Podcasts about aapi

Welcome to Season 5, Episode 36! Our guest this episode is the New York Times bestselling author Abigail Hing Wen. She's probably best known for the book Loveboat, Taipei and its two companion novels Loveboat Reunion and Loveboat Forever, as well as Kisses, Codes, and Conspiracies. Her latest work is The Vale which will be released on September 16th.  The Vale is Illustrated by Yuna Cheong and Brandon Wu, and it's published by our favorite publisher Third State Books. It's a coming-of-age story that is both science fiction and fantasy in a way. Bran, the main protagonist is the son of two inventors and has helped them develop an immersive VR world called the Vale. There's a little action, romance, magic, technology, and mystery; and the themes include family, belonging, persistence, love, and friendship… in other words, there's something for every reader young and old. There's also a short film prequel being created called THE VALE–ORIGINS starring the award-winning actress, singer, and stage performer Lea Salonga. We highly recommend getting the Vale, and if you pre-order it and submit the receipt, you can even get some free stickers.  We learned a lot about Abigail in our conversation beyond her education and journey to writing. Other than novels, she's a producer, director, and woman-in-tech leader specializing in artificial intelligence… and she's a mother of two. She writes and speaks about tech, AI ethics, women's leadership and transforming culture. In our conversation, we also discuss: How The Vale got published Ways she included technology that's truly believable What it was like to create an illustrated novel The power of teacher guides and thoughtful questions What to expect from her debut directorial short film The Vale Origins And much more. To learn more about Abigail Hing Wen, you can visit her website abigailhingwen.com, follow her instagram @abigailhingwen, go to her Linktree for even more links, and of course, purchase The Vale! And don't forget, if you pre-order through Barnes & Noble or an independent bookseller, you can get some free stickers. And if you're in New York, stop by Chinatown Ice Cream Factory before September 21 for a free trial size of any flavor, but we recommend The Vale inspired Elfberry Blue. If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or our links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com.

Water Mirror Echo is Dr. Jeff Chang's ambitous and deeply empathetic cultural biography of Bruce Lee that goes beyond myth, revealing the man behind the legend while tracing how Lee's life helped shape the emergence of Asian America. Chang's storytelling deftly intertwines Lee's personal narrative with broader social currents--highlighting Asian American student activism, racial solidarity, and cultural resistance. By drawing from in-depth interviews, newly released personal papaers, and rare family photographs, Chang is able to pierce the iconography and reveal Lee's complexity--his vulnerabilities, perseverance, and influence. And by humanizing Lee, Chang reframes him as a creator of cultural identity, not just an action hero. Chang delivers more than a portrait of Bruce Lee--he offers a meditation on identity, visibility, and the shaping of Asian American culture. Lee's life becomes a lens to explore how individuals and symbols can birth movements, challenge stereotypes, and redefine belonging. His book will be available for purchase on September 23, 2025.

Send us a textIt's conversations like this that make us remember why we are still here after 12 years and over 800 episodes. Filmmakers/activists/return guests Julie Cohen, and Ramona Diaz join us to discuss the intersection between art and activism, and how important it is for us to stay engaged. Ramona, who grew up under Marshall Law in the Philippines, shares how what is happening in the US feels very familiar to her, and Julie discusses how she's found a way to fight back with her community in her own backyard. They share why they decided to join forces, and some examples of what's bringing them joy in these tough times. Then we end the episode with our newest segment, This Bitch, and you won't want to miss their inspirational answers. Prior Bitch Talk episodes with Julie Cohen: Episodes 272 RBG, 524 My Name is Pauli Murray, 625 Julia, 686 Gabby Giffords Won't Back Down, 751 Every Body, 826 The Path ForwardPrior Bitch Talk episodes with Ramona Diaz: Episodes 483 A Thousand Cuts, 785 And So it BeginsFollow filmmaker Julie Cohen on IGFollow filmmaker Ramona Diaz on IGSupport the showThanks for listening and for your support! We couldn't have won Best of the Bay Best Podcast in 2022 , 2023 , and 2024 without you! -- Fight fascism. Shop small. Use cash. -- Subscribe to our channel on YouTube for behind the scenes footage! Rate and review us wherever you listen to podcasts! Visit our website! www.bitchtalkpodcast.com Follow us on Instagram & Facebook Listen every Tuesday at 9 - 10 am on BFF.FM

Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html  Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en&  Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.    00:00:53 Isabel Li  Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing?  00:01:55 Mari Yoshihara  I'm doing fine. Thank you for having me.  00:01:58 Isabel Li  Of course, my first question for you is how do you identify and what communities are you a part of?  00:02:06 Mari Yoshihara  Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now.  00:02:54 Isabel Li  Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book?  00:03:04 Mari Yoshihara  So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study.   And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research.  00:05:55 Isabel Li  That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world?  00:06:18 Mari Yoshihara  Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves.  00:08:12 Isabel Li  That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music?  00:08:32 Mari Yoshihara  So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color.  So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago.  00:10:20 Isabel Li  Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research.  00:11:10 Mari Yoshihara  Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry.   So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right?   Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group.   Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans.   There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about.   There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian.   And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons.   So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today.  More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans.  00:16:31 Isabel Li  Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is?  00:17:15 Mari Yoshihara  Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans.  00:19:20 Isabel Li  Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so?  00:20:20 Mari Yoshihara  Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right?   But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application.  So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school.   So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity.   So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics.  00:23:35 Isabel Li  And just for clarification, is the classical music world at large still a male dominated field?  00:23:41 Mari Yoshihara  Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated.  00:24:23 Isabel Li  Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading.  00:25:15 Mari Yoshihara  Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah.   At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment.  00:27:06 Isabel Li  Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first.  00:27:26 Isabel Li  Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio.  27:45 – COMP MUSIC – Hidden Grace  00:35:34 Isabel Li  That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous.  35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous  00:41:09 Isabel Li  Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara.  00:41:25 Isabel Li  As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here?  00:42:02 Mari Yoshihara  Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research.  I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in.   Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera.  00:43:01 Isabel Li  Ohh yeah.  00:43:02 Mari Yoshihara  Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music.   How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers.   So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that.   And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that.   So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas.  00:45:48 Isabel Li  I see. And do you have an idea of when this book will be published or an updated version?  00:45:54 Mari Yoshihara  Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that.  00:46:08 Isabel Li  Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media.   So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole.  00:47:23 Mari Yoshihara  That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians…  00:48:21 Isabel Li  And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic?  00:49:01 Mari Yoshihara  Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic.   And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what  we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history.   So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture.  So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music.  I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it.   And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music.  And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore.  00:53:12 Isabel Li  Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next?  00:53:27 Mari Yoshihara  Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known.   Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist.  I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well.   I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play.  00:55:04 Isabel Li  Yeah.  00:55:09 Isabel Li  Tough question.  00:55:11 Mari Yoshihara  Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition.  I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]–  00:55:42 Isabel Li  Oh my gosh. Great responses.  00:55:46 Mari Yoshihara  Hard to think on the spot.  00:55:47 Isabel Li  Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it.   Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari.  00:56:07 Mari Yoshihara  Thank you.  00:56:09 Isabel Li  As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important.  00:56:31 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA  for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.

Welcome to Season 5, Episode 35! In today's episode, we confront the stereotype that Asian Pacific Islanders are docile or apolitical—and replace it with powerful stories of immigrant women sewing their way into labor history. We shine a spotlight on the garment industry's deepest struggles—from the grueling piecework and unsafe conditions to the solidarity that transformed sweatshops into symbols of resistance. Featured stories include: The 1982 Chinatown Garment Workers' Strike in New York City, where over 20,000 Chinese immigrant women led a historic walkout—and won. The 1995 El Monte sweatshop case in Los Angeles, which exposed modern-day slavery and elevated lawyer Julie Su to national leadership. Immigrant women organizing in 1970s–1980s Vancouver, rewriting Canadian labor organizing through multilingual outreach and coalition building. We also highlight key API leaders such as Katie Quan, Julie Su, and Avtar Singh Dhillon, exploring their backgrounds and enduring impact on labor justice. In our recurring segment, we talk about an organization to support, and feature the Garment Worker Center of Los Angeles who continue to do great work in support of garment workers. You can visit the Garment Worker Center of Los Angeles website to learn more and support their work. Considering a donation? Support their mission directly through their Donate Now page.  If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or our links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com. Segments 00:25 Intro on Labor Day 02:25 The History of API Garment Workers and the Labor Movement… Stitching Resistance 12:07 Organizations to Support… Garment Worker Center in Los Angeles, CA

Jackie Dallas was only a year from finishing her residency in pathology when she decided to leave medicine, move to California, and pursue acting. Through hardworking and perverance, she has appeared on many hit shows, including playing "Jen Woo" (science teacher Mr. Clarke's girlfriend) in Season 1 of "Stranger Things." You can see her now in The Hunting Wives, which is currently the No. 1 show on Netflix. You'll also get to know how she's using her current platform and her training as a medical doctor to help countless women understand the importance of pelvic health and to get help if needed.

How should federal governments attempt to right, or at least remedy, past wrongs? Is it appropriate for victims of group-based harms or their descendants to press current generations to atone for the sins of their predecessors? Grace Kao, Professor of Ethics and the inaugural Sano Chair in Pacific and Asian American Theology at Claremont School of Theology, explores these questions by drawing upon the emerging human rights standard for reparations, theological resources from her Presbyterian faith tradition, and four case-studies of acknowledged wrongdoing against AAPI communities. Series: "Ethics, Religion and Public Life: Walter H. Capps Center Series" [Public Affairs] [Humanities] [Show ID: 40876]

How should federal governments attempt to right, or at least remedy, past wrongs? Is it appropriate for victims of group-based harms or their descendants to press current generations to atone for the sins of their predecessors? Grace Kao, Professor of Ethics and the inaugural Sano Chair in Pacific and Asian American Theology at Claremont School of Theology, explores these questions by drawing upon the emerging human rights standard for reparations, theological resources from her Presbyterian faith tradition, and four case-studies of acknowledged wrongdoing against AAPI communities. Series: "Ethics, Religion and Public Life: Walter H. Capps Center Series" [Public Affairs] [Humanities] [Show ID: 40876]

How should federal governments attempt to right, or at least remedy, past wrongs? Is it appropriate for victims of group-based harms or their descendants to press current generations to atone for the sins of their predecessors? Grace Kao, Professor of Ethics and the inaugural Sano Chair in Pacific and Asian American Theology at Claremont School of Theology, explores these questions by drawing upon the emerging human rights standard for reparations, theological resources from her Presbyterian faith tradition, and four case-studies of acknowledged wrongdoing against AAPI communities. Series: "Ethics, Religion and Public Life: Walter H. Capps Center Series" [Public Affairs] [Humanities] [Show ID: 40876]

How should federal governments attempt to right, or at least remedy, past wrongs? Is it appropriate for victims of group-based harms or their descendants to press current generations to atone for the sins of their predecessors? Grace Kao, Professor of Ethics and the inaugural Sano Chair in Pacific and Asian American Theology at Claremont School of Theology, explores these questions by drawing upon the emerging human rights standard for reparations, theological resources from her Presbyterian faith tradition, and four case-studies of acknowledged wrongdoing against AAPI communities. Series: "Ethics, Religion and Public Life: Walter H. Capps Center Series" [Public Affairs] [Humanities] [Show ID: 40876]

How should federal governments attempt to right, or at least remedy, past wrongs? Is it appropriate for victims of group-based harms or their descendants to press current generations to atone for the sins of their predecessors? Grace Kao, Professor of Ethics and the inaugural Sano Chair in Pacific and Asian American Theology at Claremont School of Theology, explores these questions by drawing upon the emerging human rights standard for reparations, theological resources from her Presbyterian faith tradition, and four case-studies of acknowledged wrongdoing against AAPI communities. Series: "Ethics, Religion and Public Life: Walter H. Capps Center Series" [Public Affairs] [Humanities] [Show ID: 40876]

Atlanta, get ready for an unforgettable two-part celebration! Panda Fest, one of the nation's fastest-growing outdoor Asian food and culture festivals, is making a highly-anticipated return to Atlanta. As the first city to ever host Panda Fest, Atlanta has earned the unique honor of hosting the event twice in one year. The panda-monium is set to take over Atlantic Station from September 5–7, 2025. Early Bird tickets for this one-of-a-kind Atlanta festival go on sale Friday, July 11 at 10 a.m. EST. What to Expect at Panda Fest Atlanta This September, Panda Fest will bring back the vibrant celebration of Asian American and Pacific Islander cultures that Atlanta has fallen in love with. Guests can embark on a culinary journey across Asia with more than 80+ food vendorsserving over 300 delicious dishes. You'll find everything from authentic street food to creative fusion bites from China, Japan, Korea, Thailand, Vietnam, and beyond. Beyond the food, explore a curated marketplace with over 25 vendors offering unique crafts, clothing, and artisan goods. The festival also features a dynamic lineup of live entertainment, including modern K-pop dance routines, traditional lion dances, theatrical performances, and more. And of course, the pandas take center stage, with Instagram-worthy installations like a 15-foot inflatable panda and a panda bounce ring, along with themed games and merchandise. Tickets & Details Dates: * Friday, Sept. 5: 12:00 p.m. – 5:00 p.m. * Saturday, Sept. 6: 10:00 a.m. – 10:00 p.m. * Sunday, Sept. 7: 10:00 a.m. – 8:00 p.m. Location: * Atlantic Station, Pinnacle Lot * 221 20th St., Atlanta, GA 30363 Ticket Info: * Early Bird tickets go on sale Friday, July 11, at 10 a.m. EST at www.pandafests.com. * General Admission and VIP tickets are also available. VIP perks include shaded seating, private bars, and exclusive experiences. For more information, visit www.pandafests.com. Follow @pandafestatlanta on Instagram for festival updates and sneak peeks! About Panda Fest: PANDA FEST is one of the biggest outdoor Asian food festivals in the US with experiential activities, tastings, and market fairs that showcases the vibrant food, art and cultural traditions from Asia. Ash Brown: Your Ultimate Guide to Inspiration, Empowerment, and Action Are you searching for a dynamic motivational speaker, an authentic podcaster, or an influential media personality who can ignite your passion for personal growth? Look no further than Ash Brown. This American multi-talented powerhouse is a captivating event host, an insightful blogger, and a dedicated advocate for helping people unlock their full potential. With her infectious optimism and genuine desire to empower others, Ash Brown has become a leading voice in the personal development and motivation space. Discover the World of Ash Brown: AshSaidit.com & The Ash Said It Show AshSaidit.com: A vibrant lifestyle blog and event platform, AshSaidit.com is your gateway to Ash's world. Here you'll find exclusive event invitations, honest product reviews, and a wealth of engaging content designed to inform and inspire. It's the perfect online destination to stay connected and get your daily dose of Ash's unique personality and insights. The Ash Said It Show: With over 2,100 episodes and over half a million global listens, "The Ash Said It Show" is a powerful and popular podcast. Ash engages in meaningful conversations with inspiring guests, diving into topics that truly matter. Listeners gain valuable life lessons, encouragement, and practical advice to help them navigate their own journeys. Why Ash Brown is a Leading Voice in Personal Development What truly distinguishes Ash Brown is her authentic and relatable approach to personal growth. She builds a genuine connection with her audience, offering practical advice and encouragement that feels like a conversation with a trusted friend. Ash doesn't shy away from life's challenges; instead, she provides the tools to tackle them head-on with confidence. Authentic Optimism: Ash's positive energy is contagious, empowering her audience to embrace new challenges with a more capable and hopeful mindset. Relatable Advice: Ash offers unfiltered, real-world guidance that resonates with people from all backgrounds. Her understanding that life can be tough makes her advice both honest and deeply encouraging. Actionable Strategies: Beyond just feeling good, Ash provides practical tips and strategies designed to help you turn your aspirations into tangible results. For a consistent source of inspiration, genuine encouragement, and actionable advice, Ash Brown is your ultimate resource. Her incredible positivity and unwavering dedication to helping others make her the ideal guide for maximizing your life's potential. Connect with Ash Brown: Goli Gummy Discounts: https://go.goli.com/1loveash5 Luxury Handbag Discounts: https://www.theofficialathena.... Review Us: https://itunes.apple.com/us/po... Subscribe on YouTube: http://www.youtube.com/c/AshSa... Instagram: https://www.instagram.com/1lov... Facebook: https://www.facebook.com/ashsa... Blog: http://www.ashsaidit.com/blog #atlanta #ashsaidit #theashsaiditshow #ashblogsit #ashsaidit®Become a supporter of this podcast: https://www.spreaker.com/podcast/the-ash-said-it-show--1213325/support.

