Danielle Holland and Alex Moshchevitin kick off this week on STPT discussing the origins of pride, corporate opportunism, and the right to exist without being prosecuted. F--k your rainbow-washing, support Black trans women!

Then, artist and educator, Ebo Barton (they/them/he/him) joins the show. Barton and hosts dive into writing to make sense of oneself in the world, exploring history through the creations of artists, and getting out of the way of the youth. They got this.

For this special episode, Ebo shares two poems (Mistakes and Freedom, Cut Me Loose) from his book, Insubordinate. “The only place I feel loved, safe and valued is within a poem.” We offer this week's conversation with this intention, to share with you the feeling of being loved, safe and valued.

Ebo Barton comes from salt— from the moment before worlds converge. In this world, we are still trying to articulate that mixed Black and Filipino, Transgender and Non-Binary, Queer, Artists and Educators not only matter but are precious. In another world, Barton is loved, safe, and valued. The only difference being that the latter is a path they must make themselves. You may have seen Ebo's work in Adrienne Issue 01 by Sibling Rivalry Press, Thriving While Trans: A Love Manual, Natasha Marin's Black Imagination, The King County Metro, and online on Write About Now, Button Poetry, and All Def Poetry channels. In 2016, they placed 5th in the World at Individual World Poetry Slam. In 2017, they co-wrote and co-produced the award-winning play "Rising Up." In 2018, they played "Invisible One" in Anastacia Renee's "Queer. Mama. Crossroads" and reprised the role in 2019.   In 2020, Ebo Barton published their first collection of poetry titled "Insubordinate".  A leader in arts and activism, Ebo Barton is committed to creating opportunities for others to organize, heal and rejoice. From weekly open mics to curated shows like Alchemy Poetry with Ben Yisrael to educating across the country at various institutions, 2020 Jack Straw Writing Fellow, Ebo Barton's written, performative, and community work demand societal reckoning.