Podcasts about The Vagina Monologues

About: Hosted by journalists Joan Summers and Matthew Lawson, Eating For Free is a weekly podcast that explores gossip and power in the pop culture landscape: Where it comes from, who wields it, and who suffers at the hands of it. Find out the stories behind the stories, as together they look beyond the headlines of troublesome YouTubers or scandal-ridden A-Listers, and delve deep into the inner workings of Hollywood's favorite pastime. The truth, they've found, is definitely stranger than any gossip. You can also find us on our website, Twitter, and Instagram. Any personal, business, or general inquires can be sent to eatingforfreepodcast@gmail.com  Joan Summers' Twitter, Instagram Matthew Lawson's Twitter, Instagram

In episode 21 of Fun, Fear, & Facilitation, Logan is joined by special guests Hannah Baldante and Dom LaBranche in a late night conversation about rejection in leadership. They also discussed their weekends and played some games to see how well they really know each other. Here's the breakdown: (0:37) Welcome and quote(s) of the day (1:01) Introduction of guests Dom and Hannah, comments on the quote(s) (2:02) Dom and Hannah reflect on their participation in the 20th anniversary production of the Vagina Monologues this past weekend. (3:57) Logan discusses his Saturday up at High 5 for the annual symposium. (5:11) Conversation about rejection in leadership. (14:07) Dom guesses if the facts are Hannah's or Bananas (17:58) Hannah guesses if the fact is Dom or is it Wrong (20:51) Dom and Hannah work together to guess if the facts are Logan or Nogan (26:03) Dom, Hannah, and Logan play an unplanned game of Wavelength. (40:13) Dom, Hannah, and Logan talk about where they grew up, accents, and why they chose Springfield College. (41:17) Logan asks Dom and Hannah if they are excited to graduate (42:10) Final thoughts and outro

It's time for an appetizer of "What's That Finger," followed by a main course of "New Yum City." Whether slurping down some cocktail sauce or seeking foot-long tortilla chips, grab a plastic or metal fork, extend your tongue, scrape your teeth, and let's get crackin'. Enjoy your meal!Just leave anything cotton candy flavored out of this.Other discussion topics may include:- Little Debbie's political leanings, or lack thereof- How to get drunk off a sleeve of Pringles- Australian McDonald's : Wacky or Ingenious?- The middle aged and cranky Spice Girl- Have ramen noodles gone too far?

The lads take a knee and offer their football up to the Lord as they cover the 2024 Coach Joseph Kennedy biopic: Average Joe. Topics include the return of Harold Cronk, the Deadpoolification of Christian movies, and what it means to build a social movement around one of the most annoying narcissists alive. Media Referenced in this Episode: Average Joe. Dir. Harold Cronk. 2024. TWOAPW theme by Brendan Dalton: Patreon // brendan-dalton.com // brendandalton.bandcamp.com Interstitial: “Harold Cronk Presents: A Revival of His Much-Acclaimed Production of The Vagina Monologues at the Ivy Substation in Culver City, California” // Written by A.J. Ditty // Featuring Brian Alford as “Announcer Brian” and A.J. Ditty as “Harold Cronk”

In this special, wind down episode of The High Life, Ricki is joined by a very special guest - documentarian and Ricki's bestie, Abby Epstein. Hear how Abby and Ricki built their creative partnership, starting with ‘The Vagina Monologues’ in the early aughts followed by several documentary films including, ‘The Business of Being Born’ and ‘Weed the People.’ Join them both in the studio as they reminisce about the highs and lows of making their first documentary film, The Business of Being Born, raising their sons in post 9/11 New York City and reconnecting in the midst of Ricki’s new chapter. You won’t want to miss our last original episode of the season! Follow Abby Epstein @abbyepsteinxoxo. Follow Ricki on Substack at: https://rickilake.substack.com/. Find more about ‘The Business of Being Born’ here and ‘Weed The People’ here. Follow Ricki Lake @rickilake on Instagram. And stay up to date with us @LemonadaMedia on X, Facebook, and Instagram. For a list of current sponsors and discount codes for this and every other Lemonada show, go to lemonadamedia.com/sponsors. Joining Lemonada Premium is a great way to support our show and get bonus content. Subscribe today at bit.ly/lemonadapremium.See omnystudio.com/listener for privacy information.

Susan Lieu joins Let's Talk Memoir for a conversation about realizing you're an artist later in life, becoming a multi-hyphinate storyteller, being a mother when you never knew your own, piecing together a family story, feeling plagued by structure, sticking to the throughline, writing residencies, writing down goals, deciding to stop searching for approval from loved ones and getting it for and from ourselves, accepting loved ones as they are, grief journeys, storytelling as closure, and her new memoir The Manicurist's Daughter.   Also in this episode: -using a book doctor -mental health stigma and older generations -body acceptance   Books mentioned in this episode:  -Ma and Me by Putsata Reang    SUSAN LIEU is a Vietnamese-American author, playwright, and performer who tells stories that refuse to be forgotten. She took her award-winning autobiographical solo show 140 LBS: How Beauty Killed My Mother on a ten-city national tour, with sold-out premieres and accolades from the Los Angeles Times, NPR, and American Theatre. Her debut memoir, The Manicurist's Daughter, is an Apple Book of the Month, Apple Book Must Listen of the Month, and has been featured on The New York Times, NPR Books, Elle Magazine, LA Times, and The Washington Post. Creator of The Vagina Monologues, V (formerly Eve Ensler) calls The Manicurist's Daughter “a stunning, raw, brave memoir that wouldn't let me go.” She is a proud alumnae of Harvard College, Yale School of Management, Coro, Hedgebrook, and Vashon Artist Residency. She is also the cofounder of Socola Chocolatier, an artisanal chocolate company based in San Francisco. Susan lives with her husband and son in Seattle, where they enjoy mushroom hunting, croissants, and big family gatherings. The Manicurist's Daughter is her first book. Connect with Susan: Website: https://www.susanlieu.me/ Model Minority Moms Podcast: https://modelminoritymoms.com/ Instagram: @susanlieu, @celadonbooks  facebook: https://www.facebook.com/susanlieuofficial TikTok: @susanlieuofficial LinkedIn: https://www.linkedin.com/in/susanlieu/ – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book. More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

Broadway: Festen. Stage: Ten Unknowns (Lucille Lortel Award), The Vagina Monologues, Intrigue With Faye, The Substance of Fire, Fefu and Her Friends. Television: “The Morning Show,” “Billions,” “The Hot Zone,” “Dietland,” “The Good Wife” (two time Emmy and SAG Award winner, Golden Globe, Critics Choice awards), “The Sopranos,” “The Grid” (Golden Globe nomination), “The Mists of Avalon” (Golden Globe nomination), “ER” (Emmy and six-time SAG award winner). Film: Millers in Marriage (upcoming), Three Christs, The Upside, Stand Up Guys, City Island, Snakes on a Plane, The Darwin Awards, Slingshot, Ghost Ship, Evelyn, The Man From Elysian Fields, What's Cooking?, The Newton Boys, A Price Above Rubies, Paradise Road and Traveller. Author: Sunshine Girl: An Unexpected Life. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This podcast covers New Girl Season 4, Episode 21, Panty Gate, which originally aired on April 28, 2015 and was written by David Feeney and Veronica McCarthy and directed by Reginald Hudlin.Here's a quick recap of the episode:This episode has Jess trying to help Coach and May's relationship. Meanwhile, Schmidt takes the fall for Fawn's panty-gate scandal while Cece tries to find a way forward.This episode got a 7/10 rating from Kritika and 7.5/10 from Kelly and we both had the same favorite character: Jess!While not discussed in the podcast, we noted other references in this episode including:[Robert] Durst - While Coach and May were arguing, Winston was mostly concerned with his waffle, commenting that if it wasn't hot he would “go [Robert] Durst on them.”[Metropolitan Opera] - May accepted a job in New York as a section musician for the Metropolitan Opera, often referred to as “The Met”. Royal Stockholm Orchestra - Schmidt was excited for May's job opportunity noting that the conductor who must have liked her did a magnificent job when conducting with the Royal Stockholm Orchestra. The Pearl - Schmidt humorously critiques a pull quote that compares the book Cece was reading and its length to the novella The Pearl by John Steinbeck. "Black Velvet" by Alannah Myles - In the bar, a favorite song of Coach's – “Black Velvet” – begins playing and he starts dancing. The Vagina Monologues - Fawn was emphasizing that she was showing her true self by saying, “I'm a politician, not in The Vagina Monologues.”Beyoncé / "Crazy in Love" / "Drunk in Love" - Schmidt was telling Fawn that he wanted to be in love and then started quoting Beyonce lyrics like “crazy in love” and “drunk in love.” There was also a reference to Beyonce in S2E2 - Katie and S1E20 - Normal. Thanks for listening and stay tuned for Episode 22! Music: "Hotshot” by scottholmesmusic.comFollow us on Twitter, Instagram or email us at whosthatgirlpod@gmail.com!Website: https://smallscreenchatter.com/

Molly Durand is a classically trained singer and songwriter whose lifelong career in music started in Chicago. At a young age, she had the opportunity to work with some of the greatest classical conductors of the 20th century, Sir Gorge Solti and Christoph Eschenbach, alongside the Chicago Symphony Orchestra and Chorus at Orchestra Hall and Medina Temple.   As an adult, Molly Durand was awarded scholarship to study voice at The De Paul Music School. During her tenure, she performed the American premiere of The Marriages Between Zones 3, 4 & 5 by renowned minimalist composer Phillip Glass, who mentored the production and rehearsals.  While at DePaul she was in the Theater School production of the Vagina Monologues and then also played Mrs. Lovett in Steven Sondheim's Sweeney Todd: The Demon Barber of Fleet Street, at the Music School there. She furthered her training and study at The American Musical and Dramatic Academy in both New York City and Los Angeles and served as a stage manager to further her study of the theater and live performance.    Synth - Chris Newlin Bass David Barsky Guitar  Harry Owen Piano  Mark Brown Violin Nino Chikviladze  Georgian Drum Kit  Francesca Pratt  Rome, Italy Toms (drums) - Glenn Welman - South Africa Percussion Gabrielle from Caracas Venezuela Mix Engineer  Bill Mims Master Chris Sorem Moon Photograph & Music Video - Adam Petrishin

Molly Durand is a classically trained singer and songwriter whose lifelong career in music started in Chicago. At a young age, she had the opportunity to work with some of the greatest classical conductors of the 20th century, Sir Gorge Solti and Christoph Eschenbach, alongside the Chicago Symphony Orchestra and Chorus at Orchestra Hall and Medina Temple.   As an adult, Molly Durand was awarded scholarship to study voice at The De Paul Music School. During her tenure, she performed the American premiere of The Marriages Between Zones 3, 4 & 5 by renowned minimalist composer Phillip Glass, who mentored the production and rehearsals.  While at DePaul she was in the Theater School production of the Vagina Monologues and then also played Mrs. Lovett in Steven Sondheim's Sweeney Todd: The Demon Barber of Fleet Street, at the Music School there. She furthered her training and study at The American Musical and Dramatic Academy in both New York City and Los Angeles and served as a stage manager to further her study of the theater and live performance.

Jenna Loren, a Northern BC based independent artist, has been rocking out on her guitar since age 13 when she strummed a poem to an Alanis song on her old Yamaha. Her music style was inspired by her Mother Michelle Prins and many influential female singers from Tracy Chapman to Jewel. Having grown up in Ontario, Jenna attended Peterborough Collegiate Vocational School's unique Integrated Arts Program with fellow Canadian musicians (such as Serena Ryder, Kelly McMichael, Brock Stonefish, Daniel Fortin, Benj Rowland, Caylie Staples, Jonah Cristall-Clarke, and Director Jared Raab). Since becoming active on TikTok in late February 2022, Jenna's attracted over 6000 followers, and goes live often, especially during 'Saturday Sessions' where she co-hosts a live music train alongside New Zealand's Crystal Starr. Last summer Jenna was humbled to perform in the women's festival Wild Women Grow and the Moose FM Block Party. In 2022 her single "You Can't Give Up" was featured in CBC Music's Toyota Searchlight contest, where Jenna was interviewed by several radio stations. Jenna has enjoyed recent performances such as Canada Day at Burleigh Falls Inn in Ontario, Bright Nights for the North Peace Cultural Centre and Moose FM, as well as Energetic County Fair's Rising Star competition at the Pub in Charlie Lake. She is also looking forward to being Stage Crew for the Bear Creek Folk Fest again this summer, featuring Sarah McLachlan and Blue Rodeo. When Jenna was 18, she moved to the west coast, where she busked Victoria's inner harbour and street markets, and held a weekly spot at Bastion Square. Jenna's performance venues ranged from Ocean Island Inn to the world renowned Butchart Gardens, and was an open mic regular at Darcy's Pub and Felicita's at UVic. Busking one day, a $20 bill was casually dropped into her case. It was from singer songwriter Kevin Woodward. He made Jenna a deal – that he'd help her record her first album if she vowed to pay-it-forward one day. That's the story of how Jenna's 2005 Overabundantly album came to fruition, and she fully intends on keeping her promise. Jenna's discography continued with her 2011 EP “It's Perfect Timing,” recorded at Infinity Studios with producer Jason Cook, featuring lead guitarist Christian Down. It exerts a raw soulful quality, and many of its songs are environmentally inspired. Jenna's single You Can't Give Up was released to radio across Canada and chosen for the Rock'in the Peace Compilation and showcase at the North Peace Cultural Centre in 2012. With awesome reviews, she was asked to open for Juno award-winning Russell DeCarle at the Lido Theatre. Jenna has performed on TV shows The New Canoe song writing episode with Kinnie Starr and Art Napoleon in 2007 and MYTV with Niska Napoleon in 2009. She's played live on Victoria's CFUV Radio and Peterborough's Trent Radio, and has been aired on many stations from Moose FM to CBC Radio One All Points West. In May 2010, Jenna's "Andrew" song was included on Feed the Soul vol.2 Compilation, a food bank fundraiser organized by musicians. In fall of 2017, Jenna opened two sold out shows for the Twin Peaks (Lindsay Pratt & Naomi Shore) Aussie Tour Kickoff Show at Whole Wheat 'n Honey in Fort St John. In early 2018, she performed original songs and acted in the Vagina Monologues, a Women's Resource Society fundraiser. In April 2019, Jenna was a main headliner for the Women Song concert at the Lido Theatre. #jennaloren #independentartist #musician #songwriter #chrispomay #livewithcdp #barrycullenchevrolet #wellingtonbrewery https://www.jennaloren.ca/home https://beacons.ai/chrisdpomay https://www.cameo.com/chrispomay Want to create live streams like this? Check out StreamYard: https://streamyard.com/pal/d/54200596...

They say love means never having to say you're sorry. But what if that popular aphorism from the 1960's is wrong and that love precisely means having to say you're sorry? Can an apology release the trauma, grief, rage and disfigurement arising from past abuse? But what if the perpetrator does not apologize? Can you still resolve or reconcile the trauma and hurt? How? These are some of the agonizing questions that the artist, playwright, performer and activist Eve Ensler, now known as V chose to face to resolve her own relationship with her abusive late father. She did it by writing a book, The Apology. In writing it, she tried to imagine being her father. Who was he? What allowed him to do such terrible harms? Could she free herself from this prison of the past? Could she free both of them? Featuring V (formerly Eve Ensler), Tony Award-winning playwright, performer, and one of the world's most important activists on behalf of women's rights, is the author of many plays, including, most famously the extraordinarily influential and impactful The Vagina Monologues, which has been performed all over the globe in 50 or so languages. Credits Executive Producer: Kenny Ausubel Written by: Kenny Ausubel Senior Producer and Station Relations: Stephanie Welch Host and Consulting Producer: Neil Harvey Producer: Teo Grossman Program Engineer and Music Supervisor: Emily Harris Music Theme music is co-written by the Baka Forest People of Cameroon and Baka Beyond, from the album East to West. Find out more at globalmusicexchange.org. Additional music was made available by: Ketsa at FreeMusicArchive.org Gigi Masin at MusicFromMemory.com This is an episode of the Bioneers: Revolution from the Heart of Nature series. Visit the radio and podcast homepage to learn more.