In this episode of When Women Preach, we explore themes of empowerment for AAPI and Latina women in faith leadership, the emotional journey of academic achievement, and the importance of community and friendship in both personal and professional realms. Jennifer shares her experiences transitioning from pastoral ministry to academia, innovative teaching methods that foster intergenerational dialogue. The episode emphasizes the significance of building authentic relationships and the role of friendship in leadership, encouraging listeners to prioritize connection over competition.--Co-Hosts: Young Lee Hertig & Cris Otonari Sound Producer: Joana Choi Music: Paul Choi ISAAC // @isaacfellowship // www.isaacweb.org Disclaimer: The views, actions, and affiliations of guests invited to this podcast do not always reflect ISAAC'S official stances; they belong to the guests. This podcast is a platform for voices to be shared and perspectives to be discussed.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Important Links: Hmong Innovating Politics: Website | Instagram Asian Refugees United: Website | Instagram Bhutanese American Refugee Rights website Transcript Swati Rayasam: You are tuned in to Apex Express on KPFA. My name is Swati Rayasam.  Since the onset of the Trump administration, immigrant and refugee communities have been under increased attack, being kidnapped in broad daylight, detained in unsanitary and unsafe conditions, and deported to countries many of them barely know. All without due process or communication to their loved ones and communities. On tonight's episode, we're focusing on a particular segment of our immigrant and refugee community, Hmong and Bhutanese refugees. Both of these targeted communities are stateless with no land to call their own, and their deportation carries the very real danger of disappearance and death. Robin Gurung from Asian Refugees United and Kao Ye Thao from Hmong innovating Politics, discuss their community and personal refugee stories, and talk about the intersection of the US' deeply broken immigration and criminal legal systems, otherwise known as crimmigration. We also get to hear from the wives of two detained refugees, one Bhutanese and one Hmong, who are currently fighting to keep their families together and to protect their loved ones from the dangers of deportation as stateless people. I also want to note because this is a rapidly developing situation, that this episode was recorded on August 13th, 2025, and is being released on August 28th, 2025. For the most recent updates, please go to bhutaneserefugeerights.org or check out the Pardon Refugees campaign. Now, here's Miko. Miko: Welcome to Apex Express. Thank you so much for being here today. I'm so glad to bring you all together in this time. I'm wondering if I could ask you each to introduce yourselves and tell us a little bit about the community your organization serves and what you do, and let's start with Kao Ye.  Kao Ye: Hello everyone, and thank you for making space- my name is Kao Ye Tao. I use she her pronouns, and I work as the director of policy and partnerships with an organization called Hmong Innovating Politics. We are an organization that serves Hmong youth and families in Sacramento and Fresno, which holds two of our largest Hmong American communities in California. And our work with Hmong youth and families is really about developing their leadership to organize towards social justice and to get the resources that their communities deserve. Miko: Thank you, Kao Ye and Robin, could you please introduce yourself? Robin: Sure. My name is Robin Gurung. I use he, him, his, I'm from the Nepali speaking Bhutanese community. I live in Harrisburg, Pennsylvania. my role at Asian Refugees United is the co-founder and the co-executive director. We have our program in California and Pennsylvania. California programs are, are serving Asian diaspora and then, Pennsylvania programs are focused serving the Nepal speaking Bhutanese community. We work in the intersection of arts and healing, storytelling, civic engagement, leadership development. Thank you. Miko: Thanks Robin and I am your host Miko Lee, lead producer at Apex Express. And all of us are part of a network called AACRE Asian Americans for Civil Rights and Equality, which is a network of progressive Asian American groups. So you all work with refugee populations. I'm wondering if you could tell a little bit more about the backstory of your community, and also if you feel comfortable about how you personally came to be a refugee in the United States. And, Robin, I'd love to start with you on that one. Robin: Sure. My community is Nepali speaking, Bhutanese refugee community. And we are ethnically Nepali, which means culture wise and language wise we speak Nepali and follow the Nepali culture tradition. Our ancestors like maybe in 18 hundreds, 19 hundreds migrated from Nepal to Bhutan and became the citizen of that country. And most people don't know about Bhutan, it's a very tiny country between China and India. And, if people know about Bhutan, then people know it through the cross national happiness concept, Bhutan is considered the happiest country in the world. So our ancestors were in mostly in the southern area of Bhutan for generations, they became the citizen. They had their own home, their own land. And then later, 1980s, early nineties, there was a policy by the government of Bhutan, which is the monarchy government system- king rules the country. They brought a policy called One Nation, One People Policy. Which means all different groups of people would have to follow the same culture, same religion, kind of follow the same dress code and because of that policy all people were forced to stay away from following our own culture or our own religion, which, most of our folks were Hindu. Our people protested against it and because of that, the government expelled over a hundred thousand of our community members. And, they expelled to India and then from like India wouldn't allow us to stay and we had to resettle in Nepal in seven different refugee camps under different international agencies like U-N-H-C-R and other agencies. Miko: And then Robin, can you tell a little bit about your personal story and how you came here? Robin: Yeah. Yeah. So 1992 is when my family had to leave Bhutan. And at that time I was three years old. I remember growing up in a refugee camp in Nepal, from three years until I was 23 years. So 20 years of my life I was in a refugee camp in Nepal. And in 2012, I came to US through the refugee resettlement program introduced to our camps in 2008, and through it US agreed to resettle 60,000 of our committee members. By 2017, I think US has resettled about 70 to 80,000 of our Bhutanese community members.   Miko: Thank you so much for sharing. Kao Ye I wonder if you could talk about your community and the refugee resettlement program that your community was a part of. Kao Ye: The Hmong American community, or just the Hmong community overall, is a group that's indigenous to East and Southeast Asia. And through our ancient history, we've always been a stateless, people fighting for our autonomy to live to practice our customs and our culture. And particularly where we come into this history of refugee is during the Vietnam War where many Hmong people, alongside other ethnic groups in Laos, were caught in the crossfire of the United States conflict in Southeast Asia. And so with the Vietnam War. The Hmong as well as many other ethnic communities that lived, in the hills and the mountains were recruited in covert operations by the CIA to fight back against the Vietnamese, the Northern Vietnamese communist forces, as well as the Putet Lao. And so once the US withdrew from Southeast Asia, it created a vacuum of conflict and violence that our people had to escape from in order to survive. And so after the Vietnam War in 1975, we saw the mass displacement of many Southeast Asian ethnic communities, including Hmong families. And that is where my history starts because my parents were born in Laos and because of this war, they fled to Thailand refugee camps and lived there for a few years until they were able to come to the United States in 1992. And I'm actually I'm a child of refugees and so what I know about this part of my history comes from the stories of my grandparents who raised me as well as what little I could learn in the textbooks of public education. And so it wasn't actually until going to college and. Being able to access more of this literature, this history that I really learned about what the United States had done in Southeast Asia and the ramifications of that for myself and my family and so many others, refugees that. Have to have had to resettle in the United States. And so it's definitely a history that runs very close, because we have relatives that live through that refugee experience. And so it is very well and alive. And so as we now approach this conversation around ICE and deportations, it really is a reminder of the trauma that our people face, but are still facing as a people that have been seen as disposable to the United States government. Miko: Thanks, Kao Ye. Let's talk a little bit more about that. But first I wanna say, did either of you ever hear about refugees in your textbooks? I never did. So I'm wondering if, you said you learned a little bit about that from textbooks. Was that something you learned in public education. Kao Ye: I did not learn about refugees or refugees experience. I learned about the war and as a Hmong kid it brought me so much delight to try to scroll through the history books just to see if Hmong people were mentioned. And even then the refugee experience was not ever something that we talked about. I felt like definitely not in, in high school. I think it was college really, that then started to articulate those terms and that Southeast Asian identity, that is really where I think I also became politicized in that. Miko: Yeah, because I think in textbooks there might be a little section on the Vietnam War, but it does not talk about the, all the Southeast Asian ethnic peoples that actually fought in the war. We have to dig that information out on our own, but I wanna move us to what is happening right now. So the Trump administration has created. Culture of fear among immigrants and refugees, these ICE raids and disappearances. It is so intense and using immigrants as a fear tool to prop up white supremacy is so blatant right now. I'm wondering if you can each talk about, how this administration's policies are impacting your communities. And, Robin, let's start with you. What is happening right now? I know since the end of March, can you share a little bit about what's been happening with Bhutanese Americans? Robin: Sure. Sure. So our people were settled to this country with the hope that this is going to be our home. But starting March of this year, with the new policies of this current administration, we started seeing abrupt, ICE arrest in our communities. People were picked up from home, their workplaces, and from their ICE, check-ins. And, since March, within I would say two to three months, more than 72 of our community members were picked up, mostly from Pennsylvania and then Ohio, and also from other states like New York, Georgia, North Dakota. So until now, we have, the records of at least 50 people who have been deported to Bhutan and at least 72 who are detained. So more than 30 people are [at risk] of getting detained. The nature of the ICE arrests that we have seen is we don't know whether the due processes were followed. They made it so hard for the families to look for attorneys, and also to track their family members. Within days family members would find their loved ones disappeared, and then they wouldn't be able to talk to them they wouldn't be able to track them and provide the support that they needed. So for us as a community organization we did not anticipate this and we were not prepared for this. And, and we didn't have the infrastructure to really address this, right? So it became such challenging work for us. Like within days we had to mobilize our people. We had to mobilize our teams to help family members with legal support, emotional support, mobilize our community members to update what's happening with this situation. The rapid response work, know your rights clinics that we had to set up. So on one hand it's the detention and deportation in the US and on the other hand, when our people were deported to Bhutan, what we're seeing is within 24 hours, they are being expelled from Bhutan to India, and then from India because India wouldn't accept them as well, they had to enter Nepal because for most of these Deportee, they're very young, they were born in refugee camps, and for most of them, the only known land is Nepal. Right. And they had to enter Nepal without documentation. And then some of them were found in refugee camps. And most of them are unknown. Like they're, they have disappeared. Miko: So that is so much over the last few months that ARU has had to step in and take a leading, role in this situation that has impacted the Bhutanese community from focusing on wellness and youth development to suddenly translating materials into Nepali, translating, know Your Rights materials into Nepali, hosting all these different events, the work that you have been doing is really powerful. I wonder if you could share with us the story of Mohan Karki, who is a community member that's currently detained in Michigan. Robin: Sure. So, Mohan Karki is now in detention in Michigan and he's a community member member who lived in Ohio. So he was detained by ICE during his regular ICE check-in , I believe in April, they detained him and then he was taken for deportation. And last minute, the families and the community had to come together and then appeal the deportation. Right now he's in Michgan detention center and his wife, who was pregnant and had due date, when Mohan was being deported on June 10, is now fighting day and night to stop the deportation and also to bring Mohan home. Right now, Asian Refugees United and other community partners, like AWPAL, Asian Law Caucus are working together to support Mohan's family, to bring Mohan home and also running a, GoFund me fundraiser, to help the family pay the legal fees. Miko: Thanks Robin. And we're gonna listen to Tikas story right now. Tika Basnet: Hi, my name is Tika Basnet I'm from Ohio and I'm fighting my husband deportation case.  So on April seven, a lot of people told us not to go to the ICE office, but my husband wanna follow the rules, he wanna go there. We went to the Westerville office inside And we sit down, we talk to each other. Nothing will go wrong. And suddenly ICE told us to come inside and they told us that my husband got travel documents from Bhutan. I told them like it is not safe for my husband to get deport in Bhutan, all the Bhutanese people run away in 1990s due to the ethnic cleansing and if my husband get deported in Bhutan, he will either gonna get killed, tortured, disappeared, imprisoned, I don't know what will happen, but they did not listen to me. So they detained my husband and I came at the parking lot and his mom saw me coming alone. So they start crying and I told them like, Mohan is gone and this is the last time I think I'm gonna see my husband. the time that my husband was taken away from Butler County on June 10 I was 41 weeks pregnant. I was supposed to deliver on, June 10. But no, I told the doctor I change my delivery time. I am not gonna go now like I need to fight for my husband. Like, When Bhutanese people started coming here in 2007. Third party promise us that in here in United States, we will get our identity. That identity will never taken away. They promise us that the way Bhutan take our identity, they will not gonna do that. we thought that this is our home. We thought that having a green card, having a citizenship, it is permanently, but no, we are, we all are wrong. And that identity is taken away within a second. And we became stateless again. So, my husband, Mohan Karki he just arrived in the United States he been here less than two years when the incident happened. He did not understand the law. He did not understand the culture. He did not know anything.  My husband he was only 17 years old, high school student coming from school to home. On the way to reach their apartment, there is one private house. They are just trying to go to the shortcut from the backyard. So some neighbor call 9 1 1. And that only one mistake lead to deportation.  The place that we come from, there is no boundaries. In Nepal, we are allowed to go anybody property We are allowed to walk somebody else house and because of the cultural difference, he's paying price right now.  At that time, nobody can speak English. They cannot understand what police were saying and Nepali interpreter told my husband that if you say I'm guilty, you'll out of prison soon. But if you did not say I'm guilty, you'll end up in prison for 20 to 25 years. High school student he's scared he just say, I'm guilty, and he did not know what is deportation mean. He did not know what he was signing. Nobody informed him what he was signing. That signing was deportation. What happened in 2013 is impacting us in 2025 and still he wish he did not cross somebody else backyard at that time. He wish he knew that he wasn't allowed to cross somebody else's backyard. I don't know what will our future is gonna be, but I hope that he gets second chance. His community love him. He love people. He was working as a truck driver. He paid taxes. He was supporting his parent. He was supporting me. My daughter deserve to have a father. You know, she's just one month. But now the dream that I was hoping one day I'm gonna build with my husband that is taken away and I'm left alone with this child. I already went through a lot without him, i'm the only one that fighting for my husband case. The deportation is not only breaking one family, but it is breaking everybody, the community and the family. And I hope that people can support me so I can fight for my husband case. Like I really need so many attorney. I need criminal attorney to open up his 2013 case. And I have wonderful, wonderful attorney, my husband get stay off removal, but that is not guarantee my husband can get deport anytime. The attorney fee are really expensive and he still needs support. The US made bhutanese people a promise of home. We belong here. Stop the detention and deportation. Stop deporting Bhutanese people. We are stateless. We don't have country, don't have a home. This is our home. US is our home. We belong here. Miko: Of the 72 people, Mohan is the first Bhutanese refugee that we actually have a stay of release on, as Robin was saying earlier, most of the folks were moved from state to state, so you can't really get a lawyer in that time. And as we all know, nonprofit immigration lawyers are under a lot of stress because of the attack of this administration. So it makes it incredibly complicated, let alone the legal fees that it costs to help support people going through this. And right now, Mohan has a stay on his, deportation and the lawyer that they do have is drafting up a letter to be able to release him into the community and also overturn his original case that happened as a minor in Georgia, which was a ridiculous case where he was leaving school, early high school, first year in the country, leaving high school early, and walked with his friends across a backyard. And the neighbor that they walked through their yard called the police, and they arrested him along with his friends for trespassing, they gave him paperwork that he didn't even understand. He signed it along with a interpreter they gave him false information to say he'd be locked up for 25 years, or if he signed this papers, that would be fine. He could go and what the papers said was it changed his charge into a felony and had him sign a letter of deportation. So this is part of the failure of our American legal system that we're not providing adequate information. It is a lack of due process. Thankfully, the work that Asian Law Caucus and United States of Stateless and other community activists are doing to call this out and help work with us is really critical. I wanna turn now to Kao Ye how this administrations is impacting Hmong refugees, and how is it similar or different to the experiences that Robin is describing for the Nepali speaking Bhutanese community? Kao Ye: I echoed many of the sentiments and the challenges that Robin shared around what we as nonprofit, grassroots organizations are having to build and grapple with just the limited infrastructure that we have to deal with the current ICE disappearances and deportation and all the support that's needed for the families. And so thank you Robin, for sharing that. I wanted to start broad a little bit because I think that this Trump administration is happening in the backdrop of the 50th year commemoration of the end of the wars in Southeast Asia and the refugee resettlement. We had over 1.1 million Southeast Asians resettle to the United States, the largest immigration resettlement, in American history. And so this year brings so many complexities, I think as a Southeast Asian community where there is a level of looking back at policies that have impacted us and have failed, but also looking forward what is the community that we are building together to move and progress together. And so there are those complexities, I think as the fact that it's the 50th year and like, this is what we're dealing with. This is the trauma that we are grappling with. And so I wanted to put that out front and center because even I think within our communities , there is no necessarily enlightenment in terms of how we talk about what is happening to our people and how they're getting deported unjustly. So that is why it is so important to have this dialogue within our communities as well as the solidarity that we also share with the Bhutanese community and other immigrant groups too. I think that in many of our Southeast Asian communities, their reasons for deportations is very tied to past convictions, and so this is the intersection between criminal law and immigration law. And it makes it complex because our people are now having to consult not just an immigration lawyer, but like criminal attorney so that they could really assess like what kind of relief they can get in order to mitigate, impending deportations. And then also miko you had shared about the lack of adequate legal service or representation because many of these folks, right, that have had these convictions that have now served their time and are simply members of our community that make our community rich. They are now having to revisit removal orders that they signed, thinking that, oh, nothing necessarily was gonna happen because they don't have a repatriation agreement. So, in our community, there was never a thought that we were going to be deported back to our home country because of that policy. And so that is a big contributing factor as to why the Hmong community, we don't have that infrastructure to really