Juana Summers
Juana Summers is a political correspondent for NPR covering race, justice and politics. She has covered politics since 2010 for publications including Politico, CNN and The Associated Press. She got her start in public radio at KBIA in Columbia, Mo., and also previously covered Congress for NPR.
She appears regularly on television and radio outlets to discuss national politics. In 2016, Summers was a fellow at Georgetown University's Institute of Politics and Public Service.
She is a graduate of the Missouri School of Journalism and is originally from Kansas City, Mo.
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Army veteran Richard Fierro was enjoying a night out with his family when a gunman opened fire on a gay club in Colorado Springs. Fierro said he went into "combat mode" to take down the shooter. -
In The Light We Carry, Michelle Obama opens up about generational life lessons - both personal and public - and how "going high" is more than just a motto.
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D.H. Peligro, the longtime drummer for the iconic punk band the Dead Kennedys, died Friday at age 63.
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A study finds that we are happier the more we talk with different categories of people — colleagues, family, strangers — and the more evenly our conversations are spread out among those groups.
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Polls found that young people were among the least likely to vote this fall. But the end of Roe v. Wade has helped boost voter registration among them. Other issues are also important to young voters.
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NPR's Juana Summers talks with Cameron Lew of the band Ginger Root about his new EP Nisemono and the vintage Japanese pop that inspires his sound.
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For years, the coverage of war crimes by journalists wasn't used in criminal trials. The Reckoning Project is an educational program that aims to change that, starting with Ukraine.
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NPR's Juana Summers speaks with music historian Ayana Contreras about the death of musician Pharoah Sanders and the legacy he leaves behind.
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No matter the scandal, fans cannot quit the NFL. NPR's Juana Summers talks with Kevin Draper, sports reporter for The New York Times about why.
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After finding an abysmally low number of women artists' work within jazz's unoffical book of standards, Carrington set out to fix the problem with a book of her own.