How learning to apologize can upgrade your life.V (formerly Eve Ensler) is the Tony award-winning playwright, author, and activist. Her play The Vagina Monologues is an Obie award-winning, Olivier-nominated theatrical phenomenon that has been translated into 48 languages and performed in 140 countries. She is the author of numerous books, including the recently released bestseller Reckoning (2023), heralded by the Washington Post as “gutting and gorgeous.” Other best-selling books include The Apology (2019), translated into 20 languages, In the Body of the World, and The New York Times bestseller I Am an Emotional Creature. She starred on Broadway in The Good Body and, most recently Off-Broadway at Manhattan Theatre Club in the critically acclaimed In the Body of the World. She helped create That Kindness: Nurses in Their Own Words, presented by the Brooklyn Academy of Music in collaboration with theaters across the US, as a tribute to nurses during the COVID-19 pandemic. V is currently writing the story and co-writing lyrics for the musical Becoming (formerly WILD), which made its world premiere in December 2021 at The American Repertory Theater. She recently wrote This is Crazy, a play about mental illness commissioned by the National Alliance on Mental Illness. Her film credits include The Vagina Monologues (HBO), What I Want My Words to Do to You (Executive Producer, Winner of the Sundance Film Festival Freedom of Expression Award, PBS), Mad Max: Fury Road (Consultant), and City of Joy documentary (Netflix). She is the founder of V-Day, the 26-year-old global activist movement that has raised over 120 million dollars to end violence against women, gender-expansive people, girls, and the planet—and founder of One Billion Rising, the largest global mass action to end gender-based violence in over 200 countries, as well as a co-founder of the City of Joy, a sanctuary and revolutionary center for women in the Congo who have survived sexual assault. She writes regularly for The Guardian. In this episode we talk about:V's 4-step process for making an apologyWhy she doesn't believe in forgivenessHer concept that the wound is the portalAnd much more. Related Episodes: What To Do When You're Angry | Matthew Brensilver, Vinny Ferraro, Kaira Jewel LingoSign up for Dan's newsletter hereFollow Dan on social: Instagram, TikTokTen Percent Happier online bookstoreSubscribe to our YouTube ChannelOur favorite playlists on: Anxiety, Sleep, Relationships, Most Popular EpisodesFull Shownotes: https://happierapp.com/podcast/tph/v-868See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Stefanie Powers began her career at age 15, dancing for famed Broadway choreographer, Jerome Robbins. She was put under contract to Columbia Pictures in the final years of the Hollywood star system. While under contract, she appeared in 15 of the 31 motion pictures she has made, co-starring with screen legends such as; John Wayne, Maureen O'Hara, Lana Turner, Ava Gardner, Cliff Robertson, Elliot Gould, Roger Moore, Donald Sutherland, Bing Crosby, Glenn Ford, Lee Remick, James Caan and Sammy Davis. She recently co-starred with Richard Chamberlin in the critically acclaimed independent film, THREE DAYS OF HAMLET. Her first television series, "The Girl From U.N.C.L.E.," marked a milestone in U.S. television's history as the first hour long series featuring a female in the leading role. Her television career includes over 25 mini-series, over 200 episodic guest starring appearances, 35 movies for television and two more television series, "Feather and Father" and the long running "Hart to Hart," starring opposite Robert Wagner, now celebrating its 45th anniversary. She became a member of the Screen Writers' Guild of America in the 1980s and has produced several of the screenplays she has written, one of which, "Family Secrets," was not only a stepping stone for the careers of James Spader and Gary Sinise but it garnered her a nomination for the best screenplay of the year by her peers in the Writers' Guild. Her writing has extended itself to a memoir called, One From The Hart, published by The Robson Press. Throughout her career she has never neglected her theatrical roots, appearing in productions of; How the Other Half Loves, Under the Yum Yum Tree, Sabrina Faire, A View From the Bridge, Oliver, Annie Get Your Gun, the West End debut of Matador, off-Broadway in The Vagina Monologues, back to the West End with Robert Wagner in Love Letters, which they also toured the United States with, becoming the cast most associated with the play after over 500 performances. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Today we process the disastrous outcome of the US presidential election and retreat to our safe space: Sex and the City reruns. And this week we're discussing a truly great episode “Politically Erect”, a.k.a. the episode where Carrie dates a politician with a piss fetish, Stanford goes to The Vagina Monologues, Charlotte throws a party, and Samantha reluctantly beds a short king. Plus: an unhinged digression about which founding father is the most fuckable.  THE SUBSTANCE is now showing in US theaters and streaming exclusively on MUBI.  SWALLOW, QUEEN OF EARTH and HUMANIST VAMPIRE SEEKING CONSENTING SUICIDAL PERSON are now streaming on MUBI in the US. Get 30 Days Free: mubi.com/everyoutfit As well ass Quince! Go to Quince.com/outfit for free shipping on your order and 365-day returns. And Nutrafol, get results you can run your fingers through! For a limited time, Nutrafol is offering our listeners ten dollars off your first month's subscription and free shipping when you go to Nutrafol.com and enter the promo code OUTFIT. 

LAURA FLANDERS - COMMENTARY And one of those came to mind was in 1999, when V, then known as Eve Ensler of Vagina Monologues and V-Day and One Billion Rising fame, filled that 18,000 seat stadium, with women and their allies pledging themselves to stop violence against women and girls, to stop gender-based violence in our lifetime. Improbable? Unlikely? Unpredictable? You bet. They laced the whole place with red caution tape that read “rape-free zone.” Was it surprising? Yes, but it happened all the same, albeit with less media coverage. Other things have happened in the last few years that should surprise us and remind us of what we can accomplish when we decide to. We invested trillions of dollars in infrastructure rebuilding and creation of new jobs. We saw millions of people brought out of poverty thanks to an increase in the child tax credit. We saw pharmaceutical prices brought down. We saw investments in industries that will help reduce climate change. And we saw a pandemic stopped in its tracks, largely, by the very speedy creation of a vaccine. In our lifetime, too, I was reminded this past weekend at Madison Square Garden that we were celebrating the 100th anniversary of a public transportation system. The New York City subway, again the product of commitment, investment of public dollars for the public good. A surprise, perhaps, that we could ever accomplish such things. But we have. And we can do it again. So surprises, bad? Sure. Possible. Surprises, good? I'm putting my belief and confidence there. I think more good surprises are in store for us if we simply put our minds to it and maybe invest, invest a bit of our effort and our cash. Till the next time, I encourage you to spend the week as you will, but stay kind and stay curious. And join me back here next time when we convene a special all-star panel to reflect on Election Day. You can find all the information at our website. And don't forget, every week the podcast subscribers, the people that subscribe to our free podcasts receive the uncut version of every conversation. And believe you me. Much of the conversation that I'd love to bring to you ends up on the cutting room floor. So subscribe to the podcast. Subscribe to our channel right here on YouTube. And if you haven't told your friends about us, write a review or share with your pals. It's how we get out the word about this show. This show is made possible by you! To become a sustaining member go to https://LauraFlanders.org/donate Thank you for your continued support! Laura Flanders and Friends Crew: Laura Flanders, along with Sabrina Artel, Jeremiah Cothren, Veronica Delgado, Erika Harley, Janet Hernandez, Jeannie Hopper, Sarah Miller, Nat Needham, David Neuman, and Rory O'Conner. FOLLOW Laura Flanders and FriendsInstagram: https://www.instagram.com/lauraflandersandfriends/Twitter: https://twitter.com/LFAndFriendsFacebook: https://www.facebook.com/LauraFlandersAndFriends/Tiktok: https://www.tiktok.com/@lauraflandersandfriendsYouTube: https://www.youtube.com/channel/UCFLRxVeYcB1H7DbuYZQG-lgLinkedin: https://www.linkedin.com/company/lauraflandersandfriendsPatreon: https://www.patreon.com/lauraflandersandfriendsACCESSIBILITY - The broadcast edition of this episode is available with closed captioned by clicking here for our YouTube Channel

V (Formerly Eve Ensler) Join us for a very special episode of Bar Fights with Tony award winning playwright, author, and activist – V (formerly Eve Ensler).  From her 1996 play, "The Vagina Monologues," to her 2019 publication "The Apology," a fictionalized letter of penance from her father, V has dedicated her life, art, and career to raising awareness for and ending violence against girls and women. Tune in to hear how V has found the words, the voice, and the strength to liberate herself through her work and provide so many survivors with the courage and tools to regain their own freedom as well.

Lynne Hardin has always possessed an entrepreneur's spirit. After high school and college, her first job was working for Braniff International as an Airline Hostess.  Lynne volunteered for the Military Air Transport System (MATS), flying U.S. service personnel to various stations around the world during the Viet Nam conflict. She spent several years in the education and investment arena, working with the California Teachers Association. Lynne moved to Florida and established the Key West Tennis and Scuba Center; then consulted in Miami, Ft. Lauderdale and St. Petersburg on land use. Lynne was recruited to Oklahoma City as the first Development Director for the Oklahoma School of Science and Mathematics, raising over 35M for the school. In 1994, after a life-changing auto accident, Lynne authored The Magic of Why® a groundbreaking book and curriculum providing a process to examine your purpose. Leading her High School alumni, she created FRIENDS of NWC, which has raised over $2 million to impact students and teachers. She produced The Vagina Monologues in OKC and in 2019 she was inducted into The Order of The Round Table, her School Hall of Fame. She initiated and facilitated passage of the Oklahoma Breast Cancer Bill, which continues to fund mobile mammograms across Oklahoma. She was elected and served as Chairman of the OKC Public School Board.  She had a vision after the million-man march and in 2023 created a 501C3 foundation, Women's Imagine Network, (WIN), so the idea of a Million Women March was born.  With imagination and inspired effort, a million women, from home, will affect positive improvements for women and families. Check her website: https://womensimaginenetwork.org/ At the top of the show, it's Anastasia's Starseed News, with topics of hope and interest for starseeds.

Amy is joined by V, author of The Vagina Monologues, to discuss her revolutionary writing, the power of apologies, and the urgent need for all of us to take action against late-stage psychotic patriarchy.V (formerly Eve Ensler) is the Tony award-winning playwright, activist, performer, and author of the Obie award-winning theatrical phenomenon The Vagina Monologues, which has been published in over 48 languages, performed in over 140 countries, and heralded by The New York Times as one of the "best American plays" of the past 25 years.

Thomas is joined by playwright, author, performer, activist, and creator of “The Vagina Monologues,” V (formerly Eve Ensler.) They discuss the profound impact of trauma and the power of healing through collective and community-based approaches. V shares her personal journey from a tumultuous childhood to becoming a global advocate for women's rights, emphasizing the transformative power of love, art, performance, and community in overcoming trauma and reckoning with the harms of patriarchy. They explore the revolutionary work of the City of Joy in Congo, and how its unique, supportive environment fosters healing and helps elevate women into community leaders. V's experiences in war zones and with victims of violence highlight the pervasive and normalized violence against women, influencing her life's mission to address this global issue. This conversation includes the topic of sexual abuse. While it is not the primary topic, and it is addressed with care and sensitivity, we wanted to offer this content warning for listeners who may not want to engage with this subject. ✨ Introducing Love, Trauma, and Relationships - a special course collaboration with Terry Real. Over 12 self-paced modules, you'll learn practices to heal past wounds and more deeply connect with yourself, your partner, and the world at large, allowing you to break down the barriers to true intimacy. Enjoy two complete, online courses from Thomas and couples therapy expert Terry Real.

In this episode we present excerpts from the recent conversation (June 2024) between Ashira Darwish & V as part of SAND's “Conversations on Palestine” around the premiere of the film Where Olive Trees Weep hosted by the directors of the film and co-founders of SAND, Zaya and Maurizio Benazzo. https://whereolivetreesweep.com/ You can watch this full conversation and 22 others. SAND has created a program with leading historians, spiritual teachers, trauma therapists, poets and performers to complement the themes explored in the film and provide a larger historical, cultural and social context to the plight of the Palestinian people. Purchase the Collection In this conversation, prepare to be moved and inspired by the stories of Palestinian women's sumud (steadfast perseverance) against the violence of occupation, patriarchy and dehumanization. Their narratives expose how colonial occupation is a gender-based crime inextricable from the repression of female self-determination. This conversation promises to be a tribute to the unbreakable spirit of Palestinian mothers who nurture profound love, clandestine schoolhouses, and revolutionary consciousness — even when all they have is the sanctity of their wombs.Ashira Ali Darwish worked for 15 years as a TV & Radio journalist and researcher in Palestine for the BBC, Amnesty International and Human Rights Watch. She is the founder of Catharsis Holistic Healing, a trauma therapy project pioneering a type of Sufi active meditation which draws its roots from ancestral and Indigenous knowledge. Her personal healing journey from full body paralysis with a severed spinal cord in 2012 has given her a deep insight into the process of recovery and healing. In 2021, she received the “ISABS Honours” from the Indian Society for Applied Behavioural Science for her contribution to positive societal transformation.V (formerly Eve Ensler) is the Tony Award-winning playwright, activist, performer, and author of the Obie award-winning theatrical phenomenon The Vagina Monologues, published in over 48 languages, performed in over 140 countries, and heralded by The New York Times as one of the “best American plays” of the past 25 years and that “no recent hour of theater has had a greater impact worldwide.” Topics: 00:00 - Introduction 04:53 - Ashira's Story 11:42 - In an Israeli Dungeon 19:44 - Bodily Harm & Oppression 26:01 - Stigma for Palestinian Women 32:00 - Impact of Occupation on Masculinity 34:18 - Can the Trauma Be Healed? 40:40 - Onus of Resilience 47:43 - Healing in Community 53:20 - The Power of Music 58:34 - Vision for New Palestine Support the mission of SAND and the production of this podcast by becoming a SAND Member: https://45ta.short.gy/join-sand-podcast

V (formerly Eve Ensler), Tony Award-winning, bestselling author of The Vagina Monologues, and Naomi Klein, award-winning journalist and international bestselling author, discuss V's new book, Reckoning. V (formerly Eve Ensler) is a Tony Award–winning playwright, author, performer, and activist. Her international phenomenon The Vagina Monologues has been published in 48 languages and performed in more than 140 countries. She is the author of The Apology (now a play set to debut in 2022), the New York Times bestseller I Am an Emotional Creature, the highly praised In the Body of the World, and many more. She is the founder of V-Day, the global activist movement to end violence against women and girls, and One Billion Rising, the largest global mass action to end gender-based violence in over 200 countries. She is a co-founder of the City of Joy, a revolutionary center for women survivors of violence in the Democratic Republic of the Congo, along with Christine Schuler Deschryver and 2018 Nobel Peace Prize winner Dr. Denis Mukwege. She is one of Newsweek's “150 Women Who Changed the World” and the Guardian's “100 Most Influential Women.” She lives in New York. Naomi Klein is an award-winning journalist, syndicated columnist and international and New York Times bestselling author of Doppelganger, How To Change Everything, On Fire, No Is Not Enough, This Changes Everything, The Shock Doctrine and No Logo. Naomi Klein is a columnist with The Guardian. She is one of the 100 People Who Are Changing America in Rolling Stone, and The New Yorker has described her as “the most visible and influential figure on the American left.” In 2018 she was named the inaugural Gloria Steinem Endowed Chair at Rutgers University, and is now Honorary Professor of Media and Climate at Rutgers. In September 2021 she joined the University of British Columbia as Professor of Climate Justice (tenured) and co-director of the Centre for Climate Justice.