support our members who have gone through the criminal justice system and now have those removal orders. And so HIP, as well as many other grassroots. Sadly we did have to scramble to put this know your rights information together because again, I don't think that there was visibility in the need for us in this conversation around immigration Southeast Asians are a segment of our API community and so it just, I think, multiplied the invisibility that we already faced as a group of Southeast Asians. And so the support was definitely not there. And, to Robin's point, we did our best to try to put this information together to our community, starting with the Know Your Rights. And then we also realized like it was more complex than that, and that the legal supports were so necessary because everyone's case was different. I think what we're still dealing with now is that there's always been a lack of trust between our community members and government entities and nonprofit organizations. And so, if someone is dealing with the situation, they wanna go to, a partner that they trust to help them, even if they're not necessarily equipped to do that work, is that they're going to only the people that they trust because there is such a big mistrust. And so I think that, there is still the level of trust building that is needed to be done within our community so that folks feel comfortable to come to us or come to other people for support. And I think what makes me feel emotional is just when I hear about community members feeling hopeless and just feeling like there's nothing that they can do and that level of disempowerment to me, I think is something that is real. And I can't say that we can't combat it, but I think that it is about being able to find different outlets of support for them. Miko: Thank you for lifting that up. And just , in terms of the numbers, over three months, March, April and May, there were about 72 Bhutanese Americans that have been detained. And this is just kind of starting up with the Hmong community. So we had 15 that were detained from Minnesota and another 10 right now are being held in Michigan. And we also see this happening with Vietnamese, Laotian, Cambodians, and Myan folks. All of these folks as Kao Ye you're pointing out, have had common threads, which is connections with the system, with the criminal legal/ justice system and crimmigration is something that in the AACRE network we've been talking about and working on, which is really about the education to prison, to deportation pipeline. And one of the things that this administration had talked about is, let's get rid of all the murderers and the rapists. You know, this like scare language about people that are convicted criminals, let's get rid of them all. But the fact of the matter. The vast majority of all of these people are people like Mohan Karki, a cultural misunderstanding that happened when he was a child. Like Lou Yang, who is Hmong refugee detained in Michigan right now. Somebody who was involved in something as a kid, but has since then become a leader in the community. So let's take a moment and listen to the spouse of Lou Yang, a Hmong refugee detained in Michigan in July. Anne Vu: My name is Anne Vu and I come before you today with a heart full of hope. Sorrow and a plea for justice. I am a proud American, a mother of six, the daughter of Hmong refugees who would gain their citizenship, and the wife of a man called Lou Yang, who is now detained and faced with potential deportation from the only country that he's ever known. Lou has lived in Michigan since October, 1979. He was born stateless in a refugee camp in Nongkai Thailand and his family fled Laos due to persecution. His father and like many others, served with the United States force during the Vietnam War as part of the Secret War, recruited by CIA in Laos, a conflict that most Americans do not know has happened. The Hmong were recruited by the CIA as part of the Secret War to help America during the Vietnam War. But when the war ended and the US withdrew, we were as the Hmongs declared enemy of the state. What followed was genocide, polarization and persecution by the state, and it was because of our alliance, the promise made by the US government that the Hmong refugees were legally settled here under certain migration of refugee laws and acts. And Lou arrived here as a young, toddler in infancy. In 1997, he was arrested on an alleged accomplice in an attempt home invasion, second degree. He was in the vehicle at the time. He never entered the home. He literally was still a juvenile at that time. He had a court appointed attorney and was advised to take a plea without being told it would affect his immigration status for the rest of his life. This is the reality of our immigration system – long, complex, confusing and devastating, unforgiving. It is not built for people like us, people like Lou, people who have served their time, rebuilt their lives and have nowhere else to go. We've walked this legal path, we've stayed together in the lines, and yet we are here punished today. Lou has no other charges, no current legal issues, no history of violence. He is not a flight risk. He is not a danger to our public safety. He is a father, my husband, a son, a son-in-law, a grandson and a brother to many, and our leader and a provider to our community, and to my family. He renews his work authorization and follows every rule asked of him no matter how uncertain the future felt. Together, we've raised six beautiful children. They're all proud Americans. Lou has contributed to Michigan's economy for decades working in our automotive industry and now he is gone and all that he is built is unraveling and the community is heartbroken. We didn't come from wealth. We didn't have every opportunity handed to us because we didn't come seeking a land of opportunity. We came here because of survival. We had to build from the ground up. But the most important thing was Lou and I, we had each other. We had our families, our friends, and our neighbors. We had a shared commitment to build a better life, grounded in love, respect, and purpose. And somehow that's still not enough. For years, we were told like other Hmong families that Laos in Thailand would never take us back. And that has changed. In June, 2025 the US imposed a partial travel ban on Laos, citing visa overstays, and lack of deportation cooperation. And in response, Laos began issuing these documents under pressure. Today over 4,800, including Hmong, Myan, and the other ethnic minorities are facing removal to Laos and to many other countries, many have never stepped foot in a country that they are now being sent to. Lou is Stateless like many others that is detained with him. None of these countries recognize him. He was born in the Thailand refugee camp, it does not recognize him nor qualify him for any sort of Thai citizenship and I'll tell you guys right now if forced to return, he will face danger because of his family's deep ties to the CIA and United States military. Deporting him turns him, a civil servant and respected community leader, into a political casualty, it would be a grave and irreversible injustice. To deport him now is to punish him to death. Once again, 50 years later, as we celebrate resilience this year across the nation, we are now celebrating a fight within our own grounds, right here in United States, right here in Michigan. We're now fighting the same fight within our own country. Thousands of Southeast Asian Americans, many that entered legally admitted as refugees are being deported for decade old offenses they've longed paid for. America is our country. All we ask is the right to stay in the home that we've helped to build and work hard to protect. We are not seeking special treatment. We are asking for justice, compassion, and a second chance in this country to claim what we believe in. To Governor Whitmer and members of Congress and all elected officials, please help bring Lou and the many others home. Urge ICE and DHS to release him on humanitarian grounds. Help his case. Help us preserve the integrity of our laws and the dignity of our families. And to the public allies and the media. Please call our elected officials. Please call these offices.  Please share Lou's story. We need voices. Voices louder than ours alone. It is hard times you guys. It is real. And I speak to you from the bottom of my heart. Please help me and our families in the many that are suffering. This is our home. These are our children. This is my husband and this is our fight. Let him come home. Let our families be whole again, and let America keep its promise. Thank you guys for hearing me. Miko: Lou Young is a community leader. Michigan, who actually runs a nonprofit in support of Hmong folks in that community, and is targeted and also has a stay of removal. So we're doing a targeted campaign for both of these folks, Lou Yang and Mohan Karki, to be able to get them released to overturn their original convictions and they also have spouses that are telling their stories and telling the impact these detentions have had. Because while this current administration talks about getting rid of criminals, what they are actually doing is breaking apart families and community. Swati Rayasam: You are tuned in to Apex Express on 94.1 KPFA, 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno and online@kpfa.org. Coming up is Deporting the Pilgrim from the Anakbayan Long Beach Mayday Mix tape.   Swati Rayasam: That was please be strong, featuring Hushed, loudmouth and Joe handsome. And before that was deporting the pilgrim from the Unec Bayan Long Beach Mayday Mixtape. Now back to the show. Miko:  I wanna shift us a little bit to talking about Asian american representation in the larger fabric of immigration justice in the United States. Mostly many of our Asian communities have been like isolated, not really involved in the broader immigration movement. And I'm wondering if you could talk a little bit about the difficulty and nuance of bringing your community struggle to the forefront because many of us heard about the Venezuelans and the Mexicans that have been deported and what was going on, but we don't hear as much about these stories of our Asian sisters and brothers. I wonder if one of you could give voice to that. Robin: Before going there can I add something to  Miko: of course.  Robin: crimmigration conversation? So when you all are sharing about that, I was thinking about, the justice system in this country and what we are seeing right now is a broken justice system. Like you said, Miko, where families are separated where families are broken, and what I don't understand is, when, let's say your loved one gets into trouble, makes a mistake, and gets into a trouble, then, as a human being, like, don't you want your loved ones to rebuild their lives? Like Yes, of course there is a system that you have to follow, the laws that you have to follow, but at the end, I think we all want our loved ones to come back, rebuild their lives, right? And what we're seeing in this country is they're constantly breaking the families. And I don't see how we are going to build a better future when we are constantly, hurting the families. And in the cases of detention and deportation, what we're seeing is the double punishment. Like the mistakes that they had made, but then throughout their life, they have to go through that, a continuous cycle of being punished. And not just the individuals, but their family members have also go through the challenges, the suffering, right? And in the case of Bhutanese from double punishment to double expulsion to this, the state of being statelessness. Right? So what kind of future we are imagining when an individual has to go through that continuous cycle of being punished and not having the opportunity to rebuild their lives. So that's a big question mark that I think, we all need to think about. To your later question around my community and the larger Asian American context or the national context. My community is relatively new to this country. We lived, almost two decades in a refugee camp, which was a enclosed camp. And our lives were dependent on foreign aids like UNHCR or ILWF. Pretty much I would say we had our own world over there. And for us to work outside the refugee camp was illegal. There was no laws that gave us the permission to work outside. So we were not pretty much exposed to the outer world. So for us to come to US was a big step. Which means pretty much from basic every day stuffs like, you know, using a bathroom, using a kitchen, taking a bus. All of those were foreign for us. So for our community to really tap into the education system, the political landscape of this country. And also like the experience of being expelled for voicing our, our opinions, for fighting for our rights. Right? So for us, for our community to kind of step in into the politics, it's like re-traumatizing ourselves. I would say there are a lot of barriers, multi-layered barriers for our community members to really tap into the larger political, like socio political landscape, from language barriers to culture barriers to education, to pretty much everything. So right now, the way our committee has been being attacked. It's a surprise to the community. And also it is like kind of traumatizing the community and taking us back to the same place of feeling, insecure, feeling like we don't have a home. And we did hope that this is legally, this is going to be a home. Because after coming to the US most of us became the legal citizens of this country and we started rebuilding our lives. Now it's kind of like going back to the same circle of statelessness. Miko: Thank you for sharing about that. Kao Ye, would you like to add to that? Kao Ye: When I think of the Hmong American community and even the Southeast Asian community and why the narratives of what is happening still feels very invisible. I think of how our community, we were assimilating for survival. And I speak on that as a child of my refugee parents and siblings where growing up we were taught to, listen, not speak out, not cause trouble. Go through the system, listen to authority, listen to law enforcement. And because of that, I feel it's shaped a culture of fear. Fear to dissent and fear to speak out because we care so much about the stability of our families. And we wanted to protect ourselves, because of everything we've gone through with the war. And we are finding that it's been challenging for our community members to come forward with their stories. Honestly, we're still sitting on that and we're still kind of sitting through like, why is there that tension? You know, I feel like folks are going through a lot and even folks have, our impacted loved ones, but they're afraid to tell their story because of fear of of retaliation. And so I think that there is a level of, I think that lack of even psychological safety, but real, physical, real financial safety that people have. And I think that being a factor to the assimilation, but also this facade of like the American dream and like if we don't just disrupt, if we don't speak out, we will be protected. And, white supremacy, right? Like we will be okay. And it's a facade because we know that because our communities are the ones getting kidnapped and getting deported. Right. And so I think there is that fear, but there's also recognition of this now, this facade that the silence doesn't protect us and that there is a real need for us to really, be strong in speaking out, not just for our SEA siblings that are impacted, but for all of our immigrant groups, even the Bhutanese community, right. That's been impacted during this time. And so I, yeah, I think it is that multi-layered experience of being a Southeast Asian refugee community on top of, being part of this AAPI umbrella. AAPI we are not homogenous. We all have very unique histories as to how we have dealt with the systems in this country and how we came into this country. And so I think it's been challenging to make space for those nuances. And at the end of the day, I still see the interconnections that we all have together too. And so, I think it's the willingness to make space for those different stories. And I am finding that more of our ethnic media, our smaller news outlets are more willing to cover those stories as opposed to, these larger mainstream outlets. Like they're not covering those stories, but we are. Miko: Thank you. Oh, both of you have brought up so much today about our failed criminal justice system, about us punishing people as opposed to rehabilitating people and punishing them more than once. We brought up questions around statelessness and the impact that it has, and I just recently learned that the United States does not have any policy on Statelessness. So one of the things that this coalition of folks is trying to do is to get a congressional hearing to help the United States develop policy around statelessness, because it is actually our responsibility and our duty to do that. The other thing I hear you both talking about is this good immigrant, bad immigrant trope, which we've heard of a lot, but I think that's also very much connected to why so many members of our communities don't wanna speak out because this connection with, you know, quote unquote criminal history might be something that's shameful. And I'm wondering if you both see that as a divide mostly between elders in the community and younger folks. Robin, do you wanna talk about that? Robin: Yeah. I mean, initially when we were mobilizing our community members to fight against the the unjust and unfair detention and deportation, this issue around the perception around good immigrants and bad immigrants became one of the main topic of discussion. We had to deal with people, and mostly elders, but I would say some young folks as well, who would pull themselves back on speaking against this issue because for them people who are being deported or detained are criminals and they deserve this kind of mindset. And not being able to see the larger picture of how the administration is targeting the immigrant and the refugee population of this country and really trying to dismantle community power, right? So, yes, it is a challenge that we are, we're going through and I think it's going to be quite a bit of work, to really build solidarity within our own communities. Kao Ye: I feel that the divide in the Hmong community is stemming from class and education. I feel as though when folks are articulating, regurgitating these justifications of the bad immigrant as to why folks should be deported it's folks that maybe kind of made it in their lives and now they're comparing themselves to folks that were not in that situation. And there is this growing within our community as well, where some folks are getting that education, getting, good jobs. But so much of our community, we still suffer from poverty, right? And so, I think that has been really interesting to witness the level of division because of class, because of income and also the education piece. Because oftentimes when folks are feeling this, it comes from a place of ignorance as well. And so that's why I think the education piece is so important. I actually feel though our elders are more understanding because these are their children that are being separated from them. And Robin's point is that when we have loved ones that go through the system, we just want them to rebuild their lives and be self-sufficient. And I feel like those are the values that I grew up in my community where our parents were always about keeping the family together to a fault, you know? And so they don't want separation. They just want us to be well and to do well, and to turn our lives around. And so, I feel strongly that our elders, they do understand that the importance of giving this opportunity for us to, to stay together and turn our lives around. Miko: Thank you so much, both of you for joining me here today to talk about this important conversation. I'm wondering if you could provide our audience with how they could find out more about what is going on and what are next steps for our audience members. Robin, let's start with you. Robin: Yeah. I just wanted to add what, Kao Ye talked about. I do agree the patterns around the divide is based on class. And I do see that in the community, and not just the class, but in our community class and caste, I would say. And in terms of the class, there were some instances where we had to deal with even the highly educated like PhD holders kind of, questioning us like, you know, what we are advocating for, and, I couldn't understand like, I couldn't relate the education, the title, the degree that he holds and the perception around this issue. Right. So, I just wanted to echo that. So, in terms of our work and Asian Refugees United, our website is www.asianrefugees.org And you can find us in our Instagram, Facebook, Asian Refugees United. Miko: And you can also get latest news about what's happening at bhutaneserefugeerights.com. Yeah. And Kao Ye how can folks find out more about your work? Kao Ye: Right now HIP is part of a statewide network in California called the Pardon Refugees Campaign, where we are really pushing Governor Newsom to pardon all refugees, not just Southeast Asians because of everything that we talked about, about how our families, they deserve to stay together. And so, I don't think we have a website up yet, but you can follow this campaign with us. We will be having a rally and press conference, coming up soon, in the next few weeks. And so, I would say that please follow us in that work where we are really moving in coalition with all of our uh, grassroots partners to advocate for our loved ones that are currently being impacted. Miko: Thank you so much, Robin Gurung, Asian Refugees United and Kao Ye Thao from Hmong Innovating Politics. Thank you so much for being with us here today, and I hope you listeners out there take action to keep our families together, to keep our people in the communities as loved ones where they belong. Thank you all. Have a great night. Swati Rayasam: I'm so grateful that Miko was able to talk to Robin and Kao Ye. And for those who missed it, visit bhutanese refugee rights.org for the most recent updates on the Bhutanese refugees. The press conference in rally Kao Ye mentioned took place last week on August 21st, 2025, but check out the Pardon Refugees Campaign for updates from the coalition supporting Hmong, Cambodian Laotian, Myan, and other refugees facing deportation. Thanks so much for tuning in to Apex Express. Please check out our website at kpfa.org/program/apexexpress to find out more about the show tonight and to find out how you can take direct action. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important. Apex Express is produced by  Miko Lee, along with Jalena Keene-Lee, Ayame Keene-Lee, Preeti Mangala Shekar,  Anuj Vaida, Cheryl Truong, Isabel Li, Ravi Grover, and me Swati Rayasam. Thank you so much to the team at KPFA for their support and have a good night.   The post APEX Express – August 28, 2025 – “And we became stateless again” appeared first on KPFA.

