, she converses—by turns awestruck, challenging, and playful—with an underwater sea creature who presents as a powerful, seductive, masculine presence. She perceives him as a giant squid, but he might also be an aspect of herself. In language that alternates between the poetic and the matter-of-fact, That Deep Ocean... explores questions of identity, love, and death.The Play for Voices production of That Deep Ocean... was directed and co-produced by Sarah Montague and performed by Amanda Quaid and Peter Francis James. Brazilian composer Fernando Arruda provided original music for Matt Fidler’s sound design.Play for Voices audio plays are recorded at Harvestworks by audio engineer Kevin Ramsay.Play for Voices is produced by Matt Fidler, Anne Posten, Katrin Redfern, and Jen Zoble.About the Author and TranslatorAna Cândida Carneiro (author) is an award-winning Brazilian-Italian playwright, currently based in the US. Her work has been internationally performed and supported by institutions such as the Royal Court Theater, the Rockefeller Foundation, the National Endowment for the Arts, MacDowell Colony, and Yaddo. She holds a PhD in Theater Studies, focusing on innovative contemporary playwriting techniques. She is currently a Research Associate in the Department of Theater, Dance & Media at Harvard University.Stephen Pidcock (translator) studied English Literature and Italian at St. Andrews University, Scotland, and Verona University, Italy. He currently works as a translator and theatre publicist in London. He collaborated with the Royal Court Theatre reading and reporting on Italian scripts for the International Department from 2009 to 2013.That Deep Ocean... was the first of the three winners of the 2016 audio drama in translation contest Play for Voices held jointly with Words Without Borders, which published the script of each winning audio play. To read That Deep Ocean..., go here: http://www.wordswithoutborders.org/article/september-2017-that-deep-ocean-ana-candida-de-carvalho-carneiro-stephen. See acast.com/privacy for privacy and opt-out information.

Contrary to our received notions on the newness of new media, the presidential campaigns of the late nineteenth century witnessed an explosion of media forms as advisers and technicians exploited a variety of forms promote their candidates and platforms, including the stereopticon (a modernized magic lantern), the phonograph, and the telephone. In the process, they set in motion not only a new way of imagining how to market national campaigns and candidates; they also helped to usher in novel forms of mass spectatorship. Analogies to presidential campaigns in the 21st century are inevitable—and will not be avoided. The presentation comes out of Charlie Musser’s new book, Politicking and Emergent Media: US Presidential Elections of the 1890s (University of California Press). Charles Musser is professor of Film & Media Studies, American Studies and Theater Studies at Yale University. He is the author of numerous books, including the now-classic The Emergence of Cinema: The American Screen to 1907. His most recent documentary is Errol Morris: A Lightning Sketch (2014).

Shalom Goldman, Professor of Religious Studies and Middle Eastern Studies and Richard Riddell, Professor of Theater Studies, Vice President and University Secretary, Duke University. Akhnaten, the ancient Egyptian ‘rebel pharaoh,’ husband of Nefertiti and probable father of King Tutankhamen, has found immortality through art. This year, Philip Glass’s American opera Akhnaten, co-written with Shalom Goldman, is being performed in Germany, Belgium, and Australia. In the 30 years since its composition, “Akhnaten” has been performed throughout the world to great acclaim in many different productions. In this presentation Shalom Goldman will describe the research and creative processes behind this modern classic. Unique among modern operas Akhanten is sung in ancient Near Eastern languages—ancient Egyptian , Akkadian , and biblical Hebrew. Presented by the Duke Middle East Studies Center, Duke Center for Jewish Studies

Ellen Hemphill is director of undergraduate studies in Duke's Department of Theater Studies. She took questions from online viewers on how acting skills can be applied to life offstage, during a live "Office Hours" conversation at Duke's Bryan University Center, November 3, 2011.