Ramón Espejo's book The Catalonian Journey of American Drama 1909-2000: From Jimmy Valentine to The Vagina Monologues (Legenda, 2024) delves into the fascinating journey of American drama in Catalonia, exploring how the theatrical output of a world superpower has impacted (and transformed) the stages of an allegedly minor actor in the cultural scene of the 20th century. Yet, while Catalonia is the birthplace of such geniuses as Joan Miró, Salvador Dalí or Antoni Gaudí, it is also that of playwrights Joan Brossa, Manuel de Pedrolo, Fermín Cabal or Jordi Galcerán, among others. All of them grew up in, and imbibed, a theatrescape in which American borrowings were not only habitual (often the only foreign plays around) but inspiring and groundbreaking. If Alias Jimmy Valentine re-defined theatrical decorum in Catalonia in the early 1900s, The Vagina Monologues, in the 1990s, challenged prevalent sexual taboos. Throughout the 20th century, Catalonia went from a peripheral, marginalized region of a once vast empire to a booming and largely autonomous centre of culture, recognized all over the world and admired for its uniqueness and original artistic contributions. American plays accompanied, and often directly inspired, such a journey. Ramón Espejo is Full Professor of American Literature at the University of Seville, Spain, and is one of the leading American drama and theatre scholars in Europe. 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

Ramón Espejo's book The Catalonian Journey of American Drama 1909-2000: From Jimmy Valentine to The Vagina Monologues (Legenda, 2024) delves into the fascinating journey of American drama in Catalonia, exploring how the theatrical output of a world superpower has impacted (and transformed) the stages of an allegedly minor actor in the cultural scene of the 20th century. Yet, while Catalonia is the birthplace of such geniuses as Joan Miró, Salvador Dalí or Antoni Gaudí, it is also that of playwrights Joan Brossa, Manuel de Pedrolo, Fermín Cabal or Jordi Galcerán, among others. All of them grew up in, and imbibed, a theatrescape in which American borrowings were not only habitual (often the only foreign plays around) but inspiring and groundbreaking. If Alias Jimmy Valentine re-defined theatrical decorum in Catalonia in the early 1900s, The Vagina Monologues, in the 1990s, challenged prevalent sexual taboos. Throughout the 20th century, Catalonia went from a peripheral, marginalized region of a once vast empire to a booming and largely autonomous centre of culture, recognized all over the world and admired for its uniqueness and original artistic contributions. American plays accompanied, and often directly inspired, such a journey. Ramón Espejo is Full Professor of American Literature at the University of Seville, Spain, and is one of the leading American drama and theatre scholars in Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Ramón Espejo's book The Catalonian Journey of American Drama 1909-2000: From Jimmy Valentine to The Vagina Monologues (Legenda, 2024) delves into the fascinating journey of American drama in Catalonia, exploring how the theatrical output of a world superpower has impacted (and transformed) the stages of an allegedly minor actor in the cultural scene of the 20th century. Yet, while Catalonia is the birthplace of such geniuses as Joan Miró, Salvador Dalí or Antoni Gaudí, it is also that of playwrights Joan Brossa, Manuel de Pedrolo, Fermín Cabal or Jordi Galcerán, among others. All of them grew up in, and imbibed, a theatrescape in which American borrowings were not only habitual (often the only foreign plays around) but inspiring and groundbreaking. If Alias Jimmy Valentine re-defined theatrical decorum in Catalonia in the early 1900s, The Vagina Monologues, in the 1990s, challenged prevalent sexual taboos. Throughout the 20th century, Catalonia went from a peripheral, marginalized region of a once vast empire to a booming and largely autonomous centre of culture, recognized all over the world and admired for its uniqueness and original artistic contributions. American plays accompanied, and often directly inspired, such a journey. Ramón Espejo is Full Professor of American Literature at the University of Seville, Spain, and is one of the leading American drama and theatre scholars in Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Ramón Espejo's book The Catalonian Journey of American Drama 1909-2000: From Jimmy Valentine to The Vagina Monologues (Legenda, 2024) delves into the fascinating journey of American drama in Catalonia, exploring how the theatrical output of a world superpower has impacted (and transformed) the stages of an allegedly minor actor in the cultural scene of the 20th century. Yet, while Catalonia is the birthplace of such geniuses as Joan Miró, Salvador Dalí or Antoni Gaudí, it is also that of playwrights Joan Brossa, Manuel de Pedrolo, Fermín Cabal or Jordi Galcerán, among others. All of them grew up in, and imbibed, a theatrescape in which American borrowings were not only habitual (often the only foreign plays around) but inspiring and groundbreaking. If Alias Jimmy Valentine re-defined theatrical decorum in Catalonia in the early 1900s, The Vagina Monologues, in the 1990s, challenged prevalent sexual taboos. Throughout the 20th century, Catalonia went from a peripheral, marginalized region of a once vast empire to a booming and largely autonomous centre of culture, recognized all over the world and admired for its uniqueness and original artistic contributions. American plays accompanied, and often directly inspired, such a journey. Ramón Espejo is Full Professor of American Literature at the University of Seville, Spain, and is one of the leading American drama and theatre scholars in Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Ramón Espejo's book The Catalonian Journey of American Drama 1909-2000: From Jimmy Valentine to The Vagina Monologues (Legenda, 2024) delves into the fascinating journey of American drama in Catalonia, exploring how the theatrical output of a world superpower has impacted (and transformed) the stages of an allegedly minor actor in the cultural scene of the 20th century. Yet, while Catalonia is the birthplace of such geniuses as Joan Miró, Salvador Dalí or Antoni Gaudí, it is also that of playwrights Joan Brossa, Manuel de Pedrolo, Fermín Cabal or Jordi Galcerán, among others. All of them grew up in, and imbibed, a theatrescape in which American borrowings were not only habitual (often the only foreign plays around) but inspiring and groundbreaking. If Alias Jimmy Valentine re-defined theatrical decorum in Catalonia in the early 1900s, The Vagina Monologues, in the 1990s, challenged prevalent sexual taboos. Throughout the 20th century, Catalonia went from a peripheral, marginalized region of a once vast empire to a booming and largely autonomous centre of culture, recognized all over the world and admired for its uniqueness and original artistic contributions. American plays accompanied, and often directly inspired, such a journey. Ramón Espejo is Full Professor of American Literature at the University of Seville, Spain, and is one of the leading American drama and theatre scholars in Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Ramón Espejo's book The Catalonian Journey of American Drama 1909-2000: From Jimmy Valentine to The Vagina Monologues (Legenda, 2024) delves into the fascinating journey of American drama in Catalonia, exploring how the theatrical output of a world superpower has impacted (and transformed) the stages of an allegedly minor actor in the cultural scene of the 20th century. Yet, while Catalonia is the birthplace of such geniuses as Joan Miró, Salvador Dalí or Antoni Gaudí, it is also that of playwrights Joan Brossa, Manuel de Pedrolo, Fermín Cabal or Jordi Galcerán, among others. All of them grew up in, and imbibed, a theatrescape in which American borrowings were not only habitual (often the only foreign plays around) but inspiring and groundbreaking. If Alias Jimmy Valentine re-defined theatrical decorum in Catalonia in the early 1900s, The Vagina Monologues, in the 1990s, challenged prevalent sexual taboos. Throughout the 20th century, Catalonia went from a peripheral, marginalized region of a once vast empire to a booming and largely autonomous centre of culture, recognized all over the world and admired for its uniqueness and original artistic contributions. American plays accompanied, and often directly inspired, such a journey. Ramón Espejo is Full Professor of American Literature at the University of Seville, Spain, and is one of the leading American drama and theatre scholars in Europe. Learn more about your ad choices. Visit megaphone.fm/adchoices

Harvey Brownstone conducts an in-depth Interview with Katharine Kramer, Actress, Producer, Activist, Daughter of Stanley Kramer About Harvey's guest: Today's guest, Steve Guttenberg, is a member of Hollywood royalty, and a multi-award winning actress, singer, journalist, producer and humanitarian who is most definitely following in the groundbreaking footsteps of her father, the legendary director and producer, Stanley Kramer, because she's having a stellar career that exemplifies what it means to make a significant difference in the world.     Her film credits include “Going Shopping”, “Hollywood Dreams”, “What Just Happened?”, “Little Fockers”,  “Turnover”, for which she won the Best Supporting Actress Award at the Love International Film Festival, “Fate's Shadow: The Whole Story”, for which she was named “Best Supporting Actress” at the Actors and Directors International Film Festival, “Rings of the Unpromised”, for which she won 5 prestigious film festival awards - 4 for Best Supporting Actress and one for Best Ensemble, and the multi-award winning “Mother's Day Memories”, which won 4 distinguished film festival awards.   On television, you've seen her in many shows including “Child of the 70s”, “Larry King Live”,  “Actors Entertainment”, “Meet the Biz”, and “Call me Kate”, the wonderful Netflix documentary about her godmother and namesake, the legendary Katharine Hepburn.   On the stage, our guest has starred in 4 popular one-woman-shows, and she won awards for her roles as Helen Keller in “The Miracle Worker” and Anne Frank in “The Diary Of Anne Frank”, as well as starring in “David And Lisa”, “Great Expectations”, “The Lark” and “The Vagina Monologues”.   She's also a very gifted singer, and has recorded a wonderful album called “Gemstone”, featuring songs by Mick Jagger.   In 2009, she founded a Cinema Series called “Kat Kramer's Films That Change the World”, showcasing movies that raise awareness about highly relevant and thought-provoking social issues like women's equality, animal welfare, bullying, school violence and much more.  Our guest has received many honours including the Compassion Award from the Braveheart Women, and a Golden Spirit Award from the Atomic Age Cinema Fest.   In 2015 she established the Hunt For Humanity Award in honour of actress and activist Marsha Hunt, which is given to an actor or filmmaker who uses their voice for social change.  She's a founding board member of the Palm Springs International Comedy Festival, and she serves on the advisory boards of the LA Press Club and the Los Angeles Women's Theatre Festival.  And if all of that weren't enough, I can't resist mentioning that in 1990, our guest was Miss Golden Globe. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To learn more about Steve Guttenberg, go to:https://katharinekramer.comhttp://www.katkramersfilmsthatchangetheworld.com/ https://www.facebook.com/katharine.kramer.92/https://twitter.com/katharinekramer #katharinekramer    #harveybrownstoneinterviews

Join us for a heartfelt and insightful conversation with Katherine Velez, a compassionate Veterinary Social Worker at Cornell Veterinary Specialists in Stamford CT, as she shares her experiences and wisdom in navigating the delicate journey of pet loss, quality of life assessments, and the importance of self-care in veterinary medicine. From comforting grieving pet owners to making difficult euthanasia decisions, Catherine sheds light on the emotional depth and professional challenges faced in veterinary practice. Discover the power of empathy, the role of humor in coping, and the profound impact of veterinary care on both animals and their human companions. Katherine Velez received her B.A. in HDFS with a minor in Women Studies in Spring of 2010. She was involved in Zero Tolerance, a student activities organization and participated in the production of The Vagina Monologues. During her time at UCONN, she completed an internship at St. Luke's Lifeworks (now Inspirica), working at their women's shelter. She also participated in a mentorship program with middle school children through the Stamford Public Education Foundation. This experience helped cement her interest in working with vulnerable populations and encouraged her to think about plans for after graduation. Her advisor, Dr. Annamaria Csizmadia, and professors were integral and supportive of her decision to pursue a social work master's degree. After graduation, Katherine earned her master's in social work with a clinical concentration from Fordham University. During her time at Fordham, she started working as a case worker at a local nonprofit, Person to Person, providing emergency assistance programs part time. She completed an internship with the White Plains Youth Bureau where she developed an after-work program for at risk youth in an immigrant community. She also completed her clinical internship at Norwalk Community Health Center where she provided individual psychotherapy to clinic patients. Upon completing her MSW, she started working full time for Person to Person and was promoted to Case Work Manager as the organization grew and branched out to a bigger catchment area. In 2016, Katherine began working as a Research Coordinator at Columbia University Medical Center (CUMC) in the Pediatrics Department. She had the privilege of working in several clinical trials within her department, including working with mothers and children in the NICU at Morgan Stanley Children's Hospital and running mother-child groups in preschool settings. At CUMC, she earned the required hours toward her clinical license and is now a fully licensed social worker in the state of CT. Today, Katherine is the Veterinary Social Worker at Cornell Veterinary Specialists in Stamford CT where she works with clients and supports staff in the day-to-day human issues that arise within the veterinary field and the human-animal bond. She is also in private practice. Katherine's time at UConn helped her realize her goals of becoming a social worker. The staff and professors she met along the way forever impacted her life and the trajectory of it. It is because of these relationships that she was able to succeed and was prepared to pursue a master's degree. She will forever hold the UConn community in her heart and is grateful for her time in the HDFS program. --- Send in a voice message: https://podcasters.spotify.com/pod/show/speakingofpets/message

Shane Bly Killoran is the force behind a crazy assortment of film, theater and literary arts programming in Beacon — many under the banner of Hit House Creative. To list a few... She has curated movie screenings, documentary series' and comedy standup nights at the Beacon Movie Theater. She's about to kick off a series of play readings at Reserva, in which Hudson Valley playwrights (and other writers) will workshop their plays-in-progress in front of a supportive live audience.  She has acted in plays including Red Silk and the Vagina Monologues. And she is a co-curator of Beacon LitFest. After studying acting and women's studies at NYU and doing post-graduate work at the University of London, Shane worked as a dramaturg on productions such as August Strindberg's Playing With Fire and Tendulkar's Sakharam Binder. In our episode, she talks about her journey in theater and talks about upcoming shows, screenings and readings.  