We're back from our summer break! In this episode, we are joined by Tyng Kam, a certified career coach with thousands of hours of coaching experience. Tyng shares insights from what she refers to as a "non-linear" career journey, which spanned multinational corporations, startups, and educational institutions across the U.S., Germany, and Malaysia. Tyng highlights her involvement with the National Association of Asian American Professionals (NAAAP) and the value of mentorship and leadership development. Tune in to learn about the strategies she uses to help Asian professionals overcome cultural challenges and recognize potential in others.

In this episode of Courageously Speaking, we sit down with Maria Cabande—Senior Manager of Raiderettes The Studio, global cheer ambassador, and cultural advocate—to explore how embracing your identity, learning through failure, and leaning into community can unlock a powerful sense of purpose.From once hiding her Filipino American roots to becoming a leading voice for AAPI visibility in the NFL and beyond, Maria shares her journey from elite cheerleader to boardroom boss. She opens up about facing imposter syndrome, navigating leadership in unexpected spaces, and using failure as a teacher. If you've ever questioned your worth, feared standing out, or struggled to find your place, Maria's story will remind you that you already belong—you just have to believe it.This podcast is produced by Courage Creatives and filmed at the PHLV Radio podcast studio. Disclaimer: The views, information, and opinions expressed in this broadcast are intended for general informational purposes only. They do not constitute professional advice, diagnosis, or treatment. Listeners are encouraged to consult qualified professionals regarding any specific concerns or decisions. Neither the hosts nor guests are liable for any actions taken based on the content of this program.

Welcome to Season 5, Episode 34! Before reading Table for 51, we had no idea what a “Friendship Expert” was. After meeting Shari Leid for this episode's conversation, we think everyone could use a Friendship Expert! Her newest book, Table for 51, shares her journey on the 50 States Project, where she committed to having a meal and conversation with one woman in every state. The book is a combination of memoir, self-help manual, and journey of inspiration. She learned about belonging and identity. Shari was born in Seoul, South Korea and adopted by a Japanese American couple after she was found abandoned in a box. She's a former litigator who is now a Friendship Expert, public speaker, and writer. After she left her career in litigation, she founded a professional mindset coaching business called An Imperfectly Perfect Life, LLC. Her business serves clients in those tricky middle age years, helping them create the life of their dreams. In addition to Table for 51, she has written The Friendship Series which includes The 50/50 Friendship Flow, Make Your Mess Your Message, and Ask Yourself This, which included a 60-day journaling challenge.  In our conversation, we talk about her career, what motivated her to go on the 50 States Project, how she organized Table for 51, her advice for people struggling with feelings of belonging, and so much more. To learn more about what Shari does, you can get Table for 51 or any of her other books, visit her site, follow her on instagram, join her Facebook group Flip the Box, listen to her podcast, or watch her YouTube channel.  If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or our links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com.

Teenaged Sabrina Wang has the distinction of being one of the first girls--Asian American or otherwise--to earn the coveted rank of Eagle Scout in what is now known as Scouting America. Formerly known as the Boy Scouts of America, the organization recently fully embraced a significant rebranding, opening its programs now to girls and LGBTQ+ youth while retaining traditions like the Scout Oath and mission. Sabrina's enthusiasm for becoming a Scout speaks volumes to the success of this effort. And her attaining the rank of Eagle Scout speaks volumes to her leadership abilities and determination.

Send us a textWe're on location at USF for the SFFilm Youth Filmmakers Camp! (see below) We're joined by SFFilm's Director of Education Keith Zwölfer and Education Manager Soph Schultz Rocha who discuss the importance of a thriving film culture. We also sit with two filmmaking students - Aisha McCulloch and Sky Hsu who share what kind of stories they'd like to tell, and finally we cap it off with filmmaker/mentor Jessica Jones.Support SFFilm Education Programs HERE!Follow Jessica Jones on IGA Little About SFFILM Youth Filmmakers CampSFFILM Education's Youth Filmmaker Camp is an intensive summer program for teens ages 14–18 to learn from world-class film professionals in a fun, interactive, and collaborative environment. The program is broken up into two experience levels: the Starter Lab, which is for beginner students looking to learn the basics of filmmaking and enhance their storytelling skills; and the Advanced Lab, which is for students who want to build upon their existing skills. All students dive deep into the filmmaking process by learning about screenwriting, storyboarding, production, cinematography, sound, editing, and much more.Through a combination of lectures, hands-on exercises, guest speakers, discussions, and workshops, campers form a deeper understanding of the production process from conceptualization to post-production, transform their ideas into proper screenplays, and create group short films of their own. Throughout the duration of camp, students create a short film and rotate roles to experience all positions on a film set including director, cinematographer, sound, and grip. Students will gain technical skills such as editing with Adobe Premiere Pro, screenplay formatting, learning how to use professional cameras, as well as lighting and sound equipment. Camp culminates with a screening of the student's final films and a walk on the red carpet!The curriculum is supplemented with guest speakers of SFFILM supported and Bay Area filmmakers. In recent years guests have included Academy Award nominated Jim Lebrecht (Crip Camp), Bret Parker (Pixar), Academy Award nominated filmmaker Trevor Jimenez (Weekends), Alice Wu (The Half of It), aSupport the showThanks for listening and for your support! We couldn't have won Best of the Bay Best Podcast in 2022 , 2023 , and 2024 without you! -- Fight fascism. Shop small. Use cash. -- Subscribe to our channel on YouTube for behind the scenes footage! Rate and review us wherever you listen to podcasts! Visit our website! www.bitchtalkpodcast.com Follow us on Instagram & Facebook Listen every Tuesday at 9 - 10 am on BFF.FM

Local leaders raise awareness about affect of ICE raids on Asian-Americans. Also, a new adaptation gives Shakespeare's classic play a feminine update. Finally, a free summer concert series keeps music accessible in Amador County.

In this episode, Isaac takes us through their inspiring journey from growing up in Oklahoma with an early love for performance to making their Broadway debut in Harry Potter and the Cursed Child. They open up about discovering theatre after starting in ballet, the lessons they learned at Boston Conservatory about resilience and standing out, and the balance between pursuing roles out of passion and taking ones for practical reasons. We also dive into standout experiences like performing in Allegiance, a powerful story centered on the Japanese internment with a predominantly AAPI cast, and the disco-fueled creativity of The Donkey Show. Most importantly, Isaac shares the pride and responsibility of being a non-binary performer on Broadway, the importance of visibility and representation, and why the magic of Cursed Child resonates universally.

Welcome to Season 5, Episode 33! Our guest today is Ada Tseng. She's a journalist, editor, podcaster, runner, wellness advocate and karaoke enthusiast. She is the co-author of the new book Breaking Into New Hollywood: A Career Guide to a Changing Industry. It just came out on August 12 2025, and it's co-written with Jon Healey and published by the Los Angeles Times and Simon & Schuster.  Breaking Into New Hollywood is a practical collection that offers insights on navigating the Hollywood industry today and how it's changed with CGI, AI, video streaming, social media, and more. Whether you're an aspiring set designer, agent, director, writer, actor, manager, or anything to do with making films in front or behind the scenes, this is an invaluable resource. Ada has written for a variety of outlets including the LA Times, National Geographic, Center of Asian American Media, Women's Wear Daily, HowStuffWorks, The Washington Post, Public Radio International, NBC, LA Weekly, Asia Pacific Arts, and Audrey Magazine (just to name a few). We should also mention that Ada is the co-host of the Saturday School Podcast with Brian Hu which is one of our favorites, especially for Asian American pop culture. In our conversation, we talk about how she got involved with pop culture and this book, how she organized the book, the importance of adding in diversity to the different featured insiders in the book, what she thinks is the most important element of making it in Hollywood, what her fantasy career in Hollywood could be, and a lot more. As a veteran podcaster, she even turns the tables and asks us a few questions. For more of Ada's work, you can check out her website, follow her on Instagram, subscribe to the Saturday School Podcast, and get Breaking Into New Hollywood. If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or our links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com.

Actor Sean Dulake is part of the stellar cast of Amazon Prime's new Butterfly series, an espionage thriller set in Seoul, ROK, starring and executive produced by Daniel Dae Kim. What's unique about this spy show is that it revolves around the dynamics between a father and daughter, and a mother and son. Which of course, makes an already immensely complicated situation even more convoluted. As a hapa Korean American (from Arcadia, CA), Sean is also the co-founder of the highly successful Third Culture Content production company.

There is a common perception that Asian Americans don't get involved with civic life, but a closer read of AAPI history proves that to be false.

Welcome to Season 5, Episode 32! We love having conversations with a lot of amazing authors of a lot of fabulous books. It's even more fun when we're able to invite an amazing author who's also a long-time friend or family member. So this episode is exciting for us because our guest is Kimberly Tso, the author of the new picture book Tic-Tac-Toe Chicken which is published by Third State Books (one of our favorite publishers)! And yes, we've known Kim for the better part of three decades. Tic-Tac-Toe Chicken is a picture book inspired by the true story of Lillie, a real chicken trained to play tic-tac-toe in New York's Chinatown Fair arcade, and her relocation to a farm for rescued animals. Featuring vibrant paintings of Chinatown by Louie Chin, Tic-Tac-Toe Chicken showcases a local cultural touchstone and shows how children can stand up for what they believe in and solve tough problems with clever thinking. You don't have to wait till Tic-Tac-Toe Chicken's release date on August 19, 2025, because it's available for pre-order through Third State Books, Bookshop, Amazon, Barnes & Noble, and more! You can even get a signed copy from Once Upon a Time Bookstore. Kim is an active member of the Society of Children's Book Writers and Illustrators (SCBWI) SoCal and SCBWI LA. She loves the challenge of writing complex ideas in an accessible way. She also likes to draw, paint, and collage. In addition to writing children's books, Kim is the owner of Velocity Ink, LLC, a consulting firm that provides grant writing and strategic planning services to progressive nonprofit organizations. A very successful grant writer, she's also the author of the workbook "Fix It and Get Funded: 10 Do-It-Yourself Repairs for Grant Proposals.” To see more of Kim's work, you can visit her website kimberlytso.com, or follow her on Instagram, Facebook, Bluesky, or subscribe to her Substack newsletter. If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or our links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com.

Best-selling novelist Jesse Q. Sutanto's latest offering is a present-day re-imagining of the ancient Chinese folktale about a Chinese daughter who masquerades as a man in order to battle China's enemies. It's the most recent book in the Disney Hyperion's "Meant to Be" series, which is a contemporary romance collection featuring reimaginings of classic Disney stories, written by various authors. @jesseqsutanto

