Podcasts about americanness

This is a free preview of a paid episode. To hear more, visit andrewsullivan.substack.comReihan is a writer and the president of the Manhattan Institute. Before that he was the executive editor of National Review and worked at publications as varied as the NYT, The Atlantic, National Affairs, Slate, CNN, NBC News, and Vice. He's the author of Melting Pot or Civil War? and Grand New Party — a 2008 book he co-wrote with Ross Douthat that pushed a policy program for a GOP connected to the working class. He was also my very first assistant on the Daily Dish, editing the Letters page, over two decades ago.For two clips of our convo — on finding “Americanness” out of immigrant diversity, and Trump vs the education system — head to our YouTube page.Other topics: Reihan's upbringing in Brooklyn; his immigrant parents (who both worked two jobs) and his older sisters from Bangladesh; how cities are enlivened by legal immigration; the formative role of TNR and the Dish for a young Reihan; the role of reader dissent in blogging; epistemic humility; Burke; Oakeshott; how outsiders often observe subcultures more accurately; the self-confidence of assimilation; Arthur Schlesinger's The Disuniting of America; meritocracy; the PC movement of the early ‘90s; marriage equality; gay assimilation; victimhood culture and its self-harm; the love of one's homeland; Orwell; Thatcher's mature view of trade-offs and “vigorous virtues”; Bill Clinton; Obama's view of red states and blue states; the importance of storytelling in politics; Trump's iconic images in 2024; his trans ads; his multiracial coalition; the self-flagellation of woke whites; John Oliver and Jon Stewart; Seth Moulton and the woke backlash; how Harris might have won by acknowledging 2020 overreach; Eric Kaufmann and sacralization of victim groups; The 1619 Project; the failure of blue city governance; Reagan Democrats and Trump Democrats; the indoctrination in higher ed; the government's role in curriculum; DEI bureaucracy; SCOTUS vs affirmative action; the American Rescue Plan and inflation; elite disconnect from higher prices and higher migration; October 7, Zionism; and the ordeal of consciousness.Browse the Dishcast archive for an episode you might enjoy (the first 102 are free in their entirety — subscribe to get everything else). Coming up: David Greenberg on John Lewis and the Civil Rights Movement, Adam Kirsch on his book On Settler Colonialism, Brianna Wu on trans lives and politics, Mary Matalin on anything but politics, Christine Rosen on humanness in a digital world, and John Gray in the new year on the state of liberal democracy. Please send any guest recs, dissents, and other comments to dish@andrewsullivan.com.

Last week I insisted that, as a Christian who is American, I must understand myself as Christian first - that my Christian identity supersedes my Americanness. There are, of course, problems with this assertion. The first problem might just be that it makes me sound like a radical. We are currently in a time when a sizable portion of American leaders are working to remake American culture in a way that devalues and endangers women, minorities, LGBTQ+ persons, and immigrants - and they're doing it in Jesus' name. Many of these leaders argue that this is a Christian nation, that it was founded on Christian ideals, and by Christian men. None of those things are actually true, but they have been repeated so regularly that they seem to have seeped into our collective consciousness as being self-evident. Nevertheless, in Jesus' name, many Americans are seeking to force their understanding of Christian living on others. I believe this actively goes against who Jesus is and what he teaches. Every time Jesus gets angry in the stories we have of him, it's because he's witnessing leaders misuse their religious authority to harm others. Jesus is not a theocrat. Some people believe that commandment about taking the Lord's name in vain means you shouldn't say "Oh my God" or exclaim "Jesus Christ." But the real blasphemy is harming others in Jesus' name, using God as the buttress upon which you reinforce your own political power and social standing.

Notes and Links to Christina Cooke's Work      For Episode 247, Pete welcomes Christina Cooke, and the two discuss, among other topics, her childhood love of books, formative and transformative books and writers, contemporaries and fellow debut writers with whom her books are in conversation, the outsized influence of Mamá Lou, and salient themes and issues in her book like diaspora, notions of “home,” queerness and divinity, brotherly and sisterly relationships, and religiosity vs. spirituality.      Christina Cooke's writing has appeared in or is forthcoming from The Caribbean Writer, PRISM International, Prairie Schooner, Apogee, Epiphany, Michigan Quarterly Review, Lambda Literary Review, and others. A MacDowell Fellow and Journey Prize winner, she holds a Master of Arts from the University of New Brunswick and a Master of Fine Arts from the Iowa Writers' Workshop. Christina was born in Jamaica and is now a Canadian citizen who lives and writes in New York City. BROUGHTUPSY is her debut novel.   Buy Broughtupsy   Christina Cooke's Website   Article in Vogue about Broughtupsy At about 1:40, Pete and Christina talk about a top-notch fruit mentioned in her book At about 4:00, Pete highlights an amazing version of the book that he received  At about 5:15, Christina talks about her rich childhood reading life At about 8:20, Christina shouts out Mrs. Dooley, an inspiring teacher At about 11:30, Christina cites books that made a huge impact on how she writes, including Handmaid's Tale At about 13:20, Pete wonders which books and writers “are in conversation” with Christina and her work, and she mentions Ruben Reyes, Jr., Santiago José Sánchez, Melissa Mogollon, Emma Copley, Lisa Ko, Annie Liontas, Miss Lou, Zadie Smith, and Erna Brodber At about 17:00, Christina talks about why she calls Jamaican patois a language, and its distinctive nature, and she tells about a fun difference between #3/#6 mango At about 18:45, Christina dissects the meanings of the book's title At about 19:45, The two discuss a Jamaican original word At about 20:40, Christina discusses seeds for the book and its iterations  At about 23:50, The two discuss the book's epigraph and Christina describes its provenance/significance  At about 28:00, Pete lays out the book's exposition and Christina gives background on sickle cell anemia, which is deadly to Bryson At about 30:30, Christina discusses Bryson's memories and wise maturity in his last days At about 33:25, Christina remarks on the “fable” told to reassure Bryson that his sister Tamika would be visiting-she cites “the complicated ways that we love” At about 35:10, Christina talks about a possibly-doomed relationship At about 37:20, Christina details how the book complicates religiosity and queerness' connections At about 40:35, Christina describes Akua “spiraling” in making a trip back home to Jamaica  At about 42:30, Akua and her “Americanness” in Jamaica is discussed, and Christina talks about parallels in her own life At about 45:40, An uncomfortable visit and questions between the sisters is discussed At about 46:30, Cod liver oil and a scene involving its destruction is recounted by Christina as she discusses its connection to Jamaican parenting in a certain time period At about 49:10, Christina responds to Pete's question about why Akua carries her brother's urn At about 51:40, Christina talks about Jamaicans being “culturally Anglican” and its complexities At about 53:20-Lady Saw and her legendaries and an early encounter with Akua and a woman in Kingston is recounted At about 57:20, Christina talks about “lyme” and its usage in the book and in Jamaica  At about 1:00:10, Christina charts the importance of The Miss Lou “Happy Birthday Song” in the book and in Jamaica and the Jamaican diaspora At about 1:01:45, Christina responds to Pete's questions about the ways in which Akua's father treats her and her homosexuality-Christina speaks to the idea of “infantilizing”  At about 1:06:00, Café con Libros, Word Up, and Bookshop.org are shouted out as good places to buy her book and she gives contact information/social media information At about 1:06:55, Christina shares wonderful feedback from readers      You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch this and other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode.    