Caregiving for aging and dying parents can be tough for anyone, but it's even tougher when it forces you to confront longtime family dynamics of abuse. Sociologist Deborah Cohan blurs the lines between academic research on family caregiving and violence, and her own personal story about a father she calls both adoring and abusive.  Her memoir is called Welcome to Wherever We Are: A Memoir of Family, Caregiving, and Redemption. Transcript DEBORAH COHAN: Time is really strange in a nursing home. People are motivated by the mealtimes. Newspaper delivery is listed as an activity. They're just mundane activities in my life or your life, but they become these big events at these nursing homes. When you're there, and you're well, and you're witnessing that, it's really hard to watch and to do time the way they're doing time. BLAIR HODGES: Deborah Cohan knows there's nothing easy about caregiving for a dying parent. She watched over her father as he spent the last few years of his life in a nursing home. Witnessing a parent's decline into dementia is hard enough, but Deborah's situation was especially complicated because it happened after she endured years of emotional and verbal abuse from her father. What's it like to want abuse to stop, but a relationship to continue? Is it possible to forgive someone who can't even remember what they did? Deborah's answers to these questions might surprise you. She draws on her expertise as a sociologist and a domestic abuse counselor to make sense of her own life after her father's death. Her book is called Welcome to Wherever We Are: A Memoir of Family, Caregiving, and Redemption. Deborah joins us to talk about it right now. There's no one right way to be a family and every kind of family has something we can learn from. I'm Blair Hodges, and this is Family Proclamations. A UNIQUE BOOK ON ELDERCARE (1:50) BLAIR HODGES: Deborah J. Cohan, welcome to Family Proclamations. DEBORAH COHAN: Thank you so much for having me, Blair. It's great to be here. BLAIR HODGES: It's great to have you. Deborah, there are a lot of books out there about caregiving for aging parents. There are also a lot of books out there about what it's like to witness and experience abuse in families. But there aren't a whole lot of books that are about both of those things in the same book. You've written a book here about what it means to care for an ageing and ill parent who also happens to have been an abuser. That's how you introduce it. Talk about the decision to write a book like that. It's a unique book. DEBORAH COHAN: Thanks for noticing that. I guess sometimes we write the books we wish existed so we could have them as our own guide, and as an expert in domestic violence, and also as someone who's studied the sociology of families, it made perfect sense for me to create what I call a "braided memoir." These two stories are very much interlocking in the book, and in many people's lives. Even if there's not actual abuse in someone's family, there's so much relatable stuff in the book because of the different complicated dynamics we all find ourselves in just by living in our families. Most families have some complicated dynamics of some sort. I was really trying to help others to think about that, and to think about how these two things that are happening in the culture are really often happening at the same time, which is the complicated family piece, and also the fact that more and more people are involved in some amount of caregiving. And it tends to be gendered, where women tend to be doing it more. BLAIR HODGES: You're a specialist who's studied family violence as well. You say “family violence is a dynamic process. It's not an event or an isolated set of events.” It's an environment and you say it unfolds and takes different shapes, often over years of time. Now in your own personal experience, you've come to see how it can be lodged in caregiving. Talk a little bit about that. DEBORAH COHAN: A lot of times when domestic violence is talked about, especially in the media, we hear about it as an episode, or we hear about it as an incident—sort of an isolated event. What I learned through working with violent men for so many years at the oldest battering intervention program in the country—which is Emerge in Boston—and also working with survivors, is that these things that are referred to as “incidents” or “events” or “episodes,” they are connected experiences. It usually escalates over time. If practitioners and advocates and others in the field, and even just people's friends, can help people to see the connection and help them connect the dots between this episode and then this one—because I talk about how there's connective tissue, if you will. For example, most abusers don't start being abusive by punching someone or strangling them or any of those sorts of things. These things start out in lots of other ways. They get accelerated through time. I think it's important to see this stuff isn't a one-time thing. These things build on each other. SHADOWS IN SHAKER HEIGHTS (3:46) BLAIR HODGES: Maybe take a minute or two really quickly here to give us the broad strokes of your family. Who is this book about? Where are you from? DEBORAH COHAN: Currently I live in South Carolina. But I was born and raised in Cleveland in a pretty storied suburb, actually— BLAIR HODGES: This is Shaker Heights. DEBORAH COHAN: —Yes. Lots of books, and magazines, and articles, and all sorts of stuff on it. It's an interesting and complex place. I think people who don't live there think of it as this sort of gilded community, upper middle class, et cetera. Lots of other things are happening there, as they are everywhere. The one interesting thing is when you grow up in a community where there is an amount of privilege, and there are resources and things, things like family violence do become even more secretive. It's not until I published the book that I found even high school friends and acquaintances coming out, reaching out, telling me, "Oh my gosh, I experienced the same thing," or, "I had no idea you were going through that in high school. So was I." People are left feeling even more alone in a situation like that. So as I said, I was born in Cleveland and I was raised as an only child, which is a very big piece of this book because of the ways that kind of complicates things. Especially because my parents had also divorced very soon before my dad got sick. Then I wound up as his main person, his caregiver. My dad was someone who was really adoring. He was an amazing dad in many ways, actually. You know, I still, I miss and love him every day. He died eleven years ago this month, actually. But he was also abusive. That's something we can talk about later on, but that's a really big issue to me, is for people to understand the multidimensionality of the abuser, and the fact that, by all accounts, I guess people would say I grew up in a loving home. I grew up getting to do a lot of cool things with my parents. My parents were very successful. All this kind of stuff. But there was also this other side behind closed doors—or not always behind closed doors because my dad also was an expert at public humiliation and stuff. It was a lot to manage. My parents also—and I think this is really interesting, some of the demographic issues and stuff—is my dad had me when he was forty-two years old, and my mom was about to be thirty-five. In 1969 those were really older parents. Most of my friends, their parents were much, much younger. So that meant when all this started with my dad being sick, I was catapulted into caregiving at a time where my friends' parents were playing tennis and golf and retiring and doing other cool things like traveling and stuff. There again, I was sort of alone in this process. They married late because it was a second marriage. They had me later. They got divorced very late in life. They were almost sixty-five and seventy-two. All of these dynamics, all of these demographic trends, if you will—It's actually funny how the book stands at the intersection of all of these trends. And we're seeing them more and more. We're seeing people having kids later. We're seeing people divorcing later. We're seeing people living longer. BLAIR HODGES: Right, and adult kids caregiving for their parents or parent. DEBORAH COHAN: Often while caring for their own children. Then the other thing I talk about is the living apart together, where I'm partnered with someone where we don't live together. My husband lives two hours away. When I wrote the book, I didn't think about all the ways in which my life is sitting at these intersections of demographic shifts and trends and stuff. But it is, and I think some of those are really important to the way the book unfolds and to the way I think about all this stuff. BLAIR HODGES: You do sit at intersections of a lot of things. Just to flesh it out a little bit more, too, I'll mention that, as you said, your family was upper middle class in Shaker Heights. You say you were Jewish-identified but your family wasn't affiliated or practicing. Your parents were politically progressive. Your mom was artistic, an abstract artist. Your father worked in advertising. He wrote the Hawaiian Punch song. Is this true? DEBORAH COHAN: The line, yes. "How would you like a nice Hawaiian Punch?" BLAIR HODGES: Yeah! DEBORAH COHAN: Isn't that wild? BLAIR HODGES: That really caught me off guard. [laughter] Your parents were also married and divorced before they got married. Your father had two children you never got to know, just from this different phase of his life. That also fills out this background. If you have a copy of the book there, I thought it would be nice to hear you read from the Introduction. The first page gives us a good picture of what's to come. Can you read that for us? DEBORAH COHAN: "When I first set out to write about my dad, I thought my book would only be filled with stories of his abuse, his rage, my own resulting rage and grief, and maybe even his grief as well. However, the writing process revealed other emotions. Things that surprised me, disgusted me, delighted me, and saddened me. At moments, I was glad to be reminded of all the love I still feel for my father and reassured of his love for me. “I've anguished over whether in my promise to tell about my father's abuse with integrity and honesty, the story would somehow be diminished by this other story of the great love we shared. It's only now that I see that the one seemingly pure story of his abuse is not even a pure story. And interestingly, I don't think the abuse is even the grittiest or rawest part of the story. “As it turns out, the story would be easier to tell if all I needed to do was report about all the times that my dad behaved badly. You might get angry with him. And you might even feel sorry for me. But that's not what I wanted out of this book. You need to also know and feel the love we shared, the way I felt it. And I still do. “The much harder story to tell is the one that unfolds in these pages. It's the story of ambivalence, of what it means to stand on the precipice of both love and fear, and what it means to navigate between forgiveness and blame, care and disregard, resilience and despair." HIMPATHY (11:37) BLAIR HODGES: Thank you. A couple of things come to mind as I'm reading that. First of all, I wondered if you were presenting yourself as an exemplary type of person who'd experienced abuse. As it turns out, throughout the book, you don't. You don't set yourself forward as "everyone should process abuse the way I did." You don't expect people who have been abused to be forgiving, or to seek all of that. I want to let people know that right off the top. I did want to talk about Kate Manne's idea of "himpathy," because that's what came to mind here at the opening of your book before I knew what was coming. Himpathy as I understand it is this idea of extending sympathy to men who are doing crappy stuff, basically. The guy's the problem, but we tend to side with the guy or try to get inside his heart or his head and extend sympathy to someone who's done terrible things. You have a background of working with these domestic violence survivors and perpetrators. So I just wondered about your thoughts on that idea of himpathy, and how you negotiate with that as you think about your own relationship with your dad and as you were writing this book. DEBORAH COHAN: I have to admit I have not heard of that word or that theory. That would be interesting to read more about. I certainly did worry about that a bit. Here I am, trained in feminist sociology, and have done all this work, and it's almost like I didn't want to let people down or something, or didn't want to seem like I was giving him a pass, so to speak. BLAIR HODGES: Right. DEBORAH COHAN: I also had to write it in that authentic way I feel I did, and just realize the much more nuanced approach is actually the approach I took—which is that no one is purely one thing or another. Neither am I. I come out as pretty flawed in the book too, which I'm glad about because it's the “no one's perfect” thing. I think there are certainly people who might read the book who might say, "Oh, my gosh, I would never still love my dad," or, "I would have stopped talking to him," or "F– you" kind of stuff. I don't know. To me that would be too easy. I think the harder piece is to deal with that ambivalence. And as you say, it's not right for everyone and it's totally dependent on different people's situations. I also think, for some people, it's like some readers have told me, it's very valuable to have gotten to juggle both, so they can see how to juggle both themselves. It's not really that rare that someone who's been hurt by someone still wants a relationship with them. I guess the real essence of dealing with an abusive relationship is you want the abuse to stop but you want the relationship to continue. BLAIR HODGES: You “love” the person. DEBORAH COHAN: Yeah. We see that with sexual abuse survivors a lot. There's a lot of research on that. It's complicated. It makes me want to read about this "himpathy" piece. BLAIR HODGES: Look up himpathy. It's this sympathy for men, basically. DEBORAH COHAN: She's critical of it. Obviously. BLAIR HODGES: She's critical, but it's very thoughtful. It resonates well with what you present in your book, which is, you're not giving your dad a pass or excusing his behavior, you're just also recognizing the ways you loved him and why. That's different than saying, "You know what, actually the abuse was okay," or even, "The abuse was maybe beneficial or maybe deserved." Or that all your attention would be focused on protecting your father's reputation, rather than talking about what the relationship really was and processing your feelings for other people to kind of witness and maybe go alongside with you. I think it's helpful. DEBORAH COHAN: Yeah. If I grew up in the home my dad grew up in maybe I wouldn't have done anything different either. So it's really hard truths to reconcile, but I think they're really important. WHAT HE DID (15:31) BLAIR HODGES: It's important to think about individual responsibility, but also context. Sometimes it's easier to offload our anxiety that stuff like this happens by just demonizing an individual person. I want to be a strong proponent of justice and of attending to the person who has been abused first and foremost. I think their experience really needs to be attended to. I think if we just demonize an individual person, it excuses the ways we participate in a society that can facilitate stuff like that, basically. DEBORAH COHAN: Exactly. BLAIR HODGES: They're really bad. I can kind of overlook the crappy ways I treat people because here are these evil enemies over here I can identify as the bad people and not think about the ways I might be implicated. It's complicated, though. It's complicated. DEBORAH COHAN: Right. BLAIR HODGES: Let's talk about some abuse examples from your father. You say he was financially generous, but he was also financially controlling. You've seen this dynamic in other families. There comes this moment early on where he makes this comment to you. He says, "You'd make my life a lot easier if you'd just commit suicide." It seems like he wasn't saying that as a joke. It comes across as though he just said this to you as a matter of fact. DEBORAH COHAN: Yes, that was in the context of something that was financially abusive and controlling. It's so interesting to hear that comment restated to me, and I've heard it so many times since the book came out. It was even really startling the first time I saw it on the jacket of the book, and then it's on Amazon. It's like people glom on to it because it's so over the top for a parent to say that to a kid, or in this case a young adult woman, because I was in my twenties. I think that's the comment that makes people say, "Oh, I could never have cared for him. I could have never had a relationship with him." There is something odd about hearing it back and realizing that in a way, at the time, it was really upsetting but it almost—I guess like so many other acts of abuse, things get minimized or forgotten or denied. It's interesting to think of probably how soon after I still was able to talk to him or willing to engage with him, that sort of thing. And at the same time, I wouldn't really tolerate that. It's just one of those things where it's very hard to describe how I know that comment is so searing to readers and anybody hearing it. It's just so disturbing. At the same time, it's such a good example, though, of how his feelings were the priority, as is true in abusive relationships. Where it's like the abuser is so focused on their feelings and the other person's actions. It was such a prime example of where he completely distorted what I was saying and where I was trying to do something that could be helpful—to find out something about insurance and his financial contribution with stuff, and he just jumped into me verbally with this accusation and assuming the worst of me. In a sense, what I would want people hearing this to understand is not just the intensity of what he said, but how it encapsulates so many different pieces related to abuse. Like the threats, the focus on his feelings and my behavior. All of this. The assuming the worst of me is really the key piece of this. BLAIR HODGES: This is the kind of abuse you experienced, this verbal assault. You even say your father never actually hit you, physical abuse, but you did always have the perception he could. There was always a sense that he might, and you say that was its own sort of terror that can give a person trauma. DEBORAH COHAN: Oh, for sure. Because somebody who says something that vicious and cruel and brutal: "My life would be easier if you commit suicide." It is a slap in the face. It is a punch in the gut. It is all of those things, kind of metaphorically. I mean, this is why I think it's so crucial and I always try to encourage my students, and I talked about this with violent offenders, is to not create a hierarchy of what sort of abuse is worse than another. Because right, it's true. He did not pull my hair or spit on me or punch me or throw me against a wall or strangle me or any of these awful things that happen. But the threat of violence, the constant berating, the criticizing, the defining of reality—when someone says something like that to you, what are you supposed to say? I mean, there's no way to respond. It was his ability to try to exert that level of power and control, and that level of silencing me, and putting me in my place in this way. Those are some of the core defining features of abuse. BLAIR HODGES: I learned a lot more about abuse and seeing these patterns of abuse—for example, you talked about how maybe you would be together during a trip and he would freak out. He would scream and swear at you publicly. So not only did it hurt you because your dad's treating you that way, but also, it's embarrassing and other people are witnessing this, which compounds the hurt. This would happen during a trip where he was visiting. Then at the end of the trip you say he had this tactic of minimizing and mutualizing. Talk about the tactic, what that looks like to minimize and mutualize after an assault like that. DEBORAH COHAN: It's comments like, "It's not so bad," or, "Didn't we have a fun time?" Or glomming onto the parts that were fun. “Wasn't that wonderful when we saw the Lion King?” Or, “Wasn't that amazing when we ate at this restaurant?” By highlighting the goodies it forced me—again, it's part of his defining reality, but then it made me have to think, “Oh, that stuff was really nice. That was good. So maybe that's not so bad, the other stuff.” BLAIR HODGES: It doesn't feel like he was really asking, either. It seems like what's happened here is control. He needs to control the story. He's not really looking for your input about how you felt about everything, but really telling you, “By the way, this trip was awesome, you better think it was and if you don't, there's a problem with you.” DEBORAH COHAN: Not just that there's a problem with you, but also that you're insatiable and that you— BLAIR HODGES: That you deserve my yelling and stuff? DEBORAH COHAN: Or nothing I do for you is ever good enough. Then it turns into I'm not grateful enough, which was a huge part of the narrative. **WHEN REDEMPTION ISN'T FORGIVENESS (22:16) BLAIR HODGES: As we said before, this isn't a book of forgiveness for your father. You do repeatedly express your love for him and describe to the reader where that love comes from or what it looks like. But you're saying there's a sense in which you want some redemption for that relationship, but not necessarily forgiveness. That was an interesting distinction I'd never thought about before. Talk about how you see those two things of seeking some kind of redemption versus just forgiveness. DEBORAH COHAN: I love that question because so often people still conclude I've totally forgiven him and then decide, "Oh, I'm not sure I could forgive him." Like I talk about in the book, forgiveness is a bit overrated. As someone who does not identify religiously, forgiveness feels far too rooted in notions of religion. I'm not totally comfortable with that. I mean, I think the redemption is more that now I'm fifty-three years old, I understand people like my parents did the best they could with what they had at the time they did it. So I have more sort of acceptance of the multidimensionality of my parents in a way, and I think their deaths—because my mom has died also—their deaths helped to do that, even though that was something I dreaded for so long. But then it turns out there's something about it now, that I can see the full humanity of both of them in a way that maybe it was harder to see when they were alive. The other piece of the forgiveness thing is that in working with abusers, I remember working with a counselor. We were co-facilitating a group one evening and he was pushing this abuser, really holding him accountable. He kept saying to him, "What are you sorry for, who are you sorry for?" It was like, "Who are the tears for?" Really trying to get this guy to see he still didn't really seem like he was apologetic, really truly remorseful. That it was more about his own saving face. So I guess the reason full forgiveness still feels hard for me is my dad and I never had that full, totally open, me totally exposing all of my thoughts on this, kind if conversation, maybe over a period of months and years, where I could come to that, or where he asked for it in a way that I could give that to him. So I feel the most we can do here is redemption. BLAIR HODGES: How do you define that then? What is that redemption? DEBORAH COHAN: I feel like it's maybe that acceptance of all that imperfection and all the flaw and all the limitations and things, and that there are still these redeeming aspects of him as a man in the world, of him as a father, of him in my life. I mean, I guess I couldn't have the level of loving and missing him every day without that level of some redemption. And then some people have asked me, "Well, it does sound like you forgive him, though." It's almost like people just want to use that word so much— BLAIR HODGES: I feel tempted to that question, too. I wanted to say it's sort of a “brand” or a “genre” of forgiveness or something. [laughs] DEBORAH COHAN: Exactly. It's so interesting, though. I was friends with a couple. The woman has died and the man is much, much older. He's probably in his nineties now. Their daughter was murdered by their son-in-law. I had them speak at my classes and they were often asked, "Do you forgive the son-in-law?" Shirley, the mother, would always say, "No, and he never did anything to ask for it. He really never apologized. There was no authentic anything that would have warranted it and he never really accepted enough responsibility for forgiveness to be possible." I guess I'm still kind of at that piece. BLAIR HODGES: That's a forgiveness that seems like it has to be mutual, like the other person who hurt you needs to get inside your story, show they understand it, and make some kind of reparation or connection there. And for that kind of forgiveness to happen, yeah, you have to have the other— I think what people might be thinking when they suggest you have forgiven is the sense that you still find good in your dad. You love him. But there's also, as you say, there's always that disconnect that's a result of the years of abuse, you can't fully reconcile because reconciliation requires both people to be involved with it. And so it's just not possible. That kind of forgiveness has to be mutual. The other person has to be involved for that forgiveness to even work, I guess. DEBORAH COHAN: Yeah, that it's more of a process. It, like the abuse, is not just an episode or an instance or a moment. It's much larger. One of the things that's difficult is my dad seemed to have in certain ways, he softened and almost showed me the possibilities of redemption once he was quite ill. Once he was very needy and dependent. He was in a nursing home, and that's when towards the end of the book he's telling me about his experience growing up and his father being abusive to his mother and witnessing it and thinking it was an outrageous thing. And his empathy went to his mother as a child. Yet he still reproduced this as an adult. But here was a man with dementia and he was totally immobile, and by then incontinent and all these other things. It was just—That wasn't the time to start digging into our relationship. But had he told me all that and had we been able to have that conversation when he was well, I don't even know if that would have been possible. Had that happened, had he been able to show me more, really that actions speak louder than words, really show me in a consistent, meaningful, trustworthy way, "Deb, I can't believe I did that to you." Really showing me through living out life with me that he would never do it again. But we never got there. FAMILY DYNAMICS WITH MOM (28:50) BLAIR HODGES: It was thirteen years before he died—eight of those years, he was very sick in these care facilities. You say you were lodged in an uncomfortably intimate relationship with him, as you mentioned, because you were an adult child of divorce. The family dynamic you grew up with was one where you trended toward being closer to your dad. I think there was probably a protective element to that. Your mom felt sort of sidelined. You really paint a compelling picture of why the divorce happened later on, the way your mom was sidelined, the way your family was this triangle that you felt pressured to make feel whole, which is something no child should have to reckon with. But then later on when they get this divorce, here's a quote from you, "During the years I cared for my dad, my mom's absence felt like a death." I realized, Deborah, how hard that must have been to basically be the only one who could really care for your dad during those eight years because your mom was gone. You're an only child of these divorced parents. DEBORAH COHAN: She kind of would accuse me of being angry at her for leaving. She would say that somehow I thought it was her responsibility to stay. She could tell it was really hard for me. In a certain way, though, she was very compassionate at times about what I was dealt with in those moments. Then there were other times in which she, as I say, almost accused me of being angry about it. Which is a whole other piece. BLAIR HODGES: Was that like a “They protest too much” kind of thing? It seems you were in some senses abandoned to care for him. I'm not suggesting that your mom shouldn't have gotten a divorce or anything. But their child is involved. You were stuck with handling that. It seems like a lot for a child in a family, even though you were a grown up at this point, to manage by yourself. I wonder if she worried if you resented it. It seems like— DEBORAH COHAN: Absolutely. She didn't just worry about it, she accused me of it! [laughs]. And then it was a little confusing. BLAIR HODGES: But did you feel that resentment? Was her charge valid? DEBORAH COHAN: That's a really good question, because I teach this book now in my class, and it's very interesting how I ask my students if they find my mom to be a sympathetic character. The reality is, I guess she is and she isn't. There are a lot of people who come to the conclusion, a little bit what you were just alluding to, of I should not have been left like that. It's kind of like my mom did something wrong, that I got stuck with all of this. What's interesting is, the book came out in 2020. My mom died a few months later. Here I am teaching the book. I can't have this conversation with my mother, which I would really like to have, which is, "Oh my gosh, if only you could hear all the ways in which I stand up for you." You know what I mean? I constantly am saying to students, "No, I don't blame my mom for leaving." In some ways I just wish she had left sooner, so they could have each had their new lease on life. To me it feels very sad that she did this at close to sixty-five and he was seventy-two. I'm not sure what else could have been done, though. I wouldn't expect people to stay in a marriage that isn't good or healthy for them. I can't fault my mom for leaving. It's more, I wish she had been able to do it earlier and I know I was probably part of the reason she didn't, which is a hard thing to deal with at the same time. BLAIR HODGES: Would you resist it if I said something like, “I wish your mom had tried and pitched in a little bit to take some of the pressure off?” DEBORAH COHAN: No, I think that's true. She did in certain ways, but she couldn't in other ways. From a legal standpoint, all this financial stuff, everything. She was certainly financially generous in her own way later and about other stuff. It might have been helpful had she just said, "Gosh, I see you're going to Cleveland again." I wasn't taking trips and doing really great stuff. I was going to Cleveland many times from Boston as I was in graduate school, as I was adjuncting, and teaching in different places, and commuting to Connecticut. I wish in those moments instead of just taking me out to dinner or—because she was living on Cape Cod by then so we were living much closer together. It might have been nice if she had just said, "I'll buy the airline ticket," or, "Let me make the reservation for you at the hotel," or whatever it was. That might have lessened the burden. Although, she did in other ways because then she might have helped fund something else I did need. It was just a very difficult time. AT THE NURSING HOME (33:54) BLAIR HODGES: That is helpful. I didn't have hard feelings toward your mom, I just wondered a little bit about— As you said, your mom was still alive when you were finishing this. It makes sense that some of that stuff couldn't have been processed yet. So that's helpful. I think people that pick up a copy of the book and check it out, that's a really great supplement to it. I'm glad to hear you can talk to people about that as you teach the book, too. The book we're talking about, by the way, again, is called Welcome to Wherever We Are: A Memoir of Family, Caregiving, and Redemption. It's written by Deborah J. Cohan, who is professor of sociology