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. On tonight's edition of Obbligato on APEX Express, which focuses on AAPI artists, musicians, and composers in the classical music world, host Isabel Li is joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. Featured Music: Sonatrinas: https://richardan.bandcamp.com/album/sonatrinas i got the electroshock blues: https://rasprecords.bandcamp.com/album/i-got-the-electroshock-blues   RICHARD AN (b.1995) is a performer and composer, born and raised in Los Angeles. Richard plays new music – usually with House on Fire – co-founded the tiny backpack new music series, and has performed with Monday Evening Concerts' Echoi Ensemble, Piano Spheres, The Industry and on Bang on a Can's LOUD Weekend. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard's music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, HOCKET, C3LA, and more. His music has been released on CMNTX Records. Richard has a BM in Composition from USC and an MFA from CalArts. He is on faculty at the Pasadena Waldorf School, Glendale Community College and Harvard-Westlake. He plays taiko and tabla, and makes YouTube videos. Learn more about Richard's work on his website: https://richardanmusic.com/ Richard's social media: https://www.instagram.com/richardanmusic/ If you are in LA and want hear Richard's work, he's playing with House on Fire at the Sierra Madre Playhouse on August 17! https://www.sierramadreplayhouse.org/event/richardan2025   Transcript Opening: [00:00:00] APEX Express. Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express. 00:00:46 Isabel Li Good evening and welcome back to a new episode of Apex Express on KPFA, 94.1 FM. We are bringing you an Asian and Asian American view from the Bay and around the world. I'm your host, Isabel Li, and tonight is a new edition of Obbligato, which explores AAPI identities and classical music. Tonight I'm joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. 00:01:41 Isabel Li Welcome to the show. Welcome to APEX Express, Richard. My first question for you is how do you identify and what communities would you say that you're a part of? 00:01:50 Richard An My name is Richard An I use he/him pronouns and I'm a second generation Korean American. My parents are both Korean. My dad came from Busan, which is a large city in South Korea, and my mom was born in Seoul and then moved to South America and then made her way up to Los Angeles where they met. And as for identity, like, I think Korean American would be the most accurate one. This is and I think an ever evolving part of first of all my identity and the way that it intersects with my practice and also I think that's the case with many Asian American artists, I mean artists from immigrant families, you know, the the matter of your identity, especially if you feel more distanced from it for one reason or another, is like an unsolved question for everyone like there is no one answer. That works for people and that's a thing that me people like myself I think will be exploring for our entire lives. When I introduce myself to people, I say that I'm a classical musician. And at the very core of it, that is true. That's not a lie. And I am, you know, a part of the classical music community in Los Angeles. But as time goes on, I have noticed and realized. That I tend to align myself more with like the avant-garde and experimental contemporary music communities of Los Angeles, which has certainly an overlap with the classical community, both in practice and historically, but yeah, I I would say those are the sort of two biggest ones, classical musicians and experimental avant-garde, contemporary musicians, whatever label you want to use for that. 00:03:47 Isabel Li Yeah. Some of our listeners might not know what avant-garde music entails. Can you — how would you describe avant-garde music to someone who might not be as familiar with this particular movement? 00:03:57 Richard An Yeah. So avant-garde music, a sort of flippant and joking way to to talk about it is ugly music or music. You know, my dad, for example, wouldn't like, but I think. It's music that either interfaces with elements or confronts facets or issues in music that aren't typical of other kinds of music. The music that you might hear that is labeled of on guard might be noisy or dissonant or uncomfortable, or any kind of, you know, adjectives that are synonyms for noisy or ugly, but I have come to love that kind of music, you know 1. Because of the the kind of questions that they might ask about our perceptions of music and two, because I guess one way to put it is that to be a classical musician, you need to be in a practice room for many hours a day for many years and go to what is unfortunately a college, which is usually very expensive and I guess for lack of a better term, paywalled for like you need to have the kind of resources that allow you to attend a four year undergrad and then a two year masters and then a three-year doctorate. But avant-garde music, contemporary music, experimental music doesn't necessitate that kind of thing. Often those musicians do have a background that gives them some amount of, you know, virtuosity or facility in an instrument. But like some of the best experimental musicians. Alive and some of the best ones that I know have no, like extensive training in a particular instrument and some may not have a degree in music at all. And that's one thing that I in like that separates it from classical music is that. 00:05:44 Richard An Classical music can be, unfortunately a little bit exclusionary. I don't think by any one specific design, but the fact that you need so many hours and very specific instructions from a mentor that necessitate that kind of relationship. But experimental music, I think does a little bit better job of diversifying or making it feel more equitable. 00:06:12 Isabel Li That's a great point, actually. One of my questions following up with that was what do you think is possible with this genre, which you kind of mentioned earlier with perhaps how this genre makes classical music a little bit more equitable for those who are interested in this field. In your experience, composing, what do you think makes the genre special, and how do you go about it? 00:06:35 Richard An One thing that I've noticed about being involved in the sort of contemporary experimental avant-garde music sphere is that it makes me a better listener, and I think other people who attend these concerts will agree. Like for example a large part of this kind of music is drone or repetition or, you know, like long spans of unchanging sound. And if the the sound that is being produced at face value is not changing, well then what do you notice about it? What do you grab on to and one of the most, I think, gratifying experiences is listening deeper and realizing that, ohh, even though you know for example this piano playing two notes for 30 minutes might not like the instructions will say to do the same thing for 30 minutes, but your experience as a human being will certainly change over those 30 minutes, even if the the notes are not like you will notice the slight fluctuations in the way that someone is playing, you will notice the beating patterns in the pitches on an instrument that may not be perfectly in tune, you will note other ambient sounds, you will note like you will notice so much more about the world when you are confronted with the kind of music that you know. You can say it forces you to listen to these sounds but also invites you to listen to these things. And I think that's really, really special. That's not to say that that can't happen with other kinds of music. Or even with classical music. Surely you know there are many, many ways to listen to everything. But I've noticed this within myself. When I listen to long, repetitive drone based music that it really opens my ears and makes me a more active participant as a listener. 00:08:30 Isabel Li It's a great point actually. Part of my work– because I studied music, history and theory in college– was how music can engage various listeners to participate. Have you composed anything that perhaps engages the listener in this more of a participatory setting? 00:08:47 Richard An Yeah. So I guess in order the some of the stuff that I've done to engage the audience, I guess both literally, and maybe more figuratively is, I wrote a piece last year for the Dog Star festival, which is a a contemporary and experimental music festival that is actually happening right now, at the time of this recording. It's a multi week long festival that focuses on music of this type that was founded by people in the sort of CalArts music world. But I wrote a piece for that last year for three melodicas, which are these basically toy instruments that look like keyboards, but you blow into them and you blowing air through these makes the sound happen. It's basically like if you cross a harmonica and a piano together. But I I wrote a piece for three of these, playing essentially the same notes. And because these instruments are pretty cheap, and they're often considered toys or, you know, instruments for children, they're not tuned to the exact way that, like a piano or a vibraphone or an expensive instrument might be. But I wanted to use that for my advantage. For example, if I play an F# on one melodica the same F# on another melodica will not be exactly the same and playing those two pitches together will produce what's known as a a beat or beat frequency. Which is, you know, a complicated, you know, mathematic physics thing, but basically 2 notes that are really, really close, but not quite together will create a kind of third rhythm because the the pitches are so close. Like, for example, if if I play an A at 4:40 and another A at 441, you will notice that difference of 1 Hertz inside of your ears. And that's a really cool phenomenon that happens explicitly because you were there listening to the piece. They don't happen necessarily, you know, like in, in recorded formats like, it's a very difficult thing to capture unless you are in the room with these instruments. And the fact that we had this audience of, let's say, 40 people meant that all forty of these people were experiencing these beat frequencies and another really cool factor of this is depending on where you are located in the room. With the way that the beats will sound in your ears are different and purely by the fact of acoustics like a wave bouncing off of the wall over on your left, will feel really different if you are closer or further from that wall. So not only do the audiences ears themselves, you know, invite these this this participation, but the pure physicality of each listener means that they will have a very slightly different experience of what the piece is, and again like this will happen in any concert. If you're at a classical show, if you're at a rock show if, if you're further from the stage, if you're further to the left or right, you will get a slightly different position in the stereo field that the musicians are playing in, but pieces like what I wrote and many others that exist emphasize this kind of like acoustic phenomena. That is really, really fascinating to listen to. 00:12:23 Isabel Li That's fascinating. And to get a sense of Richard's work, we'll be hearing coming up next. The short excerpt from his album Sonatrinas. This is the duo excerpt performed by Wells Leng, Katie Aikam, Kevin Good and composer Richard An himself. [COMP MUSIC: Sonatrinas (Excerpt: Duo)] 00:17:38 Richard An And so the back story for this piece is this was written for one of my recitals at CalArts. I was planning on playing this piece by Michael Gordon called Sonatra, which is a really, really beautiful and difficult piece for solo piano that I gave myself as an assignment, which I was not able to do with the amount of time. And, you know, like I just didn't give myself enough time to do this thing, so I still had this program of several pieces written with the idea of having this Michael Gordon Sonatra in the middle, but now that that sort of middle part was gone, there was a bunch of pieces about a piece that didn't exist. So in order to fill that hole, I wrote this piece called Sonatrinas which is a cheeky nod to the Michael Gordon Sonatra, but also to the fact that each part of this is kind of a diminutive Sonata form. Everything has a sort of ABA– here's some idea. Here's a different idea, and now we go back to that first idea. Every single part of this has a little bit of that in it. 00:18:51 Isabel Li Yeah, that's fascinating. Even the name itself reminds me of Sonata form in classical music, where it's kind of like an ABA section. As you sort of talked about earlier. And it's really cool that you're adapting this in a more avant-garde context. This is a reminder you're listening to Apex Express. Today we are interviewing composer and musician Richard An. 00:19:12 Isabel Li I think the general question that I have next is can you tell me a bit about what drew you to music and how you got your start in music, how you got introduced to it and what things have inspired you over the years? 00:19:24 Richard An Yeah. So a real quick sort of, I guess, history of my involvement with music is that I started piano lessons when I was pretty young, either three or four years old. I continued that until I was 12 or 13. I decided I really wanted to become a musician. I started taking composition lessons with this composer, AJ McCaffrey, who is really responsible for a lot of what I know and my successes, if you can call it that. He got me into a lot of the music that I am into now and set the foundation for what I would study and what I would write he was one of the instructors for this program called the LA Phil Composer Fellowship program, which back when I was a participant from 2011 to 2013, was a program hosted by the Los Angeles Philharmonic that took 4 high school age students every two years. And you know, they they taught us, you know, everything. How a young composer needs to know how instruments work, how to write a score, how to talk to musicians, how to do everything that a that a composer needs to learn how to do and at the end of this program, after the two years the young composers write a piece for the at the LA Philharmonic. So I was extremely lucky that by the age of 17 I was able to write a piece for orchestra and get that played and not just any orchestra, with the Los Angeles Philharmonic, you know, undisputedly one of the best orchestras in the world. Right. And then after that I I went to USC for my undergrad and then went to CalArts for my masters. And then here we are now. And that those are sort of the like, you know if someone writes a biography about me, that's what we'll be, you know, involved in the thing. But I really started to develop my love for music in my freshman and sophomore year. In high school I I started to get into more and more modern composers. I started to get into more and more noisy things and a lot of this coincided actually with the passing of my mother. She died when I was 14 and you know that in any human the death of a parent will cause you to reevaluate and rethink aspects of your life. Things that you thought were certainties will not be there anymore. So for me, I stopped taking piano lessons and I sort of went headfirst into composition and which is why my degrees are specifically in composition and not piano. Had my mother's passing not happened, you know, who knows what I would be doing now? Maybe I'm not a composer at all. Maybe I'm not into avant-garde music at all, but because things happen the way that they did, I suddenly took a quick turn into avant-garde music and my involvement there only grew more and more and more. Until you know where I am today, I'm almost 30 years old, so I've been listening to and a participant of this music for maybe 15 years or so and I'm quite happy. 00:22:43 Isabel Li That's awesome to hear. 00:22:45 Isabel Li And perhaps a testament to Richard one's very versatile compositional style and avant-garde music coming up next are three pieces from his album i got the electroshock blues. There are five pieces in the album in total, but we will be hearing three of them. The first one called “feeling, scared today,” the second one, “pink pill,” and the fifth one, “la la.” [COMP MUSIC: i got the electroshock blues: 1. “feeling, scared today”, 2. “pink pill”, 3. “la la”.] 00:36:41 Richard An Earlier last year, I released a collection of live recordings under the title of I got the Electroshock Blues. Electroshock Blues is a song by the band Eels I encountered at a pivotal moment in my life. This was right around the time that my mother passed and this record and this song is heavily centered in grief. The main musician in the Eels, Mark Oliver Everett, was dealing with the passing of multiple family members and people who were close to him so it hit me in just the right way at just the right time. And because of that, this song specifically has stayed with me for many, many years. I found myself coming back to the contents of this song as I was composing and all the pieces on this album, of which there are 5 heavily take material from this song, whether that's words, chords, the melody. I really, you know, take it apart, dissect it and use those as ingredients in the pieces that I have written here and all of these are live recordings except for the first piece which was recorded in my studio. I just sort of overdubbed the parts myself, and there are credits in the liner notes for this album, but I just want to say that. The first piece which is called “feeling, scared today,” was originally written for the Hockett piano duo, which is a duo comprised of Thomas Kotcheff and Sarah Gibson. Sarah Gibson was a really close friend of mine who passed away last year and now this piece which in some way came out of a feeling of grief now has renewed meaning and another facet or aspect of this piece is centered in grief now. Because this was dedicated to Thomas and Sarah. Yeah. So these pieces are all derived from this one song. 00:38:57 Isabel Li That's a beautiful response. Thank you so much. Kind of following along your background and how you got to where you are. How do you think your identity has informed your work as a composer and musician? And this could be– you can interpret this in any way that you wish. 00:39:11 Richard An Yeah, this is a really interesting question. The question of how my identity interfaces with my music. In my art, particularly because no person's answer is quite the same, and I don't necessarily have this figured out either. So for a little bit of I guess for a little bit of context on me, I'm second generation Korean American, but I've never been to Korea and I never went to Korean school. My parents never really emphasize that part of my education. You could call it assimilation. You can call it whatever, but I think they valued other aspects of my growth than my explicit tie to Koreanness or, you know my specific identity as a Korean or Korean American, and because of that, I've always felt a little bit awkwardly distanced from that part of my identity, which is something that I will never be completely rid of. So in in a world and the field where whiteness is sort of the default part you know, particularly because you know, classical music does come from Europe, you know, for hundreds of years, like all of the development in this particular kind of music did happen in a place where everyone was white. So because of that background of where I come from and where my musical activity comes from, whiteness has been the default and still feels like it is. So me looking the way that I do as, an obvious not white person, as a person of color will always have a little bit of an outsider status to the thing. And with that comes the question of what are you bringing to classical music? What do you bring to the kind of music that you're creating? Like for example, the most I think the most well known East Asian composers are people like Toru Takemitsu or Tan Dun, people who will interface with their Asianness, in many different ways, but that often involves bringing, for example, a Japanese scale into your classical composition, or bringing a Japanese instrument into your classical composition. Those are, you know, examples of of of pieces by Toru Takemitsu, and other, you know, very successful. Asian American composers now may do similarly. Texu Kim is maybe someone who can also give insight into this, but nothing about me feels explicitly Korean, maybe besides the way that I look. And besides, the way that I grew up a little bit like I've never been to Korea. What right does that give me as a Korean, to for example, use a Korean instrument or use a Korean scale? I've never studied that music. I've never studied that culture. I in in some arguments I would be guilty of cultural appropriation, because I, you know, have not done the work to study and to properly represent. And for example, like Pansori, if I were to use that in any of my music. 00:42:46 Richard An But then the the the difficult question is well, then who does have the right? Does being Korean give me all the license that I need to incorporate aspects of my identity? And if I am not Korean, does that, does that bar my access to that kind of music forever? Another way of looking at this is, I've studied North Indian Classical Hindustani music for a while. I've played tabla and and studied that music at CalArts and I really, really love playing tabla. It's it doesn't make its way into my composition so much, but it is certainly a big part of my musicianship and who I am and, like, but am I barred from using ideas or aspects of that music and culture and my music because simply for the fact that I am not Indian? Many musicians would say no. Of course you've done your homework, you've done your research. You're doing due diligence. You're you're representing it properly. And many people who study this music will say music cannot go forward if it's not like the innervated and continued and studied by people like me who are not explicitly South Asian or Indian. That's an example of the flip side of this of me using or representing the music from a culture that I am not a part of, but again, am I really Korean? I've never been there. I wasn't born there. I speak the language conversationally. But this is an extremely long winded way of saying that I feel a tenuous connection to my Korean this my Korean American identity that hasn't been solved, that isn't solved and probably will never be completely solved. But I think that's exciting. I think that's an evolving aspect of my music and will continue to be that way as long as I continue to be involved in music and as as long as I continue to write. 00:45:05 Isabel Li Yeah, absolutely. That's a wonderful response. Actually. I was, as I was studying different types of world music and learning how people kind of borrow from different cultures. There is this always, this kind of question like ohh, like which types of musical elements from which cultures can I incorporate and obviously the aspects of personal identity definitely play into that a little bit. And part of my senior thesis in college was studying AAPI artists in classical music, and specifically that there are a lot of Asian-identifying musicians in the classical music world. But as you kind of mentioned earlier, I think classical music is very much still like grounded in whiteness and has this kind of air of elitism to it just because of its roots. How do you think this kind of identity intersects with the classical music world? And forgive me if you've already kind of talked about it before, but it's an interesting juxtaposition between like, for example, musicians who identify as AAPI or Asian in this kind of genre that is very– it's very associated with whiteness. Could you kind of talk about the dynamics of how these two aspects of like culture kind of interplay with one another? 00:46:26 Richard An Yeah, absolutely. So, you know, there are ways that I personally feel like I intersect with classical music with reference to my identity, and that also plays with the sort of cultural expectations, like there are stereotypes of Asian musicians, of Asian classical musicians. But there are not necessarily the same the same kind of stereotypes with white classical musicians. A very dominant like stereotype that you'll run into is the young Asian prodigy who practices 10 hours a day and may therefore be labeled as mechanical or unfeeling or, you know, are involved in in this a lot. So much so to the fact to the to the point where to excel an Asian American classical musician or as an Asian classical musician, in general, seems to always carry that stereotype. Like you know, Seong-Jin Cho's success as a pianist may not necessarily be attributed to his musicianship or his skill as a pianist. Because he is an Asian person, an Asian guy. Like how much of his success is because of the perceived tiger mom-ness that he might have existed under? How much of it is attributed to the same type of stereotypes that are labeled like that that label the five year old pianist on YouTube that that is clearly better than I am? Like some of these stereotypes help and some of these don't, but the I think it's undeniable that they exist in a way that doesn't in a way that doesn't carry for white people in the classical music sphere. And I think part of that is that classical music is still rooted in its Eurological identity. I think I'm using that correctly. That's an idea from George Lewis. Eurological versus Afrological. The context that I'm using Eurological right now is specifically in reference to George Lewis, who is a composer, trombonist, and musicologist who, I think coined the two terms to differentiate the roots of different styles of music, and you know, I haven't read enough to confidently say, but classical music is Eurological by example and like jazz would be Afrological by an example and the contexts in which they develop and exist and grew up are fundamentally different, which is what makes them different from each other. And again like this needs a little bit more research on my part. 00:49:23 Richard An Yeah, and because the classical music is so rooted in this thing, I don't believe that the stereotypes that exist for Asian classical musicians exist for white people. And I think that is something that will naturally dissipate with time, like after another 100 years of Asians, and, you know, people of color in, you know, every country in the world, with their continued involvement and innova otypes will disappear like this. You know, it may require certain concerted efforts from certain people, but I do believe that after a while these things will not exist. They'll sort of equalize right in the same way. That the divisions that we make between a Russian pianist and a French pianist and a German pianist, though you know people still do study those things like those aren't really dividing lines quite as strong as an Asian composer or an Indian composer might be. 00:50:27 Isabel Li Thank you for that perspective. I think it's, I think these are conversations that people don't kind of bring up as much in the classical music world and it's great that, you know, we're kind of thinking about these and probably possibly like opening some conversations up to our listeners hopefully. And so my next kind of pivot here is as you know with our current administration, Trump has canceled millions of dollars in National Endowment of the Arts grants, and it's been affecting arts organizations all over the nation. And I was kind of wondering, have you been affected by these cuts to arts programs and what kinds of advice would give upcoming musicians or composers in this era? 00:51:07 Richard An Yeah, that's a yeah, that's a big thing. And like, you know, changing day by day, right. So the Trump administration's effects on my life as a musician is simultaneously huge and also not really that much. So in one way these grant cuts have not affected my personal musical life because I haven't ever received a government grant for any of my arts making. So in one way like my life is the same, but in many, many, many other ways it has changed. Like I am involved with and I work with concert series and organizations and nonprofits that do rely on NEA funding and other government arts based funding. And if they have less money to fund their next season, that means certain projects have to be cut. That means certain musicians have to be paid less. That means certain programs have to change, especially if these funding cuts are aimed towards DEI or quote and quote, woke programming like that is, you know this that will by design disproportionately affect people of color in this field, which already you know, like is in a Eurocentric urological tradition like this is already something that people of color don't have a head start in if the funding cuts are aimed at certain types of programming that will disadvantage already disadvantaged groups of people, well then I don't know, that's even–we're starting even later than other people might be, and you know, like, if a musicians, if a person's reaction to this is despair, I think that's reasonable. I think that is an absolutely, like that's an appropriate reaction to what is fundamentally an attack on your voice as an artist. But I I have for as long as I can, you know, I have always worked under the impression that I will have to do the thing myself, and that's in the piece of advice that I give for a lot of people. You shouldn't necessarily wait for this ensemble to come pick you to play or or to to, you know, commission you to write a piece if you want to write the piece, you should do it and figure out how to put it on yourself. If you want to perform you know music by a certain composer, you should do it and then figure out how to do it yourself. That certainly comes from a place of privilege, like I can do this because I have enough work as a musician to be able to pay for the the passion projects it comes from a place of privilege, because I live in Los Angeles and the resources and musicians and other people who I would like to collaborate with live here, so you know, completely acknowledging and understanding that I I do believe that it's better to ask for forgiveness than to ask for permission. I think if you're a young musician and are feeling some despair about these funding cuts and you know the many, many, many other transgressions against humanity by this current administration. 00:54:38 Richard An I recommend you just go out and do it yourself. You find your people, you find your community, you pull favors, you work long nights and you do it and the reward will firstly be the good you're putting out into the world and then the the art you're making. But also this will be paid in kind by the community you're building, the musicians you're working with. And the the connections you make like you know I I have, I am currently conducting this interview from a studio space that I am renting out in Pasadena that I have built over the last two years that I do all of my rehearsals and my performances in, and that I, you know, host rehearsals and performances for other people, and this cannot happen and could not have happened without the goodwill and help and contribution from other people. When I say go out and do it yourself, I'm not saying that you as a human being are alone. I'm saying you don't need to wait for institutional approval or permission to go out and do these things. Get your friends and do them themselves. And my optimistic belief is that the support and the work will follow. 00:55:53 Isabel Li Richard, thank you so much for sharing your perspectives and your voice on this show today. And thank you to our many listeners of KPFA on tonight's episode of Obbligato on Apex Express. Which focuses on the AAPI community of the classical music world. There were some inspirational words on arts and arts making by Richard An musician and composer based in Los Angeles. 00:56:18 Isabel Li Please check our website kpfa.org to find out more about Richard An and his work as well as the state of the arts during this period of funding cuts. 00:56:29 Isabel Li We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world, your voices and your art are important. 00:56:41 Isabel Li APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by Isabel Li. Have a great evening. The post APEX Express – 8.7.25 – Obbligato with Richard An appeared first on KPFA.