I am very excited about having one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. A big thanks to Rachel León and Michael Welch at Chicago Review.    Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl     Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content!       This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 248 with Katya Apekina, a novelist, screenwriter and translator; her novel, The Deeper the Water the Uglier the Fish, was named a Best Book of 2018 by Buzzfeed, LitHub, and more and finalist for the LA Times Book Prize; Mother Doll, was named a Best Book So Far of 2024 by Vogue    The episode will go live on August 16.    Lastly, please go to https://ceasefiretoday.com/, which features 10+ actions to help bring about Ceasefire in Gaza.  

We are raiding the Guardian Long Read archives to bring you some classic pieces from years past, with new introductions from the authors. This week, from 2021: I've long nursed vague plans of moving back to China for a few years, to solidify my place there. But with each year that passes in the US, such a move gets harder and harder to make. By Cleo Qian. Help support our independent journalism at theguardian.com/longreadpod

Send us a Text Message.In this conversation, Caleb Campbell discusses his book 'Disarming Leviathan: Loving Your Christian Nationalist Neighbor' and the rise of Christian nationalism in America. He shares his personal experiences with Christian nationalism within his congregation and the broader Christian community. Campbell explains the metaphor of Leviathan and how it represents the chaotic and evil forces that work against the ordered ways of God. He also explores the reasons why people are drawn to Christian nationalism, including the fear of ethnic erasure and the desire for power and protection. Campbell highlights the role of pastors and politicians in perpetuating Christian nationalism and the need for deep biblical literacy and critical thinking. In this conversation, Caleb E. Campbell discusses his approach to engaging with Christian nationalism and offers practical techniques for having conversations with Christian nationalists. He emphasizes the importance of a pastoral approach, focusing on the heart rather than the head. Campbell suggests inviting Christian nationalists into a safe and hospitable environment, engaging in humble subversion, and asking questions that challenge the tension between their beliefs and the teachings of Jesus. He also highlights the need for humility and open-mindedness in these conversations, recognizing that both sides have something to learn from each other. Campbell's prayer for the upcoming election season is for the church to receive the unveiling of what's really going on and to work towards a fresh expression of the church that transcends Americanness.Buy the book: https://a.co/d/00jrMgz2Guest Bio:Pastor Campbell graduated Summa Cum Laude with a Masters of Arts in Ministry from Phoenix Seminary in 2015 and is currently a doctoral student at Fuller Theological Seminary.He has served at Desert Springs Bible Church, in Phoenix, AZ since 2006, serving as Lead Pastor since 2015.He also serves on the board of United Pastors of Arizona and as the state-wide regional director of the Surge Network. He has spoken at events hosted by Acts 29, African American Christian Clergy Coalition, the Surge Network, Grand Canyon University, Converge Arizona, Young Life and Phoenix SeminarySupport the Show.To learn more about the show, contact our hosts, or recommend future guests, click on the links below: Website: https://www.faithfulpoliticspodcast.com/ Faithful Host: Josh@faithfulpoliticspodcast.com Political Host: Will@faithfulpoliticspodcast.com Twitter: @FaithfulPolitik Instagram: faithful_politics Facebook: FaithfulPoliticsPodcast LinkedIn: faithfulpolitics Subscribe to our Substack: https://faithfulpolitics.substack.com/

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. Tonight on APEX Express, Host Miko Lee speaks with artivists from the upcoming exhibition at Edge on the Square opening this Saturday June 29 and running through February 2025!   TRANSCRIPT Walking Stories: Artivists POV   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.   Miko Lee: [00:00:34] Good evening this is Miko Lee and welcome to Apex Express. We are so happy to have you with us. We are going to be talking about something really personal to me tonight. We are talking about the new interactive exhibition at Edge on the Square in San Francisco, Chinatown. The whole exhibition is called Walking Stories and it is stories from our Asian American community. And we invite you to join us. It opens June 29th and runs all the way through December. Opening night, June 29th is going to be interactive performances and amazing little goodies so we really invite you to join us for opening, but if you can make it that night, we're running all the way through the end of December. Okay, so a little bit of background. Some of you might know that I have been a host on Apex Express for the past seven and a half years, and it has truly been a delight and a joy. As part of that time, I learned that Apex Express is part of a network of Asian American progressive groups. That's called AACRE, which is short for Asian Americans for Civil Rights and Equality. And about two and a half years ago, I joined the staff of AACRE, which has been such a joy to be around colleagues that share the same values and passions and beliefs in supporting and uplifting our community. For the past year, we have been working on a narrative strategy, really trying to reframe how Asian Americans are portrayed in the media, how we're perceived within our own community. We were initially going to do this with the Pacific Islander community as well. But in talking to our sister colleagues, they are going through their own process of a PI narrative strategy and I totally respect that. At some point we will merge and join those voices together. So right now we're focusing on Asian American stories. Through the past year through wonderful funding from San Francisco foundation's Bay Area Creative Corps we were actually able to fund approximately 37 different artists and embed them in different AACRE groups to be able to create narratives that resonate with their own communities. So that in this exhibit Walking Stories, we're going to hear stories about Hmong folks and formerly incarcerated folks, folks that are queer and trans and folks that have stories to share, because we all have important stories to share. Our exhibit is inviting folks to think about how they can get involved, how they can share their own stories, how they can join us in this collective movement for rewriting our history of the kind of silent, quiet model minority that sits in the background that's used as the wedge issue for larger things like reparations and affirmative action and really reframes that and brings back our Asian American activist past because we know that is who we are. That is our history going back from the first time that we came into this country. We invite folks in the community to join us to see more about who these stories are, to find out, to get involved to see what resonates with them and even what doesn't resonate with them. But really join us in this conversation. So tonight I'm really pleased to be talking with just a few of the artists that are in Walking Stories. So that you can get some insight into their process and how they made the piece that they're going to be sharing.   