at the University of South Carolina Beaufort. You mentioned this a minute ago—finances. You basically witnessed your father's finances completely collapse. This is something a lot of people are experiencing and will probably be experiencing more and more because the social safety net in the United States is not great, but he went from a sharp dressing, fancy food enjoying ad executive to this man in filthy sweatpants sitting in this dilapidated care facility, living on Medicaid. And he ended up dying with about fifty dollars to his name. So you witness over the time he was there, his complete impoverishment. DEBORAH COHAN: Yeah and also I think that's some of the redemption for him too, is just knowing if he was aware of what was left at the end, and what happened—I mean, his dream would have been to leave me with more to pay off my student loan debt, you know, all that kind of stuff. He would have been ashamed and humiliated in many of the ways that breadwinning and masculinity are so entangled with each other. BLAIR HODGES: Ah, that reminds me, there's an excerpt I thought you might read on page twenty-seven. You actually take us to the nursing home with some stories about what it was like when you visited him. It's that middle paragraph there. If you could read that excerpt—it's a list but wow, it certainly evokes experiences I've had. DEBORAH COHAN: "The nursing home: paved driveway. Automatic doors. Cigarette butts. Patients waiting for the next distribution of cigarettes. Orange sherbet and ginger ale and Saulsbury steak. Sticky floors. Dusty roads. Vinyl recliners. Bed pans. Bingo and sing-alongs. Stashes of adult diapers in the closets and drawers. Motorized wheelchairs. Schedules. Forms. Nursing aides and personal attendants. Styrofoam cups. Stale urine. Plastic water pitchers and bendable straws. Hospital beds. Dark, dingy rooms. A small rod for hanging clothes. Non-skid socks. No privacy. Open, unlocked rooms filled with demented wanderers. Whiteboards with washable markers stating the day of the week and the nurse on duty. Dead plants. Almost-dead people. Harsh overhead lighting and overheated rooms. Not enough real light. Tables that roll across beds for getting fed. Call bells and strings to pull in the bathroom. Air that doesn't move." BLAIR HODGES: The stories you tell there, Deborah, visiting there seemed really hard for you, let alone what it must have been like to live there. You felt such ambivalence about it. Because you say you almost couldn't stand being there at the moment, but you also would get really distraught about leaving there. DEBORAH COHAN: Absolutely, yes. And thanks for having me read that piece, by the way, because it's been so long since I've actually read it. It takes me back to the room also. The ambivalence showed up in so many different ways. I think that's so true of people who are visiting people who are frail and dying, or very ill. This sense of, you want to go, like I would be in Boston, I would want to go so badly. I would want to see him. I would want to give him a big hug. I would want to finally bring him food he craved or food that was a special treat instead of some of the things I listed in that piece. Then I would get there. It was like, “Oh, gosh.” I just wanted to flee. I walked in and it was just the chaos and the bureaucracy and just the antiseptic but actually filthy quality of these places that I illuminate in that piece. Then the guilt that totally seeped in in that moment, because then it was like, "Wait, I got here. I'm here. I'm supposed to want to be with him. I'm supposed to want to stay,” and now I'm counting down the time. It's sort of like, "Oh my gosh, I've been here twenty minutes. It feels like four hours." Then when I'd leave it was almost like that, "Oh, but I spent three hours," almost like I did good time or something. BLAIR HODGES: A Herculean effort just to get through the three hours. DEBORAH COHAN: Yeah, and time is strange in a nursing home also, as it is in a hospital. People are motivated by the mealtimes. The newspaper delivery is listed as an activity at the place. These things that are just mundane activities in my life or your life, they become these big events at these nursing homes in ways that, when you're there and you're witnessing that, and you're well, it's really hard to watch and to do time the way that they're doing time. BLAIR HODGES: On a bigger scale, too, the cycle that would happen. So you talk about how there would be a medical crisis, things would seem really bad, but then he would kind of rally, show some resilience, kind of recover for a bit, you'd get a little bit of hope, and then it would crash again. And this cycle kept happening. It reminds me of this paragraph I highlighted here. You say, "Perhaps many adult children caring for dying parents deal with this dilemma. How much to let the parent in. How much to keep the parent at bay. It's hard to get that close to almost-death, to anticipatory grief, and when an abusive history is part of it, that push/pull with how to have healthy emotional closeness and distance becomes that much more intensified." You're talking about the already complicated dynamics and then you add the layer of abuse into it, which makes it all the more complicated. DEBORAH COHAN: I appreciate you did such a close good reading of it, because I don't know that everybody picks up some of the pieces and the nuances and especially the contradictory realities that are present. I really appreciate that and what you've read and shared and asked and are revealing to the audience. That's just the hardest part of all, is reconciling those pieces. Okay, I spent most of my childhood really worried my parents would die or my parents would get divorced. As an only child, those two things felt incredibly scary, that I would lose one or both of them, or that they would get divorced. It kind of haunted me up until they died, really. And my dad, like any one of the things he suffered from people die from pretty easily. You know, he had an aneurysm. He had a heart attack. He had diabetes. He had so many different things— BLAIR HODGES:  —He had dementia, yeah. DEBORAH COHAN: Yeah. And then at the same time, though, he kept—like you're saying—bouncing back. It was like the Energizer Bunny. It was like nothing's going to get this guy. In a way that's an interesting parallel with the abuse. It was almost like, unstoppable. It was the sense of like, he could be abusive and then quick fix, make it up. Apologize, be really sweet and kind, and then do it again. But it's like… BLAIR HODGES: Another kind of cycle. DEBORAH COHAN: Yeah, another cycle. And also the cycle of vulnerability coupled with this omnipotence. That was present when he was ill. Like he was totally vulnerable. There was a time in 2006, I think it was, where I really thought he was going to die. There was no doubt. It just felt like this is imminent now. He was hallucinating and all these other things. He didn't die for six more years! And between those six years he moved to different nursing homes, basically, because of bad behavior. But it reminds me of those inflatable dolls, or those inflatable things on lawns. BLAIR HODGES: Like outside the car dealership thing? DEBORAH COHAN: Like you hit it and it keeps coming back. BLAIR HODGES: Oh, yeah. It falls and then pops back up. DEBORAH COHAN: And it'll keep standing, exactly. And that was my dad in everything. BUTTERFLY EFFECT FIXATION (42:54) BLAIR HODGES: You say nothing could really prepare you for that. There was this moment when he falls at the Cleveland airport, you kind of pinpoint this as a turning point for him, where he seems to be in relatively good health, but he fell and broke his hip. You were involved in that trip too. You carried these feelings about that. DEBORAH COHAN: Absolutely. BLAIR HODGES: You were worried he was about to die then, and you weren't ready. Then again, you were less prepared for what ended up happening, which was years of this cycle of health crises and then recoveries. Nothing could have prepared you for that. DEBORAH COHAN: And the reality is you're never ready. It's almost like you can know what's happening. He was never going to get better. But I also didn't think he was going to die three days before I started my new job in South Carolina, three weeks after I moved here, after just being divorced myself. I didn't really, it was like, “That was interesting timing, Dad.” [laughs] But you just said something that was really interesting and reminds me of the passage I just read from being in the nursing home, and it relates to the moment he fell. So when my dad fell at the airport, he was going there in a limo, being dropped off, got out of the car and fell on ice in Cleveland at the airport. My friend, who's now, I mean he's ex-husband, Mark, he and I were heading to Cleveland to meet my dad to then go to Florida. BLAIR HODGES: With him. DEBORAH COHAN: With him. It was supposed to be this vacation. My dad had packed his red suitcase, and it turns out that red suitcase, which is also featured in the book, that thing was screaming at me every time I would go and visit him in a nursing home. I don't know why I didn't think to trash it. Maybe because I kept hoping we would get to pack it and he could go home. But like, honestly, that suitcase was just—it was like a bully, you know?  It was this sense of like—it was taunting because I felt, and I still kind of do, if my dad wasn't taking us to Florida, he wouldn't have fallen on ice at the airport and he wouldn't have broken his hip, and then he wouldn't have—then his whole life wouldn't have come tumbling down with it. BLAIR HODGES: Butterfly effect moment, right? DEBORAH COHAN: Yeah. But at the same time, that's sort of abuse survivor logic. BLAIR HODGES: Oh, you're putting it on you. DEBORAH COHAN: Yeah, like if I hadn't have done this, he wouldn't have done that to me. Or if I had done this, he definitely would have behaved differently and then I wouldn't have been told “I wish you'd commit suicide” or something. It's interesting how even in a moment like that, that has really nothing to do with abuse, the psyche that's been dealing with abuse and those dynamics, is still contaminated by that. There was still that sense of, “God, if only we hadn't gone to Florida! If only we hadn't made that trip!” And the reality is, I was actually very tentative about wanting to go on that trip. My dad really wanted this for us. He really wanted the three of us to go and have this wonderful time and be at this resort. And I was haunted by some of my memories of my dad on trips. I didn't want to deal with that with my husband at the time. BLAIR HODGES: Right. DEBORAH COHAN: And then I also dealt with the guilt and the shame around not really wanting the trip. And then he actually—his whole life tumbled down as a result of a trip he really wanted that I didn't want because I wasn't grateful enough. So it did this whole thing. I mean, I can still feel it. BLAIR HODGES: It recurs. You bring it up throughout the book. This Cleveland airport is a recurring moment you keep going back to. DEBORAH COHAN: Yes. And then isn't it wild that I got the news of his death at a different airport— BLAIR HODGES: Right! DEBORAH COHAN: —as I was about to board a plane to go and see him for the last time, which at that time really I knew was the last time because they called me to pretty much tell me that earlier in the day. So I arranged to leave that evening, and then missed it. Again, at the time it was like, “Oh my gosh, you're such a screw up! You can't even get to see him when…” It was just this… BLAIR HODGES: The reflex of self-blame. DEBORAH COHAN: Criticism, yes. I had internalized that so much, and so it was a process to try to realize like, no. My dad could have fallen anywhere. Something else could have happened. Because of course something else would have happened. But it was so hard to see in that moment. ONE LITTLE EXTRA SOMETHING (47:49) BLAIR HODGES: This reminds me the ways you're very confessional and vulnerable yourself in the book. This isn't a book about Deborah Cohan the hero who cared for her dying father. This is a book of Deborah Cohan who's wrestling with the ambiguity of being someone who experienced abuse, who has really hard feelings about that, and who also has feelings of love. But there was, I think one of the most arresting— Well I probably shouldn't try to qualify it. To me, the most arresting moment in the book is when you're listing all the medications he's taking on any given day when he's in a care facility. There's Ambien, Glucotrol, amoxicillin, mycelium, and even more. You see this one-month pharmacy bill that added up to twelve hundred dollars. Then you add this startling line. You say, "One extra little something slipped into this whole mess would be untraceable." This is one of the darkest thoughts a caregiver might experience, but you're not the only caregiver who I've heard talk about this. So I wanted to spend a little bit of time there about what it was like confessing that, talking about that in your book. DEBORAH COHAN: Yeah, I certainly—I hope it's understood in the book that it wasn't about revenge. BLAIR HODGES: Right. DEBORAH COHAN: It wasn't like because of that moment when my dad thought his life would be easier if I committed suicide that I want to somehow poison him or kill him. It was this very deep in my bones feeling of, “No one should have to live this way.” BLAIR HODGES: It was, you were witnessing suffering. And your brain was like what can we do for this? DEBORAH COHAN: To stop it, yes. My parents, as I said, and you identified it as well, they were very progressive. And I still remember conversations when I was growing up where my dad would say, "If that ends up happening to me—” like, you know, he would talk about people who— BLAIR HODGES: Right. “I don't want to live like that." DEBORAH COHAN: “I don't wanna live like that. Just kill me. Do something.” So I think even he would have been compassionate and understanding to the thought I had. But what's also interesting that you didn't reveal in your question though is, when I revealed it to myself, I was also telling it to my husband at the time, who thought I was just totally crazy for thinking it, for saying it. It was almost like I should be ashamed of myself. And then there I go, retelling the whole thing in the book. So I wasn't, I really never wound up being so ashamed of it. It was more the sense of the absolute desperation a caregiver feels. The absolute helplessness to stop the suffering and to also stop witnessing it, too! It was like, how much longer can we all go on like this? It was sort of like this is an untenable situation. BLAIR HODGES: Yeah, this wasn't a revenge plot. DEBORAH COHAN: Absolutely not. BLAIR HODGES: This was a desperate moment of trying to figure out how to make the suffering end. I mean, you talk about how caregiving amplified your childhood instincts, your hyper-responsibility and hyper-vigilance, and what toll that could take on you over a number of years. What was it like being hyper-vigilant, hyper-responsible about your father? DEBORAH COHAN: Well you almost alluded to it in the list of the medications. I was carrying around like, a file box in my car with all sorts of information about his health, with all sorts of papers, with duplicate copies of things, because I don't want to be caught off guard, not prepared. If someone calls me, I want to have it all ready. I always had pen and paper with me. Yeah, it's true that there's a hyper-vigilance that happens when someone's experiencing an abusive relationship or witnessing abuse. That sense of being on guard, of trying to have every base covered. That sort of thing. BLAIR HODGES: Be blameless, really. DEBORAH COHAN: Yeah, you know I did that, I extended that into caregiving. I made a list of—I mean, it was sort of crazy, but I did—I sent a copy to my mother, I sent a copy to the nursing home, I sent a copy everywhere. And actually it was when he lived at home, before that, where I had something on the refrigerator that had his social security number, all of his information—like the drugs he takes, his health history, the dates of surgeries—so that any of the nurses caring for him in his home could see that, could know what was going on, could assist. BLAIR HODGES: You were also on call all the time, expecting any phone call. It seemed like you were just tied to your phone in case there was a phone call that would come in. DEBORAH COHAN: Right. And when he died, I talk about how that night after talking with my friend for hours on my couch, afterwards then I just go and I turn off the phone. And I've done that every single night since. I never leave my phone on. BLAIR HODGES: Right! From that point on. DEBORAH COHAN: It's like he'll call me at three or four in the morning. If I'm up, I'll answer, if I'm not— I could be called at any moment about anything and there was just no boundaries on it. Because again, it's the sense of they have to for different liability reasons, but I was being called about anything and everything. DOES THE CHILD BECOME THE PARENT (53:22) BLAIR HODGES: It took up mental and emotional space twenty-four hours a day. And as you watched all these losses pile up—he stopped being able to drive, he stopped being able to walk, he stopped being able to write, then read, then feed himself, then he lost control of his bladder, he couldn't think straight, he couldn't remember. The dementia took over. And you tell us about a friend of yours called Julie. She's a geriatric care specialist. You said she's actually not comfortable when she hears people talking about a role reversal in this situation. It's common for people to say the child becomes the parent and the parent becomes like the child. You're doing a lot of the same things. They're helping feed them, they probably wear diapers, there's all these things going on. You say Julie is not comfortable with that comparison. But you kind of disagree with her. I wanted to hear your thoughts about where Julie's coming from and how you see it. DEBORAH COHAN: Well I mean, she was so compassionate to me about my dad and about all that has happened. In fact, I remember saying to her, I'm going to be using your name, if you don't want me to use it, I can give you a pseudonym. BLAIR HODGES: It's the risk of being friends with a writer. [laughter] DEBORAH COHAN: Exactly! But I mean, nobody's really talked about in a singularly bad way in the book. Not even my dad. So with Julie I think that's a common thing in gerontology, in her field, is the sense of empowering the person who is being cared for. BLAIR HODGES: Conferring dignity. If you say they're like children that's undignified or that's demeaning. DEBORAH COHAN: Exactly. And that's why these nursing homes will ask families to post pictures of when the person was younger and more robust and vibrant on the door or in the entrance to the room, so when people are going in to see the patient they're also reminded, “Oh, this is really who I'm seeing. I'm not just seeing this person who's only weak and sick and vulnerable.” But you know what's interesting to me about that is I felt that a lot with my father. I felt like I wanted to just scream to [laughs] anybody who would listen or any of the nurses or anyone, this isn't really my dad! This is my dad! Kind of asserting the strengths and the brilliance he did have. At the same time, though, it was very hard for me to give that credit to other people, you know? [laughs] So when I would see other residents who were really bad off, I had a hard time thinking about them in their prior phases of their life. I think that's just something caregivers struggle with. I certainly wasn't unique in that. BLAIR HODGES: Sure, and I'm sympathetic to Julie in the sense of conferring dignity and being mindful of this person as a person worthy of concern and care and not infantilizing people. But you also say, when you're feeding your dad and he's spitting up down his shirt and all these things, you can't help but feel like that role has been reversed. I'd like to find a way to both dignify and honor the parent, and also validate and recognize the experience of the child who is now being a caregiver. I think both things are possible. DEBORAH COHAN: That's why when I talk about feeding my dad birthday cake, there's this point where I talk about it as like a terrible beauty in feeding a parent. That gets at that to me. Again, the ambivalence, the contradictory reality, the sense that we should be there in a certain way. They did this for us. We should do this for them with no sense of negativity. At the same time, this is not really how it was supposed to go. BLAIR HODGES: There was no rehearsal for it, too, for you. You were just there. The cupcake was there. And here you are, you're feeding your dad. DEBORAH COHAN: And he wouldn't have wanted that. The last thing he would have wanted was to have me feed him, I mean oh my gosh. LETTER TO DADDY (57:34) BLAIR HODGES: There's one more excerpt I'd like to hear you read here. You wrote some of this book in your dad's presence there at the nursing home when he would be asleep, and you were at his side. This is on page one 142. You wrote to him in that moment in 2009. If you can read it. DEBORAH COHAN: Sure. It's just funny. I'm laughing only because I feel like I have that page memorized. I have actually read this piece quite a bit when I've spoken about the book. It does feel like a really evocative passage, and not because it talks about his abuse at all, but also because of the writerly technique that I used in it of taking almost like field notes that I wound up using. It's exactly the same, I didn't change anything. But I didn't know I was writing a book at that moment either. "I watch you as you sleep, not unlike you probably watched me as I slept as a newborn baby and as a young girl, and wonder, in awe, in calm, and in worry. A parent watches a child sleep with anticipation of a future. An adult child watches a sick parent sleep with a sense of the past. You are finally still and quiet. You, a man who I know is chaotic and loud. We rest in this calm as you fall in and out of slumber and I grade papers. I need to study your face, memorize it, because I know I'll need it one day. Yet the you now is not the you I want to remember. “In a few days, I'll be back with over a hundred students, giving lectures, attending meetings, going to a concert, a lunch with a friend, a performance of The Vagina Monologues. And in my week ahead, I worry about being too busy, about running from one activity to the next, breathless. “Yet one day, Daddy, you did this too, right? How would you restructure those days now? What did you hope for? What do you look for now? You look tired, though I can't tell if you're tired of this life. Yesterday I brought you coffee from Caribou with one of their napkins that made a jab at Starbucks that said, 'Our coffee is smooth and fresh because burnt and bitter were already taken.' Whenever I see great lines and logos I think of you. Your creativity still shines through as we leaf through metropolitan home and marvel at minimalist spaces. Your stained sweatpants are pulled up halfway toward your chest and your stomach looks distended. “Earlier today I saw as you put imaginary pills to your mouth with your fingers, something I assume to be a self-soothing ritual you performed after the nurse told you it was not yet time for more medication. Being in Cleveland, I'm surrounded by childhood friends hanging out with their dads, younger men than you in their sixties and early seventies. Robust, athletic, energetic men vigorously playing tennis and golf, working, traveling and chasing after their dreams, not figments of their imaginations in thin air. “Oh, Daddy. Your eyes open suddenly, and you ask, ‘What are you writing?' I quickly respond, ‘Oh, nothing really, it's just for school.'" LATE-STAGE CONFRONTATIONS (1:01:06) BLAIR HODGES: That's Deborah Cohan, professor of sociology at the University of South Carolina Beaufort. She earned her PhD in Sociology and a Joint Master of Arts in Women's Studies and Sociology at Brandeis University. That excerpt is from her book, Welcome to Wherever We Are: A Memoir of Family, Caregiving, and Redemption. You mentioned a little bit about this already, Deborah, but maybe just take one moment and talk about the ways your father maybe tried to reckon with the abusive dynamics of your relationship later in life. If there was any indication that he came to regret how he treated you. You talk about, for example, when he tried to volunteer at a domestic violence clinic. Even in that context, it didn't really come up. It doesn't sound like you had many opportunities, or that you felt safe enough or whatever, to straightforwardly confront him and say this was an abusive situation. DEBORAH COHAN: I certainly tried. There was a time when I was doing the abuse intervention work and I was working late into the night and our groups ran from 8pm to 10pm, after men had worked their jobs and then came to this program, and then I was leaving Cambridge—This was when I was in Boston, and leaving late at night, 10:30, 11 o'clock, and walking into a parking lot by myself and driving home. And I remember this one day my dad and I were on the phone, he was so concerned for my safety. It really upset him that I was doing this, and doing it late. And I did in that moment really try to question his fear and to try to help him understand, though it didn't really work, but to really try to say, ‘Dad, the things that these guys do are no different than things you've done. I'm not afraid of them. That was not an issue for me.' I guess he didn't want to also see me driving around late at night. But the reality is had I been afraid I wouldn't have been an effective counselor for these guys either. I had to try to help my dad understand that I was working with them in as fearless and compassionate a way as possible, but I guess in that moment I also felt fearless and compassionate in the conversation with him, of trying to say, ‘Dad, you're labeling these guys as monsters, as demons. And actually, your behavior is on a continuum with theirs.' And that's disturbing to hear from your daughter, obviously. But it was important for me to say. So I'm really glad I had a moment to tell him that. It didn't lead to a very productive conversation because he, like many men in the program, still wanted to minimize aspects of their behavior or rationalize it, or it was like this—"But Deb, I never hit you. Deb, I never did this. I never did that. Like that would be horrifying. But what I did wasn't as bad." I didn't really let him get away with that, and that's another reason why, for me, writing this book was critical. Because there really is not enough out there to highlight the damage of verbal and emotional and psychological abuse and threats. There's so much out there around physical abuse, and also sexual abuse. Movies and books and things like that. And those are really important cultural documents we have in the world. But the thing that also has happened is, people don't understand enough about the damage of the emotional abuse and the verbal abuse. And as a result, with so much less written about it, I really felt this tremendous ethical responsibility to write the book. SEE YOU AROUND (1:05:06) BLAIR HODGES: You talk about how much your dad is still with you. You close the book by saying you see him in so much of life. I wondered what's an example of that? And whether you think that fades over time at all? DEBORAH COHAN: No, I don't think any of this fades. I definitely don't think time heals everything or any of that stuff that people say. No, I do—I see him in so much, I guess in the past six years or so I have gotten much more involved as a public sociologist, translating ideas and concepts and theories and things for the larger public. So getting quoted in major news outlets and doing a lot of writing and things like that. That's probably the part where I so miss my father, because he would get such a tremendous kick out of the fact that I wrote for Teen Vogue, or that I, you know, was quoted in Time magazine, or I wrote a piece for Newsweek recently. I mean he just, that was his bread and butter. That's what he loved. I mean, he would have loved that I was on this podcast. He would probably be really angry and humiliated about some of what I'd be talking about. But he definitely had this overwhelming pride and interest in my accomplishments. And that has been a really hard thing to deal with because my career really took off since I've lived here, and that's when he died. And he always dreamed of living in the Carolinas, or in New Mexico, or Arizona. So sometimes I feel like I'm sort of living out something he really wanted that he didn't actualize. I think he would be pretty over the moon about the fact that I moved to South Carolina and have made a good life for myself here. I'm a lot happier as a person than I ever was before. Some of that is probably healing from abuse. It's being in a new relationship. It's so many different things. Like, I wish he could know me now. I wish I could talk to him and know him now. It's just such a strange thing, you know? But I do feel like, hopefully somehow, he knows. I had him for a long time. I'm partnered with a man whose dad died when he was ten years old. I'm often thinking to myself, "Man, I wish he knew Mike." I mean, he really missed out. He really missed out, and Mike missed out knowing his father. And I didn't have that. But instead, I had this very torturous, very complicated relationship. It's really tricky. But it's interesting because the conversations I grew up having with my dad that were really fun and provocative and helpful to me were often conversations around advertising and marketing and all that kind of stuff. Funny enough, my partner, Mike, that's his thing! He's a Director of Media Relations. So here I am still having those conversations at dinner. It's a little bit bizarre. **REGRETS, CHALLENGES, & SURPRISES (1:08:19) BLAIR HODGES: In some ways, that circle continues to close. DEBORAH COHAN: Exactly. BLAIR HODGES: Well, Deborah, let's conclude with the segment Regrets, Challenges, & Surprises. This is when you can talk about anything you regret about the book now that it's out, what the most challenging thing about writing it was, or what kind of surprises you encountered as you created this book. You can speak to one, two, or all three of those things. Regrets, challenges, and surprises. DEBORAH COHAN: I would say I don't have any regrets, which I'm so pleased about because of the nature of the topic. And the fact that surviving abuse and dealing with caregiving are riddled with regrets, the fact that I could write a book and not have regrets about it is pretty remarkable to me. BLAIR HODGES: You didn't even find any typos or anything like that? [laughs] DEBORAH COHAN: There might be I don't know— BLAIR HODGES: I didn't notice any. [laughter] DEBORAH COHAN: There might be, I don't know, but I'm kind of crazy about that kind of stuff though. My dad was too. Oh my gosh, I inherited my spelling and all that craziness from him. BLAIR HODGES: Funny. I didn't notice any. So no regrets. Alright, well, challenges and surprises? DEBORAH COHAN: I mean I don't have any regrets! I don't feel like there's anything I revealed in the book that I wish I hadn't revealed. There's nothing I wish I had included that I didn't include, that kind of thing, which feels really good to me. Yeah, I mean I actually have been thinking about this a lot as I've been writing this new book I'm working on, because it's that sense of, you just really don't want to forget something. You want to make sure that whatever you wanted to say is in it. BLAIR HODGES: Once it's out, it's out, so. DEBORAH COHAN: Right. And at the same time, though, I've started to grow more comfortable with the fact that writing itself is a process and that I will come to think about things and know things in new and different ways. And I guess, when you ask what's surprising, I will say it has surprised me that the thing I was most afraid of—which was the death of a parent or both parents—has been also freeing. It's been a pretty startling revelation I guess you could say. BLAIR HODGES: Is it hard to talk about that? Some people might say,