We're back from hiatus with an incredible conversation featuring Roshni Nedungadi — co-founder, founding partner, and Chief Research Officer of HIT Strategies. Roshni is one of the sharpest minds in political research today, with a career built on elevating the voices of communities too often ignored in traditional polling: people of color, young voters, and low-propensity voters.In this episode, we talk about how she found her path from Wisconsin politics to running her own firm in D.C., why representation in research matters, and what it means to build something new in a field that's still overwhelmingly white and male. If you've ever questioned how change actually happens behind the scenes in politics — this is the episode for you.00:01:00 – Meet Roshni: a polling expert and co-founder of HIT Strategies00:03:00 – The 2008 election, student protests, and how political activism shaped her early career00:08:00 – From legislative aide to data analyst: building technical skills through direct mail and targeting00:12:00 – The power of representation: working for a Black-led firm and learning to take up space00:14:00 – How she and co-founder Terrance Woodbury started HIT Strategies00:15:00 – The 2016 election, youth voters, and the warning signs that went ignored00:18:00 – Starting a firm as women and people of color in a predominantly white industry00:20:00 – The role her mother played in modeling entrepreneurship and offering support00:22:00 – Breaking into political consulting and navigating gatekeeping in the industry00:23:30 – Building early momentum with the Steyer campaign and work on Black and Latinx voters00:24:30 – Responding to the moment: 2020, George Floyd, and a demand for deeper polling00:25:30 – Roshni's current focus: polling young women, AAPI voters, and reproductive justice00:26:30 – The gaps in AAPI polling — and why representation in data still matters00:28:00 – What it means to scale while staying rooted in community00:29:30 – Advice for BIPOC folks trying to break into politics, research, or entrepreneurship00:33:00 – Final reflections on pushing the industry forward and showing up with authenticityPolling isn't just about numbers — it's about who gets seen, whose voice counts, and how decisions get made. Roshni's work challenges the old norms of political research by centering voters that traditional firms often overlook. This conversation is a masterclass in how to build power through data, strategy, and representation — and a must-listen for anyone curious about the future of politics.Roshni is a founding partner and chief research officer of HIT Strategies. Roshni has led expansive, multi-phase research projects exploring how people across the United States feel about abortion access, gun control, mass incarceration, and other important issues on behalf of advocacy leaders such as Everytown for Gun Safety, NARAL, and Vera Institute for Justice. Roshni's research seeks to find nuance in how Americans, particularly BIPOC individuals and low-propensity voters, conceptualize these issues at a time where division and partisanship run rampant. Roshni's research on behalf of HIT Strategies ultimately is meant to lift up the voices of marginalized communities in the United States, one of the fastest-growing and oft-ignored voting blocks in American politics. https://hitstrat.com/our-team/Instagram: @hitstrategies If you enjoyed the show and you...

Welcome to Season 5, Episode 31! Our guest today is Daniel Tam-Claiborne, a writer, multimedia producer, and nonprofit director. His latest work is the novel Transplants released by Simon & Schuster. It's a coming of age story following two young women—Lin, who is Chinese and Liz, who is Chinese American. They're both navigating the journey to find their truest selves in a world that doesn't know where either of them belong. The novel is an exploration of race, love, power, and freedom that reveals how—in spite of our divided times—even our fiercest differences may bring us closer than we can imagine. Tam-Claiborne is also the author of the short story collection What Never Leaves, and his writing has appeared in a variety of publications and outlets including Michigan Quarterly Review, Catapult, Literary Hub, Off Assignment, The Rumpus, HuffPost, and elsewhere. Outside of writing, Daniel serves on the Board of Directors of Seattle City of Literature and on the Advisory Board of Off Assignment. He's a frequent speaker, moderator, and host. In our conversation, we discuss the process of writing a novel, inspiration for Transplants, feelings of belonging, the importance of COVID and lockdown as an element of Transplants, the diversity in the Asian American community, and so much more. Transplants is a well-written, moving book that we think shares several common themes that resonate with so many audiences. Tam-Claiborne doesn't shy away from deep issues that Asian Americans, Asians, and expats face as he explores belonging, identity, and more. You can see more of Daniel's work on his website Travel Breeds Content or his Instagram account @datclaiborne. If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or our links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com.

Kenny and Chizuko Endo met in 1975 when he was first embarking on what would become his lifelong passion for Japanese taiko drumming, ultimately using it to honor its role in the past, but also using it as a springboard to innovate compositions and collaborations that have established these ancient Japanese drums as clearly belonging to the future of music as well.  Now celebrating his 50th year with taiko, Kenny and wife Chizuko reflect on how their personal and professional lives have been shaped and sharpened by their mutual love of taiko drumming.  To find out more about the 50th anniversary shows, go to www.kennyendo50.com. You'll also find dates and locations for the subsequent shows on the Mainland. And to find out more about their Taiko Center of the Pacific, go to www.taikoarts.com.  

@1QLeadership Question: What role do external partnerships, internal collaboration, and campus engagement play in growing the athletics program's visibility, revenue, and fan base? From the 2024 PacNet Conference, Phil Wang, Sr. Associate Athletics Director for External Affairs at UC Irvine, talks about his almost 20 years at UCI. His transition from finance to external affairs, and how the department is maximizing automation and innovation with Learfield and Paciolan.  Wang also covers collaboration with campus, the value of athletics within the university and broader community, and how the department operates with resources that could be considered limited in the context of the athletics industr. - One Question Leadership Podcast - Tai M. Brown

Today's episode explores the intersection of Asian American Christianity and justice, discussing the historical context of justice within Christianity, the separation of evangelism and justice, and the impact of Western individualism on Asian American faith. Our host, Raymond Chang, together with Rev. Dr. Soong-Chan Rah, emphasize the need to recover a theological understanding of justice and provide practical steps for engaging in justice within the Asian American community. Linked Resources:https://www.professorrah.com/ Hosts: Raymond Chang Guest: Reverend Dr. Soong-Chan Rah Engineer: Elliot Koo Producer: Daniel Harris Manager: Gracie Hulse Follow us on IG: @aachristcollab To find out more about AACC's work, donate, or learn more visit asianamericanchristiancollaborative.com.

Welcome to Season 5, Episode 30! Today's guest is Camey Yeh, an established artist who has a cute and whimsical artistic style. Her latest work is her first picture book entitled We're Different and It's Totally Cool, published by Crown Books for Young readers. It was released on July 22nd, 2025.  Camey is a Taiwanese American artist and author, and she was inspired to create We're Different and It's Totally Cool by her own childhood experiences growing up in a predominantly white town. We love the beautiful artwork that feel both classic in style while still being unique. The colors are bright and the characters choices are inviting, and we can see how this book would be engaging for everyone… including children aged 4-8 as it was intended. In our conversation, we talk a little about Camey's journey to being an author and illustrator, how she was inspired to create We're Different and It's Totally Cool, the themes of the story, how she developed her artistic style, what makes her different and totally cool, and so much more. We're Different and It's Totally Cool makes a great gift for kids 4-8 and beyond. If you're interested in more of Camey's work, then you can follow her on instagram @tropicalspaghetti. If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or our links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com.

Mari Fong is a music journalist who not long ago launched the "Check Your Head" podcast because of being deeply troubled by the number of professional musicians who struggle with their mental health and addictions, with some even choosing to take their lives. Her show provides these artists a safe and empathetic space to share their stories honestly, and she then brings on different mental health professionals who can articulate what needs to happen in order for them not just to recover, but to thrive as people and as musicians.

- 聊天的人 -马丁苏 Martin Su（视频博主）梵一如- 时间轴 -04:30 一家五口，五种语言模式06:50 爸妈在上世纪90年代“经济上行期”的跨国婚姻14:00 中二少年的“自我认同”困境19:20 日本妈妈习惯内疚 韩国妈妈传递骄傲22:15 我是50%的韩国人，100%的上海人26:45 从中学国际部的多元到bubble里的美国学校38:00 赴美留学，居然选择学“新闻”？！44:45 留学碰上疫情 经历了最黯淡的时光48:00 韩国人or中国人，在美国哪个身份更“好用”？51:00 AAPI什么鬼？美国人真的不了解我们56:00 学成归国，却没选新闻工作59:10 一条笔记意外爆火 从此走上博主路1:03:35 活得很“满”很“紧”的00后博主，听听内心话1:13:30 未来计划赶不上变化：我想活出怎样的人生？- OP -@RayHan- ED -刘欢 - 千万次的问- Logo -五颜六色的大亮哥- 收听方式 -推荐您使用小宇宙app、苹果播客、喜马拉雅、网易云音乐、蜻蜓FM等平台订阅收听《东亚观察局》- 剪辑 -梵一如【商务合作】邮箱：805276781@qq.com- 出品・制作 -番薯剥壳工作室（Yakimo Studio）

The AP's Jennifer King reports on a new poll on Asian and Pacific Islander's views on President Trump.

Episode 32: OPAWL – Building AAPI Feminist Leadership v. Dave Yost, et al.OPAWL – Building AAPI Feminist Leadership v. Dave Yost, et al., argued before Circuit Judges Raymond M. Kethledge, Eric E. Murphy, and Andre B. Mathis in the U.S. Court of Appeals for the Sixth Circuit on July 23, 2025. Argued by Elisabeth C. Frost (on behalf of OPAWL – Building AAPI Feminist Leadership), Mathura Jaya Sridharan (on behalf of Dave Yost, et al.), and Jason Walta (for Amicus Ohio Education Association).Background of the case, from the Brief of Appellees – Cross Appellants (Second Brief):It is well established that lawful permanent residents (“LPRs”) are entitled to First Amendment protection, including for their political speech. And the Supreme Court has long held that spending to promote or oppose direct democracy measures is core First Amendment expression. Nevertheless, [in 2024], Ohio enacted Ohio Revised Code § 3517.121 (“Section 121”), making it a crime for any noncitizen—including LPRs—to engage in any political spending.Section 121's broad prohibitions reach every conceivable type of spending, from direct contributions to independent expenditures, whether made “directly or indirectly through any person or entity,” and apply even to spending “in support of or opposition to a statewide ballot issue or question, regardless of whether the ballot issue or question has yet been certified to appear on the ballot.” Id. § 3517.121(B)(2). At the same time, Section 121 invites political weaponization, mandating that the Attorney General investigate any alleged violation made by any Ohio elector. Id. § 3517.121(G)(2)(a). The law's sheer breadth, lack of tailoring, and threat of unrestrained investigations threaten and will chill the core First Amendment activity of not just noncitizens, but also citizens and domestic organizations who take donations from noncitizens or involve noncitizen decisionmakers….In support, Ohio relies overwhelmingly on a reading of Bluman v. Federal Election Commission, 800 F. Supp. 2d 281, 288 n.3 (D.D.C. 2011), aff'd, 565 U.S. 1104 (2012), that is at odds with the decision itself. Bluman held that Congress may constitutionally prohibit foreign citizens other than LPRs from directly contributing to candidates or to expressly advocate for the election or defeat of a candidate, but in writing for that court, then-Judge Kavanaugh repeatedly cautioned that restrictions on political spending by LPRs or for issue advocacy would raise substantial constitutional questions. See, e.g., id. at 292 (making explicit court was not deciding whether Congress could extend ban to LPRs or restrict noncitizens engaging in “issue advocacy and speaking out on issues of public policy,” warning its holding “should not be read to support such bans”). [Emphasis in original.]The Bluman court was right to be concerned—and this Court should be, too, now that Ohio has enacted such a ban….Resources:CourtListener docket page for OPAWL – Building AAPI Feminist Leadership v. Dave Yost, et al.Ohio Revised Code § 3517.121 (“Section 121”)Brief of Appellants – Cross Appellees (First Brief) [Ohio]Brief of Appellees – Cross Appellants (Second Brief) [OPAWL]The Institute for Free Speech promotes and defends the political speech rights to freely speak, assemble, publish, and petition the government guaranteed by the First Amendment. If you're enjoying the Free Speech Arguments podcast, please subscribe and leave a review on your preferred podcast platform. To support the Institute's mission or inquire about legal assistance, please visit our website: www.ifs.org

Dreams in Migrations: AAPI Identity, Diaspora, and Resistance in Contemporary Art In this special live episode of What's My Thesis?, host Javier Proenza moderates a closing panel discussion at BG Gallery for Dreams in Migrations—the third annual AAPI (Asian American and Pacific Islander) exhibition curated by artist and organizer Sung-Hee Son. This timely conversation assembles a multigenerational roster of artists whose practices interrogate identity, memory, imperialism, and the myth of the model minority through distinct formal languages and lived experiences. Featuring artists Dave Young Kim, Mei Xian Qiu, and others, the episode moves fluidly between personal narrative and structural critique. Kim speaks candidly about growing up Korean American in Los Angeles, navigating ADHD through drawing, and finding community through both art and street culture. He reflects on his work's deep connection to place—evoking the layered histories of Koreatown through archival images, signage, and symbolic compositions. Mei Xian Qiu offers a moving account of displacement, spiritual ritual, and postcolonial trauma. Born into Indonesia's Chinese diaspora, she discusses her early artistic impulse to create “sacred objects” as a means of processing survival and systemic erasure. Her multimedia works—reminiscent of stained glass and batik—expose the mechanisms of propaganda and the cultural inheritance of violence. Her series Let a Thousand Flowers Bloom revisits China's Hundred Flowers Campaign with a provocative inversion: a mock invasion of the U.S. staged entirely by AAPI artists and academics. Together, the panelists explore diasporic kinship, cross-cultural solidarity, and the politics of visibility within the art world. Proenza draws compelling parallels between the AAPI and Latinx experiences, from forced assimilation and linguistic loss to state violence and Cold War geopolitics. The conversation challenges the flattening effects of labels like “model minority,” advocating instead for nuance, specificity, and coalition-building. The episode concludes with reflections on the power of artist collectives, including the Korean American Artists Collective co-founded by Kim, and a roll call of exhibiting artists whose works are transforming the gallery into a space of resistance, celebration, and shared memory. Featured Artists in the Exhibition: Dave Young Kim Mei Xian Qiu Bryan Ida Tia (Otis MFA ‘23) Miki Yokoyama Key Topics: AAPI identity in fine art Postcolonial trauma and Chinese-Indonesian history Korean American experience in L.A. Propaganda, memory, and resistance The myth of the model minority Artist collectives and community organizing Explore how contemporary AAPI artists are reshaping cultural narratives and reclaiming space through radical aesthetics and collaborative practice.

Welcome to Season 5, Episode 29! Today we're joined by a true icon in the world of academia—Professor Gordon H. Chang. A celebrated historian, Professor Chang is both the Olive H. Palmer Professor in Humanities and a Professor of History at Stanford University. He's also a member of the American Academy of Arts and Sciences. We're honored to speak with him about his latest book War, Race, and Culture, published by Stanford University Press in May 2025. This anthology compiles some of his most powerful essays written over decades of impactful scholarship. The topics range from foreign relations and U.S. imperialism to race, Asian American identity, and the cultural contributions of Asian Americans. Our conversation covers everything from the role of propaganda in shaping views of Asians, the long history of harmful stereotypes, and the cultural erasure seen during Japanese internment—including how artists like Dr. Seuss and creators of Superman contributed to racist narratives. Professor Chang also reflects on the political engagement of Asian Americans and why “nurture vs. nature” plays a crucial role in debunking the myth of political apathy in the community. We also touch on a more personal subject: his interest in art history, including how his father's legacy inspired him to explore and uplift overlooked Asian American artists like Dong Kingman, whose brilliance was too often overshadowed by the racist caricatures found in mainstream media. This episode offers not only a look into Professor Chang's new book, but a deeper understanding of how history, race, and culture intersect in America—and why writing history is always personal. Links and Resources: Learn more about War, Race, and Culture from Stanford University Press Read more from Gordon H. Chang, including Ghosts of Gold Mountain, Fateful Ties, and Asian American Art: A History, 1850-1970 If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or our links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com.  

Michael Luo is an executive editor at The New Yorker and writes regularly on politics, religion, and Asian American issues. His first book, “Strangers in the Land: Exclusion, Belonging, and the Epic Story of the Chinese in America,” is a well-researched history of Chinese Americans from the Gold Rush until the 1960s. Using his skills as a former investigative reporter, Luo manages to bring back to life the myriad Chinese Americans who struggled, suffered, and even were murdered in their persistent efforts to make this strange new land a new home for themselves and for those who would one day follow in their footsteps.

In this week's episode of Dear Asian Generation, we're turning the page with Neelanjana Banerjee, writer, editor, and storyteller on what it means to carve space for AAPI voices in literature, journalism, and the classroom. From the margins to the mainstream, join us as we explore the power of words, identity, and community through the lens of the humanities. 