The exhibit itself will be at Edge on the Square in San Francisco Chinatown. When you walk in, you are going to see this timeline of lanterns hanging from the ceiling. That's about an Asian American activist history. You're going to see a really cool, nourishing power piece, which we're going to talk to the artists about, that is about how potlucks were used as a tool for queer and trans organizing. You are going to learn more about Hmong dance. And what does that look like, and what does it feel like in your own body? You're going to learn about ancestors, the power of our ancestors and how we can bring that to help us in our healing and moving forward. You're going to see in the exhibit about a Hmong story cloth reimagined with a modern perspective, you're going to see stories of south Asians activists and what they represent. And what does it mean to be a south Asian Muslim in America today? You're going to hear some of these stories. You're going to see them. We hope that you'll experience them. Then we hope that you'll learn more and find out about what we're doing and how you can get involved. So join me on this little journey through some of the artivists—that's artists that are also activists—that are part of our exhibit called Walking Stories. Come board. Join us. Welcome Hà Trần to Apex Express. We're so happy to have you with us. Trần Châu Hà: [00:05:40] Thank you for having me.   Miko Lee: [00:05:41] So you are amazing artist, but I want to start and go back and for you to tell us who are your people and what legacy do you carry with you?   Trần Châu Hà: [00:05:52] Ooh, oh my god, that's such like a big question. I guess my people are the people at Asian Prisoner Support Committee. I come from like a lineage of like Vietnamese refugees, and I think about like the ways that our communities have been impacted by the legacy of imperialism, which includes like incarceration, deportation, and things of that nature. I would say my community are folks who are impacted by, those kinds of pipelines and violences, Southeast Asian folks broadly.   Miko Lee: [00:06:14] And what legacy do you carry with you from them?   Trần Châu Hà: [00:06:18] I think the easy answer is like resilience clearly. To exist and survive under so many different violences and still move forth and create such beautiful communities.   Miko Lee: [00:06:25] Hà how did you get started working with Asian Prisoner Support Committee?   Trần Châu Hà: [00:06:29] It actually started from an interpersonal relationship. My best friend who also works at the organization now. They actually explained to me that a APSC was doing all this work in regards to like stopping the prison to deportation pipeline, how like so many of our Southeast Asian American community members were impacted by this kind of incarceration and things of that nature. At that point, it just became my political home after many, many years.   Miko Lee: [00:06:50] Thanks for sharing that. Then tell us about the work that you have in the new exhibit that is opening up called Walking Stories. Can you tell us the title of your piece and then describe it for us?   Trần Châu Hà: [00:07:01] The piece I'm making is a comic called We Was Girls Together. It's a quote from Sula by Toni Morrison. The comic is about my friend Maria Legarda. She's a re-entry coordinator at the Asian Prisoner Support Committee. She's also a Filipino immigrant who's facing deportation to the Philippines now after she was incarcerated in CCWF for 14 years. We met each other through APSC I know her as a very generous and kind person who loves crocheting. She's always been like an extreme light every time I come to the office and interact with her. But I also know that Maria is like someone who frankly, knows all these like incarcerated women or like formerly and currently incarcerated women. She really shows me what it looks like to be, like, an abolitionist feminist despite the kind of struggles and difficulties that she's moving through as someone who's literally currently still facing deportation because of her quote unquote, deportable offense. My comic is about Maria Legarda. It starts with like her story, her migration story from the Philippines. She was born under the Marcos regime, which basically socioeconomically destabilized the Philippines. She came to the US for economic opportunity. But clearly she had a really hard time adjusting, and then eventually she made some choices that led her to a federal offense that led to her decades of incarceration. When she was in prison, she met all these, wonderful women of color who also were survivors of sexual and gendered violence, so I just follow her story through her healing. Despite the fact that she's healed so deeply and she's shown so much care to other people and she has these communities she still is deportable to a country that she hasn't been to in 30 or so years, and doesn't consider home anymore.   Miko Lee: [00:08:27] Share with me a little bit about how zines are your choice of art medium?   Trần Châu Hà: [00:08:32] I love the nature of how like accessible they are. I think I kind of started out as an illustrator and an essayist separately. But then I realized as I was like writing essays I couldn't necessarily share those things immediately with my mom. She's not super fluent in English, right? But like when I combined the medium of illustration and writing into creating a comic in a zine, I could show that to my mom and even if she can't fully understand all the writing she could still access, like the actual medium. And then the form of the zine is something that is meant to be taken away. It's meant to be shared with other people. I started going to a lot of zine fests last year and it just made me realize like, oh yeah, I want all my stuff to be accessible, right? Like I don't want it necessarily to be underneath a pay wall or things of that nature. I think there's something like, you know, for lack of a better word, very like, democratic about zine making, and as well as, comics generally.   Miko Lee: [00:09:20] I love how you do the mom test.   Trần Châu Hà: [00:09:22] Yes. It's funny, I wrote, an essay about my grandmother, actually, in the Asian American Writers Workshop like 2021, and I had to literally translate the entire thing for her to read it to make sure all the details were right, and I was like, wait, I could have just made this easier by like illustrating some of it to make it accessible across language barriers and things of that nature.   Miko Lee: [00:09:40] And has Maria read through the scene?   Trần Châu Hà: [00:09:42] Yes, she has.   Miko Lee: [00:09:44] What has been her take on it?   Trần Châu Hà: [00:09:46] She actually sent me a very long signal which like made me cry because I was like, oh my god, I can't believe she actually thought this about the work. She was talking about how it helped her reflect on everything she's gone through but also like these relationships that have really sustained her. Namely like, I mentioned this person named Granny in the comic who I've met who's essentially like the person who adopted Maria when she just became incarcerated and was dealing with the fallout and trauma of sexual violence and things of that nature. The comic reminds Maria of just her growth essentially over all these years, but also all these rich relationships that still continue to sustain her like across carceral walls and things of that nature.   Miko Lee: [00:10:17] And what do you hope people that come and see your work and take one of your zines, what do you hope that they walk away with?   Trần Châu Hà: [00:10:25] The obvious answer to the question is, like, how cruel the prison to deportation pipeline is. For someone to build such wonderful communities in the United States and for borders being so arbitrary and things of that nature that they can be stolen away from these communities at any point, and how cruel and unnecessary that all feels for immigrants and refugees who have been criminalized to experience this kind of double punishment. I think the other element of it is the ways that women, specifically currently and formerly incarcerated women create these networks of care amongst each other that, in light of the state not supporting them and their healing, whether they've experienced gendered or sexual violence, these people will find each other, these women will find each other and they'll be able to support each other and help each other through these processes of healing and also like fighting sexual violence in the carceral system. Yeah, just like highlighting those kinds of like organic networks and that relationship building that we don't necessarily get to see in like, for example, like mainstream media or like policy making or things of that nature.   Miko Lee: [00:11:18] What will people see when they walk into the Rdge on the Square exhibit space?   Trần Châu Hà: [00:11:23] Yes, you will see 15 comic pages in acrylic frames and then underneath that will be a table with actually takeaways. So feel free to take the comic away in like a booklet form as well, but you can also read it out on the wall when you walk in.   Miko Lee: [00:11:35] Thank you so much for sharing with us about your artistry and your vision and your story about Maria and your connection with Asian Prisoner Support Committee. We look forward to seeing your work.   Trần Châu Hà: [00:11:45] Thank you, Miko. Pleasure speaking with you.   Miko Lee: [00:11:48] Next up, listen to “Staygo” from DARKHEART, A Concert Narrative by singer and songwriter Golda Sargento.   MUSIC   That was the voice of Golda Sargento from the new Filipinx futurism punk rock sci-fi DARKHEART. Katie Quan, artist, activist, ethnic studies teacher. I'm so happy to have you on Apex Express. And the first question I want to ask you is, who are your people and what legacy do you carry with you?   Katie Quan: [00:16:51] I would say that my people, I really strongly identify with Asian American movement artists, makers, and shakers from like the 60s and 70s. It was my first introduction to really seeing Chinese Americans be out there and be really vocal, be excited, and be loud and angry about all these different topics. And so I've really gravitated towards just all that excitement, all that energy over the past decade just after learning more about them. I really just enjoyed seeing what that looks like and how we can continue that energy, especially for East Asian Americans here in the States, as we move into a new generation of game makers.   Miko Lee: [00:17:38] Tell us about how you carry that legacy of feisty activism into your work as an artist.   Katie Quan: [00:17:44] I like to consider myself a legacy of the Asian American movement. My grandparents came here in the 30s and 40s. I also have great grandparents and great great grandparents who traveled between the US and China, back and forth, back and forth and so I find myself really attached to their stories as well as how they've overcome a lot of those obstacles that Chinese Americans had to face during that time frame. My parents are both second generation Chinese American. They met at Self-Help for the Elderly, which was a organization that came from the Asian American movement in terms of making sure that our elderly are actually taken care of and have culturally relevant care. My parents were very much interested in enrolling us into bilingual education. Bilingual education was not a popular educational pedagogy at that point, partly because people thought that if you learned another language that was not English, that you would lose your Americanness in a lot of ways. And so one of the things that I really like to bring into my art is making sure that legacy and that history is always challenged and always, it feels relevant to where we are now, but also can meet other people where they're at. I do understand that not everyone gets to have a lot of those kinds of privileges where they see themselves, in their role models or that they didn't grow up around the history, I understand that that's the case. And so making sure that the work that I always produce meets people where they need to be at, is something of interest and something that I carry with me in all my work.   Miko Lee: [00:19:32] Thank you, Katie. Can you talk about the work that you have been doing with Chinese for Affirmative Action and tell us about the reparations zine that you've been developing?   Katie Quan: [00:19:43] Me and a team of other artists, academics and activists have been working to make a reparations zine alongside Chinese for Affirmative Action. Here in San Francisco reparations is still a very contentious issue. So one of the things that we're trying to really bring about and inform, especially the Chinese American demographics, is what reparations are and how we can support the work that black communities need and what they're doing at the moment. Within the zine, we are really covering what reparations are, how African Americans in San Francisco have contributed to the making of the city and also the Bay Area, how their community has been bulldozed in many, many ways, whether it's through health, environmental justice, redlining, all of these different issues. What's happened in the past 50, 60 years reparations is that first step in terms of saying sorry and, how can we begin to mend this wound that the United States has created consistently over time with this particular population.   Miko Lee: [00:20:54] What has surprised you about this process?   Katie Quan: [00:20:58] It's hard. [Laughs] And not that I didn't think it wasn't going to be hard. But I think the team that we've been working with, we've been really fortunate because we have some, second, third and fourth generation activists and artists, but we also have a team of other people who are new immigrants, and we've been really fortunate to learn from their perspective. And so rather than approaching it in a lens that talks about anti-blackness, sometimes it's talking about what it means to be American. And how do we participate in democracy? It's bringing a very positive spin, or just kind of a different spin to topics that we already know, and then that we talk about all the time, but making sure that it's accessible to everybody.   Miko Lee: [00:21:46] So this zine is going to be available for free in the Edge on the Square exhibition. Can you talk about what people will see when they walk into the exhibition and see your work? What are they going to see? What are they going to experience?   Katie Quan: [00:21:59] Yeah, we are hoping to make sure that our exhibition is big and it's bold, but at the same time it feels simple in its messaging. Asking people a little bit about what they know about reparations, being able to challenge their own thinking of what they know about black communities here in San Francisco, what they've done. Also talking about how we ourselves get information, how do we learn the things that we know and how can we challenge that? Or how can we push that forward? And so we will have an interactive element, but we will also have the zine there available, which will be created both in English and in Chinese for anybody who needs it. We will also have additional resources via QR code so that if anybody has any other questions or want to learn more about it, want to act on their excitement for this particular issue that they can also do so.   Miko Lee: [00:22:58] And what do you hope that people will walk away from your after taking away your zine after seeing the exhibit? What are you hoping that they will learn or or do after seeing your work?   Katie Quan: [00:23:10] One of the things that we kind of came across when creating the zine is that people had very strong opinions about reparations. They didn't always have all the information, but they had very strong opinions and they had very particular beliefs that come from their own life experiences. Our goal for this is not necessarily to persuade one way or the other, but it's to make sure that they're informed and just making sure that they have all the facts so that they can make a decision that best suits their own life experiences. We're also hoping that people walk away feeling like they know a little bit more and that they can share that with their own communities in a way that makes sense for them.   Miko Lee: [00:23:51] Katie Quan, thank you so much for joining us on Apex Express.   Katie Quan: [00:23:54]Yes, thank you so much.   Miko Lee: [00:23:55] Next up, take a listen to “Live It Up” by Bay Area's Power Struggle.   MUSIC   That was “Live It Up”by Bay Area's Power Struggle. Welcome Tsim Nuj to Apex Express.   Tsim Nuj: [00:27:32] Hi, Miko. Thank you so much for having me today.   Miko Lee: [00:27:37] Can I start with just by asking you, who are your people and what legacy do you carry with you?   Tsim Nuj: [00:27:46] Who are my people and what legacy do I carry with me? My people are Hmong. My ancestors were living in northern Laos, in the mountains and in the jungles and farming. That's where my lineage and then my ancestors had to flee their homes because of the Vietnam War and the secret war in Laos to find refuge in Thailand and then now we're here in the US. specifically in Merced, California in the Central Valley on indigenous Yokut land. So yeah, that's my, those are my people. I think that my community here in Merced that I organize with, who are also queer and trans folks of color are also my people. And I think that the legacy that I carry is this legacy of, I carry this legacy of love. I think that in moments of having to find home and having to survive, I think that love really grounded my people and my people's families. And so I think that I'm really holding onto this act of loving. That I think really grounds me and really affirms who I am and the journey as I honor my ancestors. And I really, as I think about the descendants, right, my descendants, the young people who are a emerging and, you know, the future generations that are coming. And so I think that there's this really special moment where I feel like I'm really longing to connect with my ancestors, especially those who were queer and trans, my queer and trans Hmong ancestors. And I've been also connecting with my descendants. And then I think that there's also this present moment, right, where I'm also connected deeply with my community, who consists of being children of immigrant refugees, you know, queer and trans folks, and folks that are really reimagining and really fighting for a world where we can all be liberated and be our full, authentic, genuine, loving selves.   Miko Lee: [00:29:58] Thank you for sharing. Your art form is as a dancer, as a movement person, and you've created a video for the Walking Stories exhibition. Can you tell us the name of that video and what inspired you to create that?   Tsim Nuj: [00:30:14] I feel really honored to be a part of the Walking Stories exhibit, and this is actually my first exhibit that I get to be a part of and share my work in and so it feels very exciting and it feels very, like such an honor that I get to be a part of this project that's a collection of works who the artists and yeah, the folks that are a part of this are just such like incredible, brilliant beings, sharing our stories. And so my dance video The title of it is Our Queer Hmong Love Dance. What really inspired this piece was this idea of being home, right? And this idea of belonging. There's, there's so much ideas that came up for me. And I think that these ideas were coming up because of a recent transition. Last year, around this time, actually, I graduated from UC San Diego, and I was coming home, right, after five years. And so I think that this piece is really about connecting with my roots and finding home specifically in Merced and in the Central Valley. And really trying to think about who I am as a Hmong person. But it was also about who I was as a Hmong and queer person, right? A queer and Hmong person. And so I started to think about these rituals or these sounds and these movements that I really needed to explore. And so a lot of that exploration and that work. I got to practice and be in process and I think it's really what I needed in this moment. And so I'm really grateful I'm really grateful that I get to share it with my community and I'm really grateful that I get to share with my community and the folks that come and see our exhibit and I really I'm really hopeful that folks will resonate with it and really get to just witness me.   Miko Lee: [00:32:14] And so folks will come to the exhibit, they'll see all these different works, they'll see a booth that will have your film playing in it. Is there something that you want to have your audience lingering with or thinking about after they watch your work?   Tsim Nuj: [00:32:30] Yes. I really want my audience, the folks that come to the exhibit, feel invited to witness my piece, my video in the booth. I want them to allow themselves to really feel, right, whatever they're feeling, whatever is coming up for them. Whether it's the sounds that are guiding them, whether it's the visuals, right. Whether it's, you know, there might be some words or some images that come up, and I really want the audience to just really be with their bodies. Be with their minds, their spirits, right? And I, I hope that they allow themselves to just feel it. And I, I remember having a conversation with you Miko about this like meditative presence. And so I'm hoping that my audience or the folks that come and witness the entire exhibit, right? I hope that they are curious, and that they really allow themselves to just be with the work, whatever that means for them. I don't want to tell people how to watch my work, right? But I do want them to just really, be with it, right? And, and if you can, I hope that you'll be able to watch it for its entirety. I think that there's something really beautiful happening, with how I have put this video together and so I hope that you can be with it. Take the deep breaths. Take those breaths, right, pay attention to the sensations that you experience in your body.   What I want the audience to take away from after seeing my piece, I hope that they get to receive it and that they breathe it in and they're with it, right. And that they really see me and see the people that are in this video. And I hope that they see parts of themselves in it, and parts of their stories and their journeys. And I also really want them to think about these questions that I propose and that I ask, right? That I'm also asking myself. This piece is a dedication, right? I think that I'm creating this piece for my ancestors. I'm dancing for my descendants, and I think I'm also asking them, I'm in conversation with them, right? About where is home? Especially for folks who have been displaced, because of very violent histories of war and persecution and having to flee our homes, right, and survive all that, like, thinking about our indigenous relatives here on Turtle Island and thinking about Palestinians in Gaza. I think that, there's in this moment, this piece, I do ask, and I am trying to find this home, this idea of going home. And also how do we dance there, right? Like, how do we dance towards home? And so what is dance for us? I'm just really inspired by, black queer and trans feminists, specifically Prentiss Hemphill, and just the conversations that Prentiss has shared on their Spotify podcast, go and check it out. I think that this piece is also about remembering and honoring the folks who have come before me and the folks that will arrive after me.   Miko Lee: [00:35:32] Tsi Nuj, thank you so much for sharing your story. And we look forward to seeing your dance piece in Walking Stories.   Tsim Nuj: [00:35:41] Thank you so much, Miko, for your time and for creating the space for me. Yeah, I like, I think there's a lot of excitement that I feel in my body. And so like, I want to talk about the work, but please, please, please, for whoever is listening, come and be with us. Come and experience our work and be in conversation with us. I think it's really important in this moment for us to uplift one another's voices and really affirm each other's stories. When we think about collective liberation, it really is doing this work, right? Of thinking about what is collective care and collective love look like, how do we lean into our creativity, our ancestral technologies and practices to really make meaning of how we show up in this world, right? And to really empower us, right? To, you know, continue showing up for one another and because we know that this work is lifelong. Healing and, you know, really creating this world where we are all free. I hope that the folks that are listening to this and the folks that come to the exhibit and everybody, right, I really hope that we can feel how important it is for each one of us and all of us to be in this movement towards the liberation of everybody, right? Because our liberations are, are so deeply intertwined and connected. So thank you.   Miko Lee: [00:37:04] Thank you so much. That was great. Let's take a listen to one of Byron Au Young's compositions called “Know Your Rights.” This is part of the trilogy of the activists songbook. This multi-lingual rap gives steps to know what to do when ICE officers come to your door.   MUSIC   That was “Know Your Rights” performed by Jason Chu with lyrics by Aaron Jafferis and composed by Byron Au Young. Welcome Visibility Project and Related Tactics to Apex Express. I'm so happy to have you all with me this evening, and I would love to just ask you all the question I love asking for people, which is what is your story? What's your background? And what legacy do you carry with you? And let's start with Weston.   Weston Teruya: [00:40:12] I am a Japanese American and Okinawa American from Hawaii. I identify as an Asian American and person of color, and I draw on the histories of cross-racial solidarity between communities as a strategic alliance and community building effort for justice.   Miko Lee: [00:40:34] Thanks, Weston. And Michelle, how about you? Who are your people and what legacy do you carry with you?   Michelle K Carlson: [00:40:41] Hi, thanks, Miko. I'm Korean American. I grew up in Seattle, Washington and spent most of my time on the West Coast. I, similar to Weston, operate in a realm of cross racial solidarity, linking myself often to histories of racial solidarity justice movements. Weston and I are representing Related Tactics, which is an artist collective that also anchors itself within these histories of cross racial solidarity. We make all sorts of artistic works at the intersection of race and culture.   Miko Lee: [00:41:18] Thanks, Michelle. And finally, Mia Nakano, who are your people and what legacy do you carry with you?   Mia Nakano: [00:41:24] Thank you so much for having me here. I'm Mia Nakano she/her pronouns and I'm the executive director of the Visibility Project. I am a queer fourth generation Japanese American woman. I am the daughter of a single mother and the sibling of a deaf adult. And I think that all of those relationships and intersectional identities bring forth all of the work that I do. And so I think about queer ancestors, I think about accessibility in the deaf community, I think about all of the really powerful women that have been incredibly present in my life to shape who I am today.   Miko Lee: [00:42:10] Thank you, Mia. And you are two different groups of artists. One is Visibility Project. The other is Related Tactics. Can you share with us a little bit about how this collaboration came about?   Mia Nakano: [00:42:22] I was invited to participate as a contributing artist in one of Related Tactics' very first shows back in, I believe, in 2016, and have been following their work as a growing artistic practice and a collective for quite some time. I've always been thinking about how could the Visibility Project as a queer led, you know queer, LGBTQ, archiving and organizing artistic practice collaborate with this cross racial, very intersectional, collective in Related Tactics. One of the ideas that has sort of been percolating for me over a long period of time was that so many queer Asian American organizations and so many queer spaces have all come out of the idea and like the gathering around potluck spaces, right? So potlucks being safe spaces for queer folks, for folks of color, for marginalized communities who didn't have safe spaces to gather. And many queer Asian organizations started off with potlucks that then turned into social and political groups, which then shifted into political advocacy and culture change, and then ultimately like legislative change. And I saw such deep connections in terms of how I see related tactics and experience related tactics. It's building roots and planting seeds for multiple relationships and collaborations through the different intersecting ways that our communities have been able to come together over the past few years.   Miko Lee: [00:44:18] So how did this collaboration begin working on this concept around potlucks?   Michelle K Carlson: [00:44:24] This is Michelle from Related Tactics. The three of us have known each other for a long time and Mia and I have worked together in a lot of different capacities over the years. I think Related Tactics, at the core of what we do is coming together with this kind of shared belief and shared value system around collectivity as this really productive material and tool and method for creative action in the world. I think at the core of that is understanding that we don't have all the information and we don't like to be the only voice in the room and we are not the ones that necessarily should be telling the stories for everyone. Related Tactics, when we often get an opportunity, one of our common strategies is just to figure out a way to share that out and to bring more voices into the room to be in concert with our own. When we understood that the Visibility Project was also going to be a part of this project, we're like we should join forces and bring our communities together. And I think we've been looking for a way to do that over the years.   Miko Lee: [00:45:35] Talk to me about the title, Nourishing Power. Where does that come from? What is that about?   Mia Nakano: [00:45:41] I think because of the individual artistic practices, And the people who comprise Related Tactics, and myself at the Visibility Project, we are all so incredibly busy, that all of our contributions to our various communities, whether it's at universities, in social justice movements, in artistic organizations, we're all about cultivating the power of other people while putting artists into artistic practices and people first, right? Like you have to, put on your oxygen mask first before you're able to really step out and fully do the work that you want to be doing. And to do that, you have to nourish yourself, you have to nourish your power. And I think that there's also the idea of the collectivity and framework that Related Tactics brings where we can all also do that for one another, right? When one person is at 10 percent capacity, the other two people can step forth and we can all move and lift each other up together rather than doing it as individuals.   Miko Lee: [00:46:52] Thank you. And Weston, what can people expect when they walk into Edge on the Square, the corner of Grant and Clay? What will they see that will show them your work?   Weston Teruya: [00:47:04] So the center point of our installation is going to be these carts with an array of takeaways that people are free to engage with in different ways, and they are essentially prompt for various potlucks that, we've contributed as a themes and as collaborators and then have also invited a group of additional artists to contribute as well. One of the modes that Related Tactics works in is in the form of the takeaway and part of the impetus behind that is that we want to provide the seed for people to create their own sort of spaces and gatherings and encounters with people beyond the gallery walls. We don't want art to just be this thing that only exists in these defined spaces. We've had different projects that use that mode, and this is one of them. We invite people to engage with it, take these ideas, plant the seeds for their own potlucks beyond the walls of the gallery and hopefully have these opportunities to build community, in their own spaces, in their own worlds, amongst their own networks of people.   Miko Lee: [00:48:12] I love the accessible takeaway. I still have a divest yourself matchbox from one of your shows. [Laughs] I love that. Michelle, what's a concrete example of a takeaway from Nourishing Power?   Michelle K Carlson: [00:48:27] One of the examples I would talk about is, one of the artists we've invited, Joy Enriquez, has created like hundreds of tiny ceramic spoons. They're thinking a lot about how does one articulate when they need support. They talk about it as if one only has so many spoons to use in a day, but you have way more things you need to do with those spoons. How do you survive that? How do you ask for support? How do you allocate those spoons to this kind of overwhelming existence? They have all these really beautiful prompts that will be printed on a card to take away, but then also you can take away a ceramic spoon that they've been spending many hours in a ceramic studio, making and firing. I think there's this idea too, that there's many, many ways one can use that spoon that can exist to support your day to day that you might not think about. So they have some things that are about how one might hold or touch the spoon or things you might do with it that isn't just about eating. That also really embodies the spirit of this project, that it's also not just about potlucks in the sense of like, bring food to a table, but that it's about this kind of space to share knowledge, to share resources, to exchange things when you don't feel like you have the thing you're supposed to bring, or you can't meet the expectation, the greater expectations of what is supposed to occur in that moment. But that the potluck is a space for us to share and support each other in ways that we maybe have not been able to imagine yet.   Miko Lee: [00:50:06] Ooh, I love that. And Mia, how many different artists are there? How many, and how did you go about selecting all these different artists that are participating?   Mia Nakano: [00:50:15] There's over a dozen artists who are participating, and we collectively just started brainstorming and extending out invitations to our various communities and folks that we've worked with in the past, folks who, have participated in Related Tactic shows or know, you know, through other pathways and connections. And then I just reached out to a few Visibility Project participants, even folks going back that I interviewed over 15 years ago to ask if they would be willing to participate. Each person was invited to create one prompt, one initial prompt of what the potluck would be, like if they were to have a potluck, right? So we have somebody who put forth a potluck for screaming, a potluck for nourishing. So different artists are putting forth their own individual potlucks, and one prompt connected to that, and then folks will be able to use that as a seed to create their own gathering spaces in the future.   Miko Lee: [00:51:15] If there's an action word that you would want people to walk away with, what's that action word after they go to see your exhibit? What is the verb that you want them to do?   Weston Teruya: [00:51:27] I think it might be gather. That's sort of the crux of what we're hoping to seed.   Miko Lee: [00:51:33] What about an emotion? Is there an emotion you want folks to walk away with?   Mia Nakano: [00:51:38] I like the idea of gathering, in that also kind of to be able to connect, right? Like we're not just coming together, like we're building something that we want to connect and maintain.   Michelle K Carlson: [00:51:50] Yeah. And I think also like exchanging, right? It's like something really active is happening, there's an exchange, everybody's kind of, there's like a reciprocity too. That you know, that nobody is hosting, like everybody's coming and sharing and exchanging and giving and receiving and maybe nourish is actually the right, I don't know if nourish is an emotion, but I think in the social justice world it is. [Laughs] So it feels like nourish actually is probably a useful emotion. I think reciprocity is also like a feeling that should happen, that when you are giving you're not doing so to the point of extraction because you are also receiving. And that's I think one of the core things about this project wasn't just about Related Tactics and or Visibility Project offering ideas. It was like, we have created a prompt for a potluck and in many ways audience members will come into the show and see our potluck because it will have all these contributions from all these other artists. And so you get to kind of leave with like a goodie bag, doggie bag that is like the kind of residue of our potluck. We hope that folks go home and do that for themselves within their communities, either using our prompts or using our prompts as a platform to create their own space.   Miko Lee: [00:53:18] Is there a perfect amount of people to attend a potluck? Like how many dishes do you want at your potluck?   Michelle K Carlson: [00:53:26] I feel like we're in like a seven to ten vibe. Like 15 tops, then it's too many. You know, it's like, because not too many, but it, there's a different thing that's happening when you get over 15 people in a room. But like, I feel like 10 is the zone where you can still have kind of like close intimate, you know, conversations where you can like build trust, you can spend some time, get around to see everyone, get a little bit of everybody's, you know, contribution, and then, but it's not like so small that it's like you and one other person and you're on a very awkward blind date or something.   Miko Lee: [00:54:09] And are you all down for the themed potlucks or do you like them to be just open ended, bring whatever you want?   Mia Nakano: [00:54:17] I love a themed potluck. I love just like some sort of container where you're going in and you're acknowledging I've got dessert, or we're gonna go over to Southeast Asia, rather than everybody showing up with ten pots of rice and they're just eating rice all night.   Michelle K Carlson: [00:54:35] Or tortilla chips, or like Trader Joe's brownie bites, like five containers of those. No shame on brownie bites.   Miko Lee: [00:54:44] Okay, how can folks find out more about your work?   Mia Nakano: [00:54:48] So folks want to check out what the Visibility Project is doing, you can go to visibilityproject.org and learn about all the participants and hear their stories and even go on an LGBTQ digital history tour of the Asian American community in the Bay Area.   Michelle K Carlson: [00:55:04] If you want to find out more about Related Tactics, you can go to relatedtactics.com or find us on Instagram and our handle is just at Related Tactics.   Miko Lee: [00:55:15] Thank you so much for joining me and I look forward to seeing your work in the show and feeling nourished and planning my next potluck. Thank you so much. So that was a chance to listen to just a few of the artivists that are part of Walking Stories. You got a little insight into where they're coming from and how they created their pieces. And there's so many more artivists that you didn't get to hear from. So I hope you'll come to our exhibit that runs June 29th through the end of December. We'll be at Edge on the Square in San Francisco Chinatown. We'll put a link in the show notes at our website kpfa.org backslash programs, backslash apex express. We hope that you'll join us and share your story too, because all of us have important stories to tell. Thank you so much for joining us on Apex Express. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Hien Nguyen, Jalena Keane-Lee, Miko Lee, Nate Tan, Paige Chung, Preti Mangala-Shekar, and Swati Rayasam. Tonight's show was produced by Miko Lee and edited by Ayame Keane-Lee. Have a great night.   The post APEX Express – 6.27.24 – Walking Stories appeared first on KPFA.

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. Tonight on APEX Express, Host Miko Lee speaks with artivists from the upcoming exhibition at Edge on the Square.   TRANSCRIPT Walking Stories: Artivists POV   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.   Miko Lee: [00:00:34] Good evening this is Miko Lee and welcome to Apex Express. We are so happy to have you with us. We are going to be talking about something really personal to me tonight. We are talking about the new interactive exhibition at Edge on the Square in San Francisco, Chinatown. The whole exhibition is called Walking Stories and it is stories from our Asian American community. And we invite you to join us. It opens June 29th and runs all the way through December. Opening night, June 29th is going to be interactive performances and amazing little goodies so we really invite you to join us for opening, but if you can make it that night, we're running all the way through the end of December. Okay, so a little bit of background. Some of you might know that I have been a host on Apex Express for the past seven and a half years, and it has truly been a delight and a joy. As part of that time, I learned that Apex Express is part of a network of Asian American progressive groups. That's called AACRE, which is short for Asian Americans for Civil Rights and Equality. And about two and a half years ago, I joined the staff of AACRE, which has been such a joy to be around colleagues that share the same values and passions and beliefs in supporting and uplifting our community. For the past year, we have been working on a narrative strategy, really trying to reframe how Asian Americans are portrayed in the media, how we're perceived within our own community. We were initially going to do this with the Pacific Islander community as well. But in talking to our sister colleagues, they are going through their own process of a PI narrative strategy and I totally respect that. At some point we will merge and join those voices together. So right now we're focusing on Asian American stories. Through the past year through wonderful funding from San Francisco foundation's Bay Area Creative Corps we were actually able to fund approximately 37 different artists and embed them in different AACRE groups to be able to create narratives that resonate with their own communities. So that in this exhibit Walking Stories, we're going to hear stories about Hmong folks and formerly incarcerated folks, folks that are queer and trans and folks that have stories to share, because we all have important stories to share. Our exhibit is inviting folks to think about how they can get involved, how they can share their own stories, how they can join us in this collective movement for rewriting our history of the kind of silent, quiet model minority that sits in the background that's used as the wedge issue for larger things like reparations and affirmative action and really reframes that and brings back our Asian American activist past because we know that is who we are. That is our history going back from the first time that we came into this country. We invite folks in the community to join us to see more about who these stories are, to find out, to get involved to see what resonates with them and even what doesn't resonate with them. But really join us in this conversation. So tonight I'm really pleased to be talking with just a few of the artists that are in Walking Stories. So that you can get some insight into their process and how they made the piece that they're going to be sharing.   The exhibit itself will be at Edge on the Square in San Francisco Chinatown. When you walk in, you are going to see this timