Tanya Mosley

Imani Perry's new book is Black and Blues, How a Color Tells the Story of My People. Tomorrow on Fresh Air, we've been talking a lot about loneliness. Research shows we're spending more time alone than ever. Atlantic writer Derek Thompson joins us to talk about how all of this me time is having a profound impact on our personalities, our politics, and our relationship to reality.

Imani Perry's new book is Black and Blues, How a Color Tells the Story of My People. Tomorrow on Fresh Air, we've been talking a lot about loneliness. Research shows we're spending more time alone than ever. Atlantic writer Derek Thompson joins us to talk about how all of this me time is having a profound impact on our personalities, our politics, and our relationship to reality.

I hope you can join us. To keep up with what's on the show and get highlights of our interviews, follow us on Instagram at NPR Fresh Air. Fresh Air's executive producer is Danny Miller. Our technical director and engineer is Audrey Bentham. Thanks to Jose Llanes from WDET for additional engineering help. Our managing producer is Sam Brigger.

I hope you can join us. To keep up with what's on the show and get highlights of our interviews, follow us on Instagram at NPR Fresh Air. Fresh Air's executive producer is Danny Miller. Our technical director and engineer is Audrey Bentham. Thanks to Jose Llanes from WDET for additional engineering help. Our managing producer is Sam Brigger.

I hope you can join us. To keep up with what's on the show and get highlights of our interviews, follow us on Instagram at NPR Fresh Air. Fresh Air's executive producer is Danny Miller. Our technical director and engineer is Audrey Bentham. Thanks to Jose Llanes from WDET for additional engineering help. Our managing producer is Sam Brigger.

Oh, thank you. It's lovely to be here.

Oh, thank you. It's lovely to be here.

Oh, thank you. It's lovely to be here.

I mean, it was a beautiful story. It had a wonderful character to play. And I just related on many levels. You know, there's many parallels between us, but I also felt like that was a great jumping off point that I could take this opportunity and really transform into this woman. I was craving to do something like this. I really needed to sink my teeth into something.

I mean, it was a beautiful story. It had a wonderful character to play. And I just related on many levels. You know, there's many parallels between us, but I also felt like that was a great jumping off point that I could take this opportunity and really transform into this woman. I was craving to do something like this. I really needed to sink my teeth into something.

I mean, it was a beautiful story. It had a wonderful character to play. And I just related on many levels. You know, there's many parallels between us, but I also felt like that was a great jumping off point that I could take this opportunity and really transform into this woman. I was craving to do something like this. I really needed to sink my teeth into something.

And it came at the right time. And I realized if I had any other life, I couldn't have played Shelley as I did. And it all made sense. I had somewhere to put all my life experience in one way or another. It's in there. Yeah. And we're going to talk about those parallels.

And it came at the right time. And I realized if I had any other life, I couldn't have played Shelley as I did. And it all made sense. I had somewhere to put all my life experience in one way or another. It's in there. Yeah. And we're going to talk about those parallels.

And it came at the right time. And I realized if I had any other life, I couldn't have played Shelley as I did. And it all made sense. I had somewhere to put all my life experience in one way or another. It's in there. Yeah. And we're going to talk about those parallels.

I mean, I've met with the Jubilee dancers, and they took so much pride in their art form. I love the nostalgia that Shelley always comes back to, that it's about France, you know, it's Lido culture. It's this, you know, it's important. You know, they were treated like movie stars. They are the icon of Las Vegas, even though they don't really exist anymore.

I mean, I've met with the Jubilee dancers, and they took so much pride in their art form. I love the nostalgia that Shelley always comes back to, that it's about France, you know, it's Lido culture. It's this, you know, it's important. You know, they were treated like movie stars. They are the icon of Las Vegas, even though they don't really exist anymore.

I mean, I've met with the Jubilee dancers, and they took so much pride in their art form. I love the nostalgia that Shelley always comes back to, that it's about France, you know, it's Lido culture. It's this, you know, it's important. You know, they were treated like movie stars. They are the icon of Las Vegas, even though they don't really exist anymore.

It was sad to know that there were 85 women on stage and 45 crew members and about 15 people in the audience at the very end, that it was just something that died out and lost to a new culture of, you know, like the dirty circus, she likes to say, that it took more to entertain. And so these art forms die out. And it's about the people that have given their lives to these

It was sad to know that there were 85 women on stage and 45 crew members and about 15 people in the audience at the very end, that it was just something that died out and lost to a new culture of, you know, like the dirty circus, she likes to say, that it took more to entertain. And so these art forms die out. And it's about the people that have given their lives to these

It was sad to know that there were 85 women on stage and 45 crew members and about 15 people in the audience at the very end, that it was just something that died out and lost to a new culture of, you know, like the dirty circus, she likes to say, that it took more to entertain. And so these art forms die out. And it's about the people that have given their lives to these