When Sarina found Stephanie Pao on social media, she knew she had to interview her. Stephanie has the job we all want—she owns a bookstore on wheels. La Fleuria is L.A.'s first mobile romance bookstore, and we are here for it. Tune in to hear our interview with Stephanie. We're discussing how she got this idea, where she turned for advice, and how she figures out what to stock and where to park La Fleuria!Show links include: #YouAndYourBookstore episode with Mary Laura PhilpottLa Fleuria book truckStephanie on InstagramStephanie's LinktreeLa Fleuria's popup schedule Thrown for a Loop, Sarina's upcoming release (pub date 11/4/25)TropeTruck, a book truck whose owner generously contributed knowledgeIngram, the wholesale bookseller we discuss in some detail (because Jess needed to understand how this bookseller access to indie authors works!)Books Stephanie recommends and loves to sell at La Fleuria:Yes No Maybe by Jessica Sherry (La Fleuria's #2 bestseller!)Atmosphere by Taylor Jenkins Reid All Rhodes Lead Here by Mariana ZapataHey, Jess here to talk to you about a new series I have created just for supporters of the #AmWriting Podcast.I met an aspiring author and speaker who has an idea for a book that just knocked me over. I said, please, please write that book. This is someone who had an idea that has a place in the market. It's timely. She's the perfect person to write it, and I asked her, I begged her, if I could please mentor her through this process publicly on the podcast.So while we're not giving her full name and we're not giving the actual title of the book, because we don't want to hand those things away, I am coaching her through the entire process, from preparing her book proposal to querying an agent. I'm going through the whole thing with her. She knows nothing about the publishing industry, she knows very little about how one goes about writing a book—so essentially, this is as I mentioned before, from soup to nuts, From Authority to Author, and hopefully we'll get her there.But really, whether or not this book ends up selling, whether after this book she ends up having a speaking career, this is about the process of preparing to do that. I hope you'll join us.This series is for supporters only, so if you are a free subscriber right now, consider upgrading. Remember, if you upgrade, you'll also get the ability to submit for our First Pages Booklab, and lots of other fun stuff that we put out just for supporters—So come join us. It's a lot of fun.Transcript below!EPISODE 457 - TRANSCRIPTJess LaheyHey, Jess here to talk to you about a new series I have created just for supporters of the Hashtag AmWriting podcast. I met an aspiring author and speaker who has an idea for a book that just knocked me over. I said, please, please write that book. This is someone who had an idea that it has a place in the market. It's timely. She's the perfect person to write it, and I asked her—I begged her—if I could please mentor her through this process publicly on the podcast. So, while we're not giving her full name and we're not giving the actual title of the book, because we don't want to hand those things away, I am coaching her through the entire process—from preparing her book proposal to querying an agent. I'm going through the whole thing with her. She knows nothing about the publishing industry. She knows very little about how, you know, one goes about writing a book. And so she essentially—this is, as I mentioned before from soup to nuts, From Authority to Author, and hopefully we'll get her there. But really, whether or not this book ends up selling, whether this book—she ends up having a speaking career—this is about the process of preparing to do that. How do you write a book? How do you prepare to become a speaker on the back of that book? So I hope you join us. This is a series for supporters only. So if you are a free supporter, or if you're a free subscriber right now, consider upgrading. Remember, if you upgrade, you'll also get access to the ability to submit for our First Pages Book Lab and lots of other fun stuff that we put out just for supporters. So come join us. It's a lot of fun.Multiple Speakers:Is it recording? Now it's recording, yay. Go ahead. This is the part where I stare blankly at the microphone. I don't remember what I'm supposed to be doing. All right, let's start over. Awkward pause. I'm going to rustle some papers. Okay, now one, two, three.Jess LaheyWelcome to the Hashtag AmWriting podcast. This is the podcast about, oh, writing all the things—the short things, the long things, the nonfiction, the fiction, the poetry, the book proposals, the agent queries—all the things. In reality, though, this podcast is about two things. It is about getting the work done, and flattening the learning curve for other writers. I'm Jess Lahey. I am co-hosting today. I am the author of The Gift of Failure and The Addiction Inoculation, and you can find my journalism at The New York Times, The Washington Post, and The Atlantic.Sarina BowenAnd I'm Sarina Bowen. I am the author of many romance novels. My next one is called Thrown for a Loop and it's coming from Forever in November, and I could not be more excited. And it is in the vein of romance, publishing, and readership that I have invited a guest to talk to us today because she has done something so outrageously cool that I needed to hear more in person. So please welcome Stephanie Pao, who has started Los Angeles' first romance book truck. She's become a bookseller, and I am here to hear all about it. Welcome, Stephanie.Stephanie PaoHi, thank you so much for having me.Sarina BowenMy pleasure. If you wouldn't mind, I would love to hear—how did this happen? Like, how did you decide that the world needed a book truck? Because that is just a cool idea and I never thought of it. And like, so how did you decide to actually make it a thing? And what did you do?Stephanie PaoYes, okay. The idea actually came to me—I lived by the beach, so I was walking by the beach and I saw a vintage Volkswagen truck for sale, and I just couldn't get it out of my mind. It isn't the truck that I have now, but I kept thinking, what could I do with it? And I've always loved books—romance in particular—and I've been looking for something that I could do that kind of took my previous experience, which is marketing, but melded it with something I really enjoyed. And I just thought maybe I could start a book truck. And I started to do research and I saw that there are many book trucks across the country. At the time, I think maybe there was just one or two romance ones and I was lucky enough to be able to speak with someone who had a romance book bus called Trope. She has a bookshop now and she really gave me a lot of confidence that I could probably do this too. I ended up taking a course on bookselling and started looking for a truck. The truck I ended up finding was actually the first truck I found on Facebook Marketplace. The man who was selling it had completely restored it. And he was so excited that I wanted to do this book shop in a truck idea, that he actually helped me and designed all the shelves, and he built it, and he didn't charge me for it.Sarina BowenOh my goodness!Stephanie PaoYeah. So it felt very serendipitous and almost meant to be. And now it's been like two months and I'm having so much fun.Sarina BowenWow. Wow. Oh my goodness. I feel like you should be teaching a class on how to live, right? You're like, "I'm good at this thing, but I'm really interested in this other thing, and I'm going to stick them together and it's going to be great."Stephanie PaoYeah, I feel like it was a little bit of like manifesting, I guess.Sarina BowenWell, wow, that's so great. So how many books does your truck hold at once? Like, what is the size of your store?Stephanie PaoYeah, so it holds about 350 books, and I've taken to also stacking books on top to display my favorite books. So I think it might hold almost 400.Sarina BowenOkay. And so of course, when we think about the bookstores that we grew up going to—you know, there are these giant cavernous Barnes & Nobles, there are smaller independent bookstores—and they're all numbering in the thousands. But by specializing in a category that you really love, like suddenly 400 is you know, it's a workable amount for what romance readers might be looking for on any given day. So, but still, there's a lot of good books in the world. How do you choose?Stephanie PaoYeah, I do a mix of like books that I've read and loved. I have been a voracious reader—I've read my whole life—but I've been a voracious reader for a couple of years. I also do a lot of books that I get recommendations from friends or that I just see are very popular online. So I think people will want to find those, but I think it is hard. I'm still figuring out the right balance of what types of romance to carry.Sarina BowenRight. Right. Because we all have our favorite you know, parts of the genre and they might not be the ones that are killing it.Jess LaheyBut the thing that I'm really excited to hear about is the thing that I love so much about independent booksellers. I get a sense for the bookseller when I go to the bookstore. Like, there are certain bookstores I rave about not necessarily because they're huge, not necessarily because they're beautiful—but because I can tell that when the bookseller recommends something to me; I know who that person is. Or I know the sense of the curation at the store. And that excites me because I feel like I'm in capable hands. So I'm really curious—especially to hear about your curation, and how you decide what you're going to carry—and then I'm also, and I know Sarina is going to ask this question, but in my head, I'm like, how do you find your readers? That's the part I'm so excited to hear about. Like, how do you know where to go? How do the people find you? Because I think that's the magic—is connecting the people with the books. And that's what I feel like a really great curation does. It says, "If you like this, try this," or, "Oh, you're new to this genre? Let me tell you where you should start with this genre." That's what's magic to me about independent booksellers, and the idea of you getting to do it in a very concentrated way with a particular genre is just—it makes me so happy. I'm just so happy you're out there doing this, Stephanie.Stephanie PaoThank you.Sarina BowenSo one time I was reading the listing of a literary agent, I think, and somebody had said, "What do you like about this job?" And the agent said, "I get to invest in my own taste." And I thought that was a really interesting way of looking at her job—but also of your job as well. And before we get to “How do you find the readers?”—because that is a really important chapter of this conversation—I just, from the listener standpoint: are you constantly deluged by authors who are like, “Pick me, pick me”? Like, what would you tell an author who is trying to navigate the bookselling world? What have you learned about your end of being a bookseller that an author might need to hear?Stephanie PaoYes. Okay. So first I want to say, like the curation part—My like number two best seller is actually an indie author's book who I love, and I can see from the book selling, like software that I use, that I'm the only bookstore of the 200 plus bookstores that carry her book, and it's the second best seller for me. Like. I've sold over 30 copies in like two months. So I think it really is like the passion of the bookseller, and I have had quite a few authors reach out to me, and they'll come to events. And I feel like it's, I don't have a good process on how I'm vetting all the authors, but I think it's like, if we make a personal connection, I will try to go out of my way to like read their book, because we've connected in some way, and I love reading, and I just feel like because we've like, either met in person or we've exchanged nice messages on social media, it does make me want to read someone's book more, because I have that personal connection, which is probably how people feel when they go shop at an indie books, or they have the personal connection with, like, a bookseller. So I think that's very similar. Um, I had people like, bring me their books, which does make it easier for me to, like, already have it ready. I don't have to look it up to read it or remember to look it up as well, but I know that, like, probably has a cost to it as well. But I had someone just bring me an F1 romance book yesterday at one of my pop ups, and I've been on an f1 kick. I don't know if she noticed that from my personal social but, like, I am very intrigued already, and now I have itSarina BowenThat's so lovely.Jess LaheyFor the listeners out there who are interested in this very specific topic, in our show notes I'm going to link to an episode we did with Mary Laura Philpott, who used to be at Parnassus, about making connections with booksellers. Because there are things you can do to go out of your way—before your book comes out, or when your book is coming out—to say, “Hey, I have this book coming out, would you be interested at all in getting a copy?” So it's something that can happen that authors can work on. And I'm going to definitely drop the link to that episode in the show notes.Sarina BowenYeah. I had this earlier this year. I was noticing—I started keeping track of how many romance bookstores are in the world. And now I have a list of 60, more than 60. And for a little while, when one just sort of popped up in my social, I was writing an email—because authors get a lot of publisher copies, you know, and sometimes after the launch of the book we end up with a box of like 15 copies still sitting here—and I was sending an email like, “Congratulations on your new store! That's amazing. Can I send you a signed author copy? Because I just have them here. It's a gift.” And the uptake of that is, you know, almost 100%. But I don't ever want to presume that a bookseller wants a copy, you know, unless I check first, because that just seems cheesy. You know, it's, it's, it's hard for authors to know, like, how to be a good partner and not irritating. And anyway, I just thought, you know what your thoughts about that are?Stephanie PaoYeah. I mean, I think for me, like, I am a new store and, like, a single-person business. So anyone that reaches out to me, I'm like, “Oh my gosh, what do you mean? How do you know about me? Why would you want to send me something?” So I'm sure, like, the like, weariness goes both ways, where we are, like, we're also—a lot of people are, like women—or maybe like, not used to promoting themselves more. So I think, like, just shoot your shot. I have an event coming up at like, a big, like, kind of mall, and they said they don't really do things like that with partners like this, but they were impressed that I shot my shot. So I have like, a summer series with them, and I think it's the same for, like, promoting your own book.Sarina BowenYeah, I guess this whole conversation is an exercise in trying.Stephanie PaoYeah, like the worst that could happen is, I think probably they would maybe say no or not respond to your request—which I do feel like I am guilty of that, because I get a lot and I don't know how to best, like, manage the flow of people saying that they want to send books. But that isn't because I don't want to reply. It's more like, I don't have a good system.Sarina BowenIt's hard. So I definitely want to hear how you figure out where to go. Like, where does the truck go? How do you know who to ask? Like, is that a lot of asking and hoping for the, for the best as well. Like, how does it come together?Stephanie PaoYeah, that has been a trial and error process. I think I started off applying to more markets, because they're looking for vendors anyways. But those usually have costs. And I found a few markets that I really enjoy going to, so I go to them monthly now. And…Sarina BowenWhat kind of markets, can I ask?Stephanie PaoYeah, they're like, one is like a night market. They do it like, a couple times a month in a city of LA called Lakewood, and there's like food, there's usually, like a theme, so like, there was an AAPI night, or they had— I don't know if you know those, like toys called Labubu — but the last event I did was a Labubu themed one. And then I do another market that is in Culver City, and it is similar—like, there's food and drinks and then there's, like, people selling different like, a lot of artisan-made things,Sarina BowenOkay.Stephanie PaoYeah, um, and then I reach out to local businesses as well. And I found, like, right away, I reached out to so many, and I didn't hear back from that many, because I was just starting out. I didn't have that many followers at the time. But the people who I found, and I did pop up set, they were so kind, and they let me dictate, like a day where I come back monthly, so I just have like places that I will go monthly, which makes it a lot easier to, like, have it like a set schedule, and then I just try to test new places and add on.Sarina BowenLike, what kind of business? What? What makes a good what's a good sort of connection?Stephanie PaoYeah, well, so the first place that said yes to me was another women-owned business. And I do feel like they are, like, more inclined to, like; take a chance on another woman-owned business. So she actually has a flower shop, and she does like high tea on the days that I go. So she has people going there for like, high tea— but it's on a very visible Street. It's on the Pacific Coast Highway, so I think it's—I'm not sure it's benefiting her in any way, because I'm not sure my customers are going to buy flowers, um, but she has a space for me to pop up, and it doesn't like detract from her business, and it adds something fun to her guests. And I also go to coffee shops and breweries, and I do want to start reaching out to restaurants as well.Jess LaheyI'm actually looking at her pop-up schedule on her site right now, and there's also—I wouldn't have even occurred to me—but these silent readings that I see every once in a while on social media that I'm like, "Oh, if I lived in a city, I would be going to those all the time," where people just get together to read together. I've also seen them—people getting together just to write together—and those? That's brilliant. Showing up for something like that is such a wonderful idea, and your pop-up schedule looks fantastic. I'll definitely be dropping that into the show notes as well.Sarina BowenWell, I just want to push back on the idea that the flower shop isn't getting anything out of you stopping there, because, like—so she runs a flower shop. I'm just certain she has a tiny core number of people who come every week and get fresh flowers because, you know, money is no object, and why not.But then there are other people who are on her list, maybe, who are only there when it's somebody's birthday three times a year. But if you're coming on a certain day, and she can tell her following, you know, that, "Oh, stop by on Tuesday because La Fleuria is going to be here, and it's, you know, the romance book truck, and you definitely want to check it out," it gives her a timely thing she can tell the people that do like flowers. And, you know, she's going to maybe have more foot traffic on that day than she otherwise might not have had.Stephanie PaoYeah, I think it's more maybe imposter syndrome, because she has like 800,000 followers.Sarina BowenWow!Stephanie PaoSo I'm like drop in your bucket.Sarina BowenWow. Well, maybe we should all be in the flower business.Stephanie PaoYeah.Jess LaheyWell, what did you have to sort of overcome with your own resistance in order to try this new thing? Because when writers have this same problem, we have an idea. It's a little glimmer, a sparkle, of an idea. It's so appealing in our minds. But, like, the commitment to actually, like, set aside six months of your life and write an entire book because you had this glimmer of an idea is a process, and that is why there aren't as many people who write complete books as you have ideas for them. So how did you convince yourself that, um, that this risky thing was—was something you ought to commit to? And how did you make that decision?Stephanie PaoYeah, I think I'm still convincing myself that...Jess LaheyOkay, fair, fair.Stephanie PaoUm, I think it's actually really—it's really hard, because I think we're really programmed, or at least I was, on, like, this typical metric of success, which is, like: go to college, get a job, keep climbing the corporate ladder. And so I just kind of thought I would be doing that my whole life. But I never once thought, like, does that make me happy? Like, I was in a marketing job, and I was like—I climbed up to, like, VP, but I didn't enjoy it at all. And I just thought that's what we were supposed to do. So I think for me, I have been freelancing for three years because I got really burnt out, and I've just slowly come to terms with, like, maybe what I build for myself, or what I want for my life, is different than what all my friends have. Because I still talk to my friends that I've had for a long time, and I don't think they understand what I'm doing. And I feel like you will get a lot of resistance from people that you know, because they just want you to do the thing that feels safe to them, which is not venturing and doing something completely unknown. So I think it's, like, being really comfortable with the idea yourself and that not everyone's going to get it—but that's okay, because the people who do will, like, really support you. And then, of course, like, I'm not going to sugarcoat it—it is like a big financial risk. I think if you're setting aside time to write and not doing, like, other work, like—it is a risk either way. So I am lucky enough to have support, and I think that's, like, really important to share; that, like, my parents supported me so that I could take this on. And I—I started taking less and less clients from my, like, freelancing work to prepare to do this. And, like, I am still not, like, super profitable, but I know that I can, like, push back into freelancing if I really need to. So I think it's—I'm comfortable knowing that there are other means of, like, income if I really need it. But I really want to give myself time to see where this goes.Sarina BowenRight, I love that. So, of course, you knew that freelancing was—that you had some connections there, which helps, so you have, like, a little bit of a cushion for yourself, which is amazing. You—you mentioned earlier that you took a course in bookselling, and I just wonder how you found that, and how—how you felt. Was it information that you already had? Did it just give you confidence? Or did you really learn a lot from that course?Stephanie PaoWell, I found it through the American Booksellers Association. It was, like, a linked course that they had on, like, how to get started with opening your own bookstore. And I did learn a lot. I think at the time, I was really debating whether I should do a bookstore or do something more mobile. And that course actually made me feel like—when we did all the calculations—the rent is so much in LA that it just seemed, like, much, much too risky to do a store first. Like, maybe building up a customer base before investing in a shop. So I think I did learn a lot. I also—there's—I get a lot of the same questions from people who want to start something similar. And I got all of that information through this course. Like, a lot of people ask me where you buy books from, and things that have to do with bookselling that aren't very well known. And I think the course provides that information.Jess LaheyNice. Do you do you use Ingram [Ingram Content Group], and so you have like a special account as a bookseller?Stephanie PaoYes. And I just started opening, like, accounts with the publishers, because I wasn't sure how much I was going to order, and you have to meet minimums to order through the publishers. I was like, I don't know how quickly my inventory is going to go, but now I think it will be more worth it, because you get a better, like, discount through the publishers.Jess LaheyAs someone who's not involved in the bookselling community or the independent publishing community—just for my knowledge—one of the things that I, you know, often lament is if I like an author that is an independent bookseller and their print books are hard to come by. How do you—is Ingram someone who helps you bridge that? Does Ingram do this, like, print on demand? Sorry, there—my husband's home. Could you explain how this works a little bit to me?Stephanie PaoSo I also—well, I'm not 100% sure—but yes, Ingram does the print-on-demand books, and they have books from a lot of independent authors on there. I have a friend who is an indie author, and she said that she first listed her book on Amazon, but then the bookstores couldn't buy it, so she had to do something to get it on Ingram. So I'm not sure how that works, but I've also bought directly from a few authors, like the author I mentioned, who is, like, my second best seller. I buy directly from her, and I'm not sure where she gets her copies, but it is a much better deal than through Ingram.Jess LaheyYeah. So, Ingram—their first and primary business was as a wholesaler for traditionally published books. So, you know, in the '90s, when I briefly worked at Random House, Ingram was—you know, when a new book is published, Ingram buys a certain amount of them, and Baker and Taylor buy a certain amount of them, and they stand as a middleman who is ready to wholesale those books to booksellers. And then, of course, they created their print-on-demand service so that, probably, when you log into Ingram, you can see indie titles and traditional titles sort of all together in their offered database. But I did learn something recently about indies and Ingram that was a real eye-opener for me, which is that an author who opens an IngramSpark account and uploads their files there—like, like an indie author that you buy from probably does—has to set a discount amount. And unfortunately, the number that the bookseller gets is not the same as what the author sets. So the author can set a discount to retail in a band between, I don't know, 40 and 60 or something like that. But, um, in order for a bookseller to get their maximum discount, I have to put 53% discount or greater—like 53 or 55—and if I put 52 instead, then the bookseller gets, often, a very bad discount that is not 52%; it's more like 30%. So there's this magic that happens at the 53% author discount that allows you and your colleagues to get the max discount in your Ingram account. And it took me only, like, eight years to learn this magic.Jess LaheySo Stephanie, this is why we keep Sarina around, because she knows how this stuff works.Stephanie PaoI figured it was there was something, because the range in discounts I see from indie offers is so wide from like 20 to 40% and at 20% it's almost not even worth it to carry.Sarina BowenRight. I bet it isn't.Stephanie PaoYeah.Sarina BowenSo you if somebody Well, but, and that's where the confusion comes in, because here's an author, and she's putting 45% in that box, and then you're seeing it at 20 and going, this isn't worth it. And of course, like both of you, could be frustrated because…Jess LaheyExactly!Sarina BowenBecause that doesn't make a whole lot of sense. So um, but I have learned that 53 is the magic number, and that if an author puts 53 and then you will get your max discount. And it took me way, way too long to understand this.Jess LaheyThis is like… this is, this is—these little random things that come up occasionally—are, you know, why I talk about flattening the learning curve for other authors or booksellers or whomever that listen to this podcast. Because how on earth would you know that? And then you're frustrated because you can't carry a book, because you can't make money on it. The author's incredibly frustrated because you can't—won't—carry the book, and then that piece of information never gets across. So thank you for diving into that dorky detail for me, because, again, I think that's such an important piece of information that no one would ever know unless someone somewhere is discussing it. So thank you.Sarina BowenUm…you're welcome. It's really just inside baseball—like picky junk that takes up my week. But here we are.Jess LaheyI know. But the people who listen to this podcast—in particular, the people who are fans of Sarina Bowen—are often people who are also writing within the indie space. And so how, you know—how are they going to find this stuff out?Sarina BowenWell okay.Jess LaheyOkay.Sarina BowenEven if it's not as you know, as joyful as the following your dreams and the flower shop stuff, but we're here to do all of it.Jess LaheyWell… But the big—this is also a big part of it, because there are also going to be people out there who are like, Oh, I don't want to open a brick-and-mortar store, but Oh, a truck? I mean, like, for me, that's the entry point. That's very, very exciting to me. So, the other reason I wanted to be on this podcast today is because I want to understand how that works, and is it a way into something that would really feed your soul and your heart—and not to mention your book… sell—your, your bookshelves.Sarina BowenOf course. So, Stephanie, before we go, I would love—since you're the expert here—I would love for you to recommend a couple romances that you're excited about right now. And if you wouldn't mind, I would be super thrilled to hear what your number two bestseller is—that you, that you are her best bookseller.Stephanie PaoYeah, okay. It's Yes No Maybe by Jessica Sherry, and it is a story of a woman who has, um, scars on her face from, like, an accident from when she was younger. And she's, like, always felt not worthy of, like, all the good things in life, and she's settling. And she moves next door to a romance writer who has writer's block, and she becomes basically his muse. And it's, like, very sweet but very emotional. Some other books I love—I recently finished Atmosphere by Taylor Jenkins Reid, and I've never cried so hard in a book. And it's, like, also such a beautiful love story. I, like, have chills thinking about it.Sarina BowenWow.Stephanie PaoYeah. And then, just like a favorite that I always recommend is All Rhodes Lead Here by Mariana Zapata. I'm in my late 30s, so I feel like I love when characters are in their 30s and still figuring things out, and I love a slow burn romance.Sarina BowenAll right. Thank you so much. I, um—I love those choices. Um, we've all walked into bookstores and seen, like, the same five books on the front table that we've seen in every other bookstore we've walked into that month. And it's really lovely to hear some different recommendations from you, and we really appreciate it. Thank you so much for spending some time with us today to talk about this super fun project that—that Jess and I are like, Ooh, we could just quit everything and get a...Jess LaheyYeah. Well, no. The other thing is, I'm like, Okay, when's my next speaking engagement in Los Angeles, and can I make it coincide with one of your pop-up dates so that I could come by?Stephanie PaoI will drive the truck to you.Jess LaheyThat… actually, we'll figure it out. Because I just, I'm dying to see your truck, dying to see how it works. I just, I'm loving the selections. And I'm just really happy for more than anything else, I'm really happy for someone who has found a way to turn something they love into a business that can work. So I'm just so happy for you.Stephanie PaoThank you. Thank you so much for having me. This was really fun.Sarina BowenIt was entirely our pleasure. And thank you listeners for tuning in once again to the am writing podcast, and until next week, keep your heads in the game and your butt's in the chair.Jess LaheyThe Hashtag AmWriting podcast is produced by Andrew Perrella. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

