Edited by Mara Meyers
This week we’ve got lots of tips on how to write and deliver an impactful talk, what’s wrong with all-male panels, and some harsh realities about public education.
What we’ve been checking out…
Kudos of the Week: Find out why this guy gave up his seat on an all-male panel.
Annette Ferrara gives sound advice on public speaking, including why it might be helpful to imagine telling your story to “a drunk college kid in the back row.” (Yes, really.)
While black women are being erased from the narrative of #BlackLivesMatter, #SayHerName is changing the conversation.
“I am a bad feminist and a good woman.” Roxane Gay’s speech receives a standing ovation at TEDWomen 2015.
Welp. The New York Times’ 2015 summer reading list is every shade of white and nothing else.
For women of color, success in the tech industry rests on more than just opportunity.
What’s new from our FRESH crew…
One of our co-founders, the incredible Courtney Martin gives advice at TEDWomen on how to make sure your talk is impactful. Our favorite tip? Be the (vulnerable) hero.
An all-male panel was supposed to discuss popular female characters and illustrators at last week’s Denver Comic Con. Julie Zeilinger explains why none of this makes sense.
Cornell University and Emily May’s Hollaback! just released the largest cross-cultural analysis of international street harassment to date. Check out their findings.
Dena Simmons explains why when we talk about healing in Baltimore we have to talk about creating safe spaces in our schools.
Chris Gandin-Le co-created a new check-in tool for our emotional selves.
We need to stop saying that child abuse is a mistake because it’s really a crime. Zerlina Maxwell explains why Josh Duggar’s “mistake” is much greater than an indiscretion.
There was a coordinated attack on abortion rights last weekend that hardly anyone is talking about. In her latest at Fusion, Latoya Peterson explores the consequences of what happened.
The building of a hospital in Rwanda, created by Michael Murphy’s MASS Design Group, is establishing a new architectural edict: process follows ideals.
Although public goods are no longer separated by race, Brittney Cooper proves why they are still inherently unequal.