What a delight to speak to the very talented and creative Ali Koski about her design business, her unique t-shirt business, her experience acting in the fun production of the Vagina Monologues earlier this spring, and her creative outlets, not to mention her conversations with Debbie, her new name for her brain. ahacda.com and travelingt.com

In this week's episode, we're diving headfirst into the whirlwind of hormones and tears that accompany the "magical" journey of childbirth. Miranda tells us about the 4 hormones that play an important role in labor and delivery, from the highs of oxytocin-induced euphoria to the lows of...well, let's just say it's not for the faint of heart. Mel will share about something 90% of women who deliver vaginally experience, but yet no one talks about-- vaginal tearing. Yes, pushing out a human most often results in a few stitches. Get ready to laugh, cry, and maybe even cringe a little as we tackle topics like perineal massage, the joys of postpartum hormonal fluctuations, and the unexpected perks of "padsicles"... IYKYK. So grab your favorite cup of tea (or glass of wine, we won't judge), settle in with your little bundle of joy (or chaos, depending on the day), and join us for a candid, relatable, and above all, hilarious discussion about hormones, tears, and the beautiful chaos of childbirth. Because hey, if you can't laugh about it, you'll probably end up crying – and there's plenty of time for that later.Spotlight:www.vday.orgV-Day is a global activist movement to end violence against all women (cisgender, transgender, and those who hold fluid identities that are subject to gender-based violence), girls and the Earth. V-Day believes that when art and activism come together, they have the power to transform systems and change culture. Founded by V (formerly Eve Ensler), activist and author of the The Vagina Monologues, V-Day has inspired women all over the world and raised collective consciousness about how violence and gender intersect. V-Day is a movement and an example of how the power of art can be used as a liberating tool for transformational holistic education and social justice.Sources:Mel- https://my.clevelandclinic.org/health/articles/23097-vaginal-deliveryhttps://my.clevelandclinic.org/health/diseases/21212-vaginal-tears-during-childbirthhttps://www.cdc.gov/nchs/fastats/births.htmMiranda-https://my.clevelandclinic.org/health/articles/22464-hormoneshttps://www.nct.org.uk/labour-birth/your-guide-labour/hormones-labour-oxytocin-and-others-how-they-work#:~:text=You%E2%80%99ll%20in%20fact%20have%20four%20major%20hormonal%20systems,%28the%20hormones%20of%20excitement%29%20prolactin%20%28the%20mothering%20hormone%29.https://nationalpartnership.org/childbirthconnection/maternity-care/role-of-hormones/ Hosted on Acast. See acast.com/privacy for more information.

ABOUT JACKÉE HARRY Vivacious, witty, and completely unforgettable, Jackée Harry was born to entertain.Born Jacqueline Yvonne Harry on August 14, 1956 in Winston-Salem, North Carolina, and reared from the age of nine in Harlem, New York, by her mother, Flossie, Jackée landed the lead role of the King in her school's production of The King and I at the tender age of fourteen. Upon graduation from New York City's High School of Music and Art with a distinction in Opera, Jackée attended the University of Long Island, where she earned her B.A. in education. Jackée began her career as a history teacher at Brooklyn Technical High School but left after two years to pursue acting. She studied at the Henry Street Settlement on the Lower East Side and made her professional acting debut in 1973 in Richard Wesley's Goin' Through Changes; not long afterward, she made her Broadway debut in A Broadway Musical as Melinda Bernard. Other Broadway performances include The Wiz, Eubie!, and One Mo' Time. In 1983, Jackée made her first television appearance opposite Morgan Freeman in the daytime soap operaAnother World. A year later, she landed her iconic role of Sandra Clark on the NBC sitcom 227. As the breakout star of the series, Jackée became the first African American to win an Emmy Award for Outstanding Supporting Actress in a Comedy Series and was also nominated for a Golden Globe. Her performance on227 inspired NBC producers to create a television pilot for her entitled Jackée. After departing from 227 in 1989, she starred opposite Oprah Winfrey in the critically acclaimed adaptation of Gloria Naylor's novelThe Women of Brewster Place. In 1991, Jackée joined an all-star cast led by Della Reese when she played the role of Ruth 'CoCo' Royal in The Royal Family. From 1994-1999, she starred as the adoptive mother of Tia and Tamara Mowry's characters on the ABC/WB sitcom Sister, Sister, winning the NAACP Image Award for Outstanding Supporting Actress in a Comedy Series for two consecutive years in 1999 and 2000. Jackée also made guest appearances onAmen, Designing Women, Dave's World, Hollywood Squares, 7th Heaven, and That's So Raven, before joining the cast of Everybody Hates Chris in 2006. Hollywood success did not lead Jackée to turn her back on theater; in 1994 she returned to the stage as Billie Holiday in Lady Day at Emerson's Bar and Grill followed by stints in For Colored Girls Who Have Considered Suicide and The Vagina Monologues. In 2003 she played the role of the Madam in The Boys From Syracuse on Broadway. Jackée also performed before sold-out audiences across the nation in the stage play The Cleanup Woman, which is called "one of the highest grossing gospel stage plays of all time" and fronted an Off-Broadway limited-run of NEWSical: The Musical.Beyond acting, Jackée is a vocal champion of healthy living, education, and philanthropy. She is proud to be a spokesperson for the Thurgood Marshall Scholarship Fund, and a Global Ambassador to the Women's International Center. The National Congress of Black Women presented her with the "Woman of Substance" Award in 2010.In addition to recurring roles on Let's Stay Together, Baby Daddy, Girl Meets World, and The Cool Kids, Jackée starred on the CW's The First Family and OWN'sThe Paynes. She was nominated for a Nollywood and African Film Critics Award for her role in the motion picture The Man in 3B. In 2019, Jackée participated in a groundbreaking reimagining of Norman Lear's The Jeffersons, which garnered more than 22 million viewers. In 2021, she rejoined the world of daytime television as real estate mogul Paulina Price on Days of our Lives. Larger than life and twice as funny, Jackée continues to entertain and inspire in a way that permanently cements her place in the American cultural landscape. ABOUT DAYS OF OUR LIVES ON PEACOCK For the past 58 years, Days of our Lives has remained a staple daytime drama. It has weathered political and societal shifts since the mid-1960s and proudly introduced its first Black family, the Grants, in the mid-1970s. Its female heroine, Valerie Grant, shared daytime's first interracial kiss in 1977. Today, Black stories continue to be front and center, addressing societal issues including healthcare, family and career. Today's cast includes James Reynolds, with Jackée Harry, Raven Bowens, Elia Cantu, and features Lamon Archey and Sal Stowers as "Eli" and "Lani" respectively, who were the couple in the show's first Black wedding.https://jackee-online.com/ https://www.facebook.com/JackeeHarry https://www.twitter.com/JackeeHarry https://www.instagram.com/JackeeHarry https://www.youtube.com/c/JackeeHarryOfficialBecome a supporter of this podcast: https://www.spreaker.com/podcast/i-am-refocused-radio--2671113/support.

JOE MANTELLO (Director). Broadway directing credits include: Grey House, Who's Afraid of Virginia Woolf, Hillary and Clinton, Three Tall Women, The Boys in the Band, Blackbird, The Humans, Airline Highway, The Last Ship, Casa Valentina, I'll Eat You Last, The Other Place, Other Desert Cities, Pal Joey, 9 to 5, Laugh Whore, November, The Ritz, Three Days of Rain, The Odd Couple, Glengarry Glen Ross, Wicked, Assassins (Tony Award), Take Me Out (Tony Award), Frankie and Johnny in the Clair de Lune, Love! Valour! Compassion!  Off-Broadway: Here We Are, Dogfight, The Pride, A Man of No Importance, The Vagina Monologues, bash, Corpus Christi.  As an actor he has appeared in American Horror Story: NYC (FX), Hollywood, The Watcher (Netflix), The Normal Heart (HBO, Emmy Nom.) and upcoming FEUD Season 2: Capote vs. The Swans (FX) Broadway: The Glass Menagerie, The Normal Heart (Tony nom.), Angels in America (Tony nom.)  Recipient of Outer Critics Circle, Drama Desk, Lucille Lortel, Clarence Derwent, Obie, Joe A. Callaway and SDCF “Mr. Abbott" awards. Member of the Theatre Hall of Fame. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Barbara Barrie has had a distinguished career in film, television and theatre. On Broadway, she has appeared in Company (Tony Award nomination), The Selling of the President, The Prisoner of Second Avenue, California Suite, Torch Song Trilogy, and, most recently, in the Broadway transfer of Significant Other, for which she received the Actors' Equity Association Award for the Best Performance in a Supporting Role by a Veteran Actor. Her notable off-Broadway credits include I Remember Mama (Outer Critics Circle Award nomination), The Vagina Monologues, Current Events, After-Play, The Crucible, The Beaux' Stratagem, Love Letters, Isn't It Romantic? and The Killdeer (Obie Award and Drama Desk Award). Her best known television series appearances include "Law & Order" (Emmy Award nomination), "Law & Order: Special Victims Unit" (Emmy Award nomination), "Breaking Away" (Emmy Award nomination), "Suddenly Susan," "Enlightened," "Nurse Jackie," "Once and Again," "Barney Miller," "Thirtysomething" and "Family Ties." Her mini-series and television movie credits include "Scarlett," "Roots: The Next Generation," "A Chance of Snow," "My Left Breast," "The Odd Couple: Together Again," "Tell Me My Name," "To Race the Wind," "American Love Affair," and "Barefoot in the Park." Film credits include ""Somewhere Only We Know," One Potato, Two Potato" (Best Actress Award at the Cannes Film Festival), "Breaking Away" (Academy Award nomination), "Judy Berlin" (Independent Spirit Award nomination), "Frame of Mind," "Second Best," "Hercules," "Private Benjamin," "The Bell Jar" and "Thirty Days." Learn more about your ad choices. Visit podcastchoices.com/adchoices

THE BRILLIANT BODY PODCAST w/ ALI MEZEY:"Embodied Intelligence with Philip Shepherd: Wholeness, Sensitivity, and the Pelvic Bowl"TO VIEW ON YOUTUBE: https://youtu.be/RjXbXboi6m8To subscribe now, click hereTo be an angel to the podcast, click here To read more about the podcast, click here FOR MORE ALI MEZEY:ALI - WebsiteALI - LinkTreeSYNOPSIS:In this episode of The Brilliant Body Podcast, Ali Mezey interviews Philip Shepherd, a luminary in the global embodiment movement. Together, Ali and Philip explore countercultural aspects of embodiment, the importance of challenging societal norms, and the need to advocate for a shift towards present-centered awareness.Central to the conversation is the profound impact of the pelvic bowl, a core element of Philip's teachings. Drawing inspiration from cultures that value the body differently, Philip highlights the concept of Hara in Japanese Noh theater. He traces the historical shift in Western culture from the belly as the thinking center to the current emphasis on the head, revealing a narrative of mistrust in the body.Sensitivity emerges as a core theme of the conversation, which Philip positions as the foundation of intelligence. Ali and Philip delve into the subtleties of staying “dropped in” to the pelvic floor, stressing the gentle and patient approach required for restoring sensitivity, especially in individuals who have experienced trauma. Throughout the episode, the exploration of embodiment, cultural shifts, and the profound connection between the body and the world converges into a call to action. The duo inspires listeners to nurture sensitivity, embrace radical wholeness, and reclaim their true intelligence, fostering the evolution of both individual and collective consciousness.EXPLORATION POINTS:Ali and Philip discuss the geography of intelligence and the significance of the pelvic bowl as the base of experiencing our wholeness.Philip traces the d/evolution of Western culture from valuing the belly as the center to the current emphasis on the head and mistrust of the body.They discuss sensitivity as the foundation of intelligence and explore the nuances of restoring sensitivity, particularly in trauma survivors.Philip unpacks the fallacy of independence, and vividly describes the self as being in constant felt-relationship with the world.The conversation ultimately advocates that we recognize and learn to live from our full intelligence as a key to cultural evolution. FOR MORE PHILIP SHEPHERD:BIO: Philip Shepherd is recognized as a leader in the global embodiment movement. He is the creator of The Embodied Present Process™ (TEPP), which provides both potent insights into how our culture desensitizes the body, and a series of over 150 practices to help people renew their sensitivity to the world and reclaim their calm, centred presence in it. He shares TEPP worldwide through in-person workshops and Facilitators Trainings, and has articulated the need for a new, more embodied way of being in two books: Radical Wholeness and New Self, New World. Both books identify the causes, perils and challenges of our culture's disembodiment. Philip's personal path to embodiment includes a two-year journey as a teenager, during which he traveled alone by bicycle through Europe, the Middle East, Iran, India and Japan. He has also studied classical Japanese Noh Theater; co-founded an interdisciplinary theatre company; written two internationally produced plays and a television documentary; designed and built several houses; co-founded an arts magazine called Onion; played lead roles on stages in London, New York, Chicago and Toronto; and earned a reputation as a coach, both with individual clients seeking a deeper experience of embodiment, and for corporate clients seeking to improve their presentation skills. He developed TEPP with his co-director and wife Allyson Woodrooffe, who also shares the practices in person. His website and online courses are found at EmbodiedPresent.com. His newest book, Deep Fitness, was co-authored with Andrei Yakovenko and offers a revolutionary and highly effective approach to fitness.And my website, as you may have gathered from the above, is EmbodiedPresent.comPHILIP – Facebook PHILIP – InstagramPHILIP BOOKS: (these links are to Amazon, but all distributed by Random House (yay, Philip!), you can find them in your friendly, neighborhood bookstores)Radical WholenessNew Self, New WorldDeep FitnessOTHER RESOURCES, LINKS AND INSPIRATIONS: IAIN McGILCHRIST – websiteILARION MERCULIEFF – Aleut Nation TedTalks: Native KnowingThe Womb at the Center of the Universe RICHARD LATTIMORE – his translation of The OdysseyNOH THEATRE:A short National Geographic filmA Noh play called Tomoe  BYRON ROBINSON: The Abdominal and Pelvic Brain PDF selections The Abdominal and Pelvic Brain book TANDEM:

Harvey Brownstone conducts an in-depth Interview with Linda Gray, Legendary Actress, Star, “Dallas”, “Ladies of the 80's: A Divas Christmas” About Harvey's guest: Today's special guest, Linda Gray, is a beloved, multi-award winning actress, director and author who became a global superstar with her portrayal of ‘Sue Ellen', in the blockbuster TV series “Dallas”, for which she won numerous international awards and was nominated for 2 Golden Globe Awards, an Emmy Award and 4 Soap Opera Digest Awards.  But her career extends far beyond “Dallas”.   On the big screen, she's appeared in many movies including “Dogs”, “Oscar”, “Star of Jaipur”, “Expecting Mary”, “The Flight of the Swan”, “Hidden Moon”, “Intuitions” and “Wally's Will”, which won her 2 Best Actress awards at the USA Film Festival and the North Hollywood Film Festival.  And she's starred in dozens of TV shows like “Melrose Place”, “The Bold and the Beautiful”  and “Models Inc.”, and many TV movies including “Murder in Peyton Place”, “Haywire”, “The Wild and the Free”, “Not in Front of the Children”, “Moment of Truth: Why My Daughter?”, “Accidental Meeting”, “When the Cradle Falls”, “Perfect Match”, and of course, the 2 “Dallas” TV movies, “J.R. Returns” and “War of the Ewings”.    On the stage, our guest starred in the world premiere production, in London, of “Terms of Endearment”, AND in the West End production of “The Graduate”, in which she starred on Broadway for a limited engagement.  In 2014 she returned to the London stage to star in the Christmas pantomime “Cinderella”, playing the Fairy Godmother.  She's also starred onstage in “The Vagina Monologues”, “Agnes of God” and “Love Letters”.   In 1982, she was named Woman of the Year by the Hollywood Radio & Television Society.   In 2013, she was included in People Magazine's list of the Most Beautiful Women in the world.   And in 2015, she published her highly compelling, emotionally powerful and inspirational memoir entitled, “The Road to Happiness is Always Under Construction”, which became an instant best seller.  The book chronicles our guest's amazing life journey, through childhood illness, family trauma, and the many challenges of an ultimately triumphant career and fulfilling personal life, bringing her to a place of honesty, serenity and joy.    And I'm very excited to announce that on December 2, our guest's highly anticipated, brand new TV movie, entitled “Ladies of the 80s: A Divas Christmas” will be premiering on the Lifetime channel.   This is a delicious comedy in which our guest co-stars with Loni Anderson, Morgan Fairchild, Donna Mills and Nicollette Sheridan, who play 5 glamorous soap opera queens who reunite to shoot the final Christmas episode of their long-running TV series.   And if all of that weren't enough, our guest is also a highly respected philanthropist.  She's been very involved with the Best Buddies Program for people with intellectual challenges, as well as Meals on Wheels and the Force For Good Foundation.  And for 10 years, from 1997 to 2007, she served as a United Nations Goodwill Ambassador to promote women's rights, and the health of women and children. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Linda Gray, go to:https://www.lindagrayofficial.comhttps://www.instagram.com/lindagray #LindaGray    #harveybrownstoneinterviews

Pretty good! --- Send in a voice message: https://podcasters.spotify.com/pod/show/damien-riley/message

Tess Tregellas is a Writer, Comedian and Hopeless Romantic originally from Fairfield, CT where the vibe was very Stepford Wives where Christmas cards were perfect but was not quite as staged.   In this episode we talk about: Her big fat spoof wedding If you have a vision you can get what you want Her journey and growth with @Betches (yes, that's how you know her) Trials and tribulations of freelance life Is TV like a vibrator? The difficulty with presence on stage and in bed The Tristate area template for life How rom-coms have brainwashed our expectations Why are women always drunk when having sex in media (or waking up wondering if they did)?! Communication is sexy! How often women brush things off (insults, micro-aggressions, harassment) until another woman points it out Let's focus on feeling nice and skip the performative sex! You can shave off your clit in the shower?! (No, you cannot) The Vagina Monologues!   You can find Tess on Instagram at @tesstreg, on the @betches feed and at shows all around NYC. If you're pickin' up what we're putting down please like, Subscribe and tell your friends so other people know this exists! Submit a Sex Ed Pop Quiz question with a 5 star review and I'll give you a shout out! Stay connected through Birds and Bees Don't Fck on Instagram at @birdsandbeesdontfck & follow your host @ArielleZadok   Like to watch? Check out the video version of this podcast on YouTube! Email us at birdsandbeesdontfck@gmail.com to request your favorite comedian or sexuality professional! Want to help raise money for men's mental health, prostate and testicular cancer research? Great! Arielle is the Los Angeles host of the Distinguished Gentleman's Drive happening worldwide on Sunday September 24th and you can make a donation and learn more here: https://www.gentlemansdrive.com/driver/BabesInClassics  

V (formerly Eve Ensler) is the Tony Award-winning playwright, activist, performer, and author of the Obie award-winning theatrical phenomenon The Vagina Monologues, published in over 48 languages, performed in over 140 countries, discusses her most recent book, Reckoning, and how her life's work and healing from a life threatening illness has informed her and allowed her to "be in her body" and develop methods to thrive despite years of abuse and self-hatred. "Transforming pain into radical action", V discusses how her work and especially co-founding the City of Joy, a revolutionary center for women survivors of violence in the Democratic Republic of Congo mobilized her while healing from illness and the challenges of the cancer diagnosis. V compels you to think about how the patriarchy has impacted your life and how illness can transform you. Links: https://www.vday.org/ https://www.eveensler.org/, https://www.eveensler.org/pf/book-reckoning/ https://www.cityofjoycongo.org/splash/ Questions of comments? Call 845-307-7446 or email comments@radiofreerhinecliff.org Produced by Jennifer Hammoud and Matty Rosenberg, and edited by Ricardo Gutiierrez @ Radio Free Rhiniecliff

The time has come for Carolina Ravassa, Colombian-born actress, producer & voice of Sombra on Overwatch/2 & Raze on Valorant, and so much more to make her Immigrant Jam debut! Carolina and I have been friends and Overwatch family for over 6 years and had an absolute blast talking growing up in Cali, Vagina Monologues, what fame feels like, banning side salads and so much more. This is the short verion of a ONE HOUR conversation we had. To listen/watch the FULL HOUR go to patreon.com/luciepohl.  Follow Carolina @ravassa on all socials & follow the podcats @immigrantjampodcast     

#451 Ragmags - Richard has had some disturbing text messages from one of his kids, but he's not going to help them. His guests are super nerd magic geniuses, Jeremy Dyson and Andy Nyman. They discuss why Jeremy chose not to appear on stage with the League of Gentlemen, why Andy is non-plussed to be in Star Wars, how the pair met at a summer camp, the Vagina Monologues production at the Arts Theatre led to TWO new theatre shows that have been performed all over the world, why Andy and Jeremy wanted to retain control of the film version of A Ghost Story, the secretive world of the Magic Circle and how they managed to collaborate on writing the fantastically entertaining novel, “The Warlock Effect”. Plus what would it take for them to fellate Keith Allen. Buy the Warlock Effect here (for example) https://www.amazon.co.uk/Warlock-Effect-Jeremy-Dyson/dp/1529364779/Come and see RHLSTP live - all dates and confirmed guests here http://richardherring.com/rhlstpSUPPORT THE SHOW!Watch our TWITCH CHANNELSee extra content at our WEBSITE Become a member at https://plus.acast.com/s/rhlstp. Hosted on Acast. See acast.com/privacy for more information.

As if season two couldn't get worse, now Tony Danza is involved. Carrie really doesn't know how to podcast. Miranda forgot how to be Miranda in Che's orbit and Charlotte is, well, losing her mind. Join us as we continue to hate watch the show everyone's talking about!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5779987/advertisement

Boju Bajai in conversation with Akanchha Karki, who is a theatre director, performer and educator. She runs Katha Ghera, a theatre collective in Kathmandu, and has directed several plays including the Nepali version of The Vagina Monologues, Private is Political, Line, The Giving Tree, Harek Babal Kura, and Animal Farm. She is also an aspiring filmmaker and directed her debut short film 'Sanai' through the British Council Gender Film Grant. She was a fellow at the Gograha filmmaking residency in 2022. Her work focuses on mental health, gender sensitivity, and social justice. She challenges problematic structures, encourages unlearning of internalised prejudices, and facilitates difficult conversations that promote empathy and healing. She believes in creating safe spaces and sees vulnerability as a source of strength. You can follow her and her works on Instagram: https://instagram.com/akanchhakarki https://www.instagram.com/kathagheraproductions/ Subscribe to our weekly newsletter Cold Takes by Boju Bajai for a roundup of news and feminist views from Nepal and the Nepali internet. Read and subscribe here: bojubajai.substack.com/welcome Boju Bajai regularly works with reporters and researchers to bring compelling audio stories that centre and amplify women's experiences. If you would like to support our work, please consider being our patron here: www.patreon.com/bojubajai Follow @Bojubajai on social media for more laughs and guff gaff: Instagram: www.instagram.com/bojubajai/ Facebook: www.facebook.com/bojubajai/ Twitter: twitter.com/BojuBajai YouTube: www.youtube.com/c/BojuBajai/ Boju Bajai theme music by Flekke

People are talking about menopause everywhere these days, which is incredible since our mothers and grandmothers and their mothers NEVER did! Women's thirst for answers and community has exploded so our guests are right on time. Naomi Watts has created a menopause brand that educates, offers support as well as some useful products to help with, you know, all the places. Then UK menopause expert Pat Duckworth is spreading her message of menopause in the workplace from across the pond. Women have had to fight for maternity leave and equal pay, now she says it's time to stand up for ourselves when we need healthcare support at the height of our careers. If you have questions or guest suggestions, Ali would love to hear from you. Call or text her at (323) 364-6356. Or email go-ask-ali-podcast-at-gmail.com. (No dashes) **Go Ask Ali has been nominated for a Webby Award for Best Interview/Talk Show Episode! Please vote for Ali and the whole team at https://bit.ly/415e8uN by April 20th, 2023! Links of Interest: Naomi Watts Company Website: Stripes Pat Duckworth Website: Pat Duckworth Book: Menopause: Mind the Gap - The Value of Supporting Women's Wellness in the Workplace Pat Recommends MenoClarity: How to Sleep Better - Understanding Menopausal Insomnia (Blog) Menopause at Work in the News: UK Officials Address Menopause in the Workplace (SHRM) It's Time to Start Talking About Menopause at Work (Harvard Business Review) How to Handle Menopause Symptoms While Working (New York Times) How Employers Can Support Menopausal Women at Work (Thomson Reuters) CREDITS: Executive Producers: Sandie Bailey, Alex Alcheh, Lauren Hohman, Tyler Klang & Gabrielle Collins Producer & Editor: Brooke Peterson-Bell Associate Producer: Akiya McKnightSee omnystudio.com/listener for privacy information.

“V” formerly known as Eve Ensler is an author, Tony Award-winner, playwright and activist. Her award-winning play The Vagina Monologues ran for more than 10 years and has been performed in more than 140 countries. “V”s new book is Reckoning. “V” warns that the United States is sick with a type of pathological amnesia that facilitates evil and cruelty. “V” also reflects on how we must use specific and correct moral language about sexism, white supremacy, misogyny, patriarchy, and other antihuman political values and movements if we want to vanquish them. “V” and Chauncey also ponder why so many people remain in denial about the great and obvious disaster that is The Age of Trump and ascendant neofascism. They also dialogue about mental health, well-being, relationships, and finding peace in these troubled and challenging times. On this episode of the podcast, Chauncey DeVega explains his late-night Twitter messages that recently went “viral” where he warned that the Republican-fascists and MAGAites actually won on Jan 6 and that the threat to American democracy is getting worse and in no way deterred or stopped despite how much the hope peddlers and wish-casters in the mainstream news media keep saying that it is. He also shares some quick thoughts on the new seasons of Star Trek: Picard and The Mandalorian. WHERE CAN YOU FIND ME? On Twitter: https://twitter.com/chaunceydevega On Facebook: https://www.facebook.com/chauncey.devega My email: chaunceydevega@gmail.com HOW CAN YOU SUPPORT THE CHAUNCEY DEVEGA SHOW? Via Paypal at ChaunceyDeVega.com Patreon: https://www.patreon.com/thechaunceydevegashow

V (formerly Eve Ensler), Tony Award–winning playwright, author, performer, and activist, creator of The Vagina Monologues and the author of Reckoning (Bloomsbury Publishing, 2023), talks about her new book that draws on 40 years of journals and creative output to call for connecting the personal and collective traumas to healing.

Ted Bunch is a father to many. Today, Ted and Jalen Bunch share how a parent can make themselves a ‘safe space,' how to model messy conversations and how love creates compassion beyond comprehension. New episodes every Monday