In this episode we welcome Deborah Lavaud and ROBIN SINGH, Team Leaders for the New York City Problem Gambling Resource Center. Deborah and Robin join us to discuss the effects of gambling harms on the Asian American and Pacific Islander (AAPI) communities and how we can work together to prevent harms associated with gambling within these communities. Questions that are discussed include:What is the AAPI Project?How do the differences in the AAPI community influence the perception of gambling and the perception of problem gambling?Why is the AAPI population at a higher risk for developing problem gambling?How is the AAPI project addressing some of the risks specific to this population?Who's involved in the AAPI project, and how is that moving forward right now?What are some of the resources to support the work you're doing?What would you recommend community members do to help AAPI individuals and families who are struggling with gambling and gambling harms?If you find yourself struggling with gambling harm, or if you suspect someone you know is facing such challenges, don't hesitate to seek help. For 24/7 support, call the NYS OASAS HOPEline at 1-877-846-7369 or text 467369. Or choose your county using our interactive map on our NYProblemGamblingHELP.org HOME PAGE to see the contact information for the Problem Gambling Resource Center (PGRC) in your region.

Welcome to Season 5, Episode 28! In this episode, we sit down with Michael Luo, the award-winning journalist, editor, and author of Strangers in the Land: Exclusion, Belonging, and the Epic Story of the Chinese in America. Currently an executive editor at The New Yorker, Michael writes extensively on politics, religion, and Asian American issues. Before joining The New Yorker, he spent over a decade at The New York Times as a national correspondent and investigative reporter, earning accolades like the George Polk Award and the Livingston Award for Young Journalists. His latest book, Strangers in the Land, published by Doubleday in April 2024, is a sweeping and deeply researched narrative history of the Chinese American experience—from the Gold Rush era to the 1960s. Drawing from archival sources, court cases, and personal stories, Luo sheds light on how Chinese immigrants helped build America while simultaneously being pushed to its margins. He highlights the people and policies that shaped their journey—from the railroad workers and early activists to the architects of exclusion laws and the courts that upheld them. Through vivid storytelling and compelling analysis, Luo explores the roots of anti-Asian sentiment in the U.S., the foundations of our modern immigration surveillance state, and the broader struggle for belonging in a multiracial democracy. This is a must-read not only for lovers of history but for anyone seeking to understand how the past shapes our present-day debates on race, immigration, and identity. In our conversation, Michael shares insights on how he approached this project, why it was important to center underrepresented figures like Hung Wah, Wong Chin Foo, Chin Gee Hee, and Sun Chong, and how understanding this history can guide us through today's political and cultural tensions. If you want to hear more from Michael you can read his work in the New Yorker or see his posts on Instagram @luomich. If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or our links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com.

Send us a textHoly shit, this one is special! If you haven't heard, Bay Area rapper/activist/Filipina icon/mother Ruby Ibarra is the winner of the 2025 NPR Tiny Desk Concert with her song "Bakunawa" (watch the Tiny Desk Concert here!). To kick off her Tiny Desk Concert tour, the kind folks at the Lagunitas Brewing Company invited us to Ruby's concert at their beautiful brewery in Petaluma, Ca. Enjoy some snippets from Ruby's concert (including Ruby's verse during Thao Nguyen's set), and our interview with her where she shares how becoming a mother has influenced her music, having her concert cancelled in LA during the Ice Protests, and what kind of dialogue she hopes her music creates during these divided times. Follow rapper Ruby Ibarra on IGFor more info on the Lagunitas Brewing Company's summer concert series, click here!Support the showThanks for listening and for your support! We couldn't have won Best of the Bay Best Podcast in 2022 , 2023 , and 2024 without you! -- Fight fascism. Shop small. Use cash. -- Subscribe to our channel on YouTube for behind the scenes footage! Rate and review us wherever you listen to podcasts! Visit our website! www.bitchtalkpodcast.com Follow us on Instagram & Facebook Listen every Tuesday at 9 - 10 am on BFF.FM

Shin Yu Pai was already a published poet and museologist when she entered a contest by the Pacific Northwest's National Public Radio to pitch an idea for a new podcast that focused on Asian Americans. Around seventy people submitted concepts, but NPR picked Shin Yu's. That propelled her into the very formulaic world of NPR podcasts. She learned quickly, and her show became a huge hit in that region. But after three years, she was told that it had come to an end. Shin Yu found ways to identify and process her grief, and then decided to reboot her podcast with the help of an independent production company. But now, unfettered by NPR's way of doing things, Shin Yu is bringing much more of her own voice and perspective to Ten Thousand Things, the award-winning podcast about modern-day artifacts of Asian American life.

Join our Patreon to unlock 30 full-length bonus episodes, ad-free weekly episodes, mp3 downloads of our original songs, exclusive Discord access, and more! Right now, we're retiring our lower tiers– so all new patrons who join at $5/month or higher (or upgrade!) by will be entered into a raffle to guest star on a bonus Patreon episode. Once we reach 100 PAID tier patrons, we will pick the winner! You can also support the show by grabbing your #pride365 gear at bit.ly/lezmerch & picking up Lez-ssentials songs on Bandcamp. Welcome back to Lez Hang Out, the podcast that does its little dance on the catwalk.  This week, Leigh (@lshfoster) and Ellie (@elliebrigida) hang out with Lauren Chan (@lcchan), a Canadian model, TV personality, entrepreneur, and former fashion editor. She is also an outspoken advocate for LGBTQ+ and AAPI representation as well as an expert in the size-inclusive fashion world.  If you happened to walk by a newsstand recently and took enough time away from petting the bodega cat to peruse the magazines, you likely saw Lauren. She made queer history with her Sports Illustrated Swimsuit appearance as the very first out lesbian to appear on the cover! Can you believe it took until now for an out lesbian to be featured? While we may think Sports Illustrated is a male-gaze aligned space, Lauren says that's what makes it so perfect for these kinds of stories. By meeting people where they are and introducing them to concepts and perspectives they may not have had a reason to think about, Lauren provides a gateway to nuanced conversations and increased empathy. Sure, straight men may initially buy the magazine for the bikini pics, but if they stay for the coming out stories that can go a long way in changing the narrative toward LGBTQ+ people.  Lauren came out in 2023, incredibly publicly, in her first appearance in Sports Illustrated Swimsuit where she made history as the first lesbian rookie! She discovered her sexuality in a very familiar way– with the lesbian masterdoc in hand, podcasts about coming out later in life on repeat, and an expanse of free time provided by the pandemic lockdowns. From divorcing her husband to now being engaged to be married again (but, to a woman) the short years since coming out have been a real whirlwind for Lauren.  We are obsessed with how Lauren takes the media's long history of objectifying women and flips it on its head. She may look like just another hot girl, but Lauren is a catalyst for change, inclusivity, self-love, body positivity, and sheer gay audacity.  That's a wrap on Season 8, lezzies! Thank you for hanging out with us this season, and we can't wait to see you back for Season 9. Give us your own answers to our Q & Gay on Instagram and follow along on Facebook, TikTok, and BlueSky @lezhangoutpod. Find your fav tol and smol hosts Ellie & Leigh at @elliebrigida and @lshfoster. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Season 5, Episode 27! We have been known to be obsessed with true crime stories. So we were really excited to read L.A. Coroner: Thomas Noguchi and Death in Hollywood by Professor Anne Soon Choi and published by Third State Books. And we were even more excited when Anne visited us as a guest.  Professor Choi is the Interim Associate Director of Online Pedagogy and Learning for the Faculty Development Center, and Associate Professor and Chair of the Department of Interdisciplinary Studies at Cal State Dominguez Hills. She's a historian and also interested in True Crime as well as Asian American history… so writing a book about Dr. Thomas Noguchi is the perfect intersection of these two interests.  Noguchi was the highest ranking Japanese American official in Los Angeles County during the 1960s and 70s, and he performed autopsies of some of the most well-known people who passed away during that time including Marilyn Monroe, Robert F. Kennedy, Sharon Tate, and Natalie Wood. In our conversation with Anne, she shares her process of research, some of Dr. Noguchi's biggest innovations, how the Asian American community rallied around Noguchi when he faced a racist dismissal, some of Anne's future writing projects, and so much more.  If you love true crime stories and/or learning about Asian American History, then we highly recommend buying L.A. Coroner. You can also learn more about Anne Soon Choi via her Instagram @latruecrime.  If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or our links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com.

Guest Bryan Yamami is the co-founder and executive director of the acclaimed and award-winning drumming group TAIKOPROJECT (www.taikoproject.org). You'll learn why he was a less than enthusiastic young taiko student, but why he returned to this ancient form of Japanese drumming with fervor while a college student. Notably, Bryan shares why and how he and co-founder Masato Baba felt led to start their own group with the emerging vision to create a uniquely Japanese American version of taiko ensemble performances.  TAIKOPROJECT will be celebratinig its 25th anniversary with a culturally collaborative show featuring Chicanx band Quetzal and Berklee-trained Japanese musician Sumie Kaneko, who will be performing vocals, on koto, and on shamisen. More information about buying tickets can be found at www.taikoproject.org/25th.

In honor of Asian American and Pacific Islander Heritage Month, we'll be sharing three stories from AAPI storytellers - which take place everywhere from a Korean Spa to a crisis hotline. This episode was hosted by Chloe Salmon. Storytellers: Helen Langlee Wyss finds confidence at a jimjilbang. Hari Sanghvi resents the sound of his own voice, until he's able to help someone in crisis. Wendy Suzuki studies memory as a doctor, and finds a new way of looking at her work when she's confronted with her own father's memory loss. Podcast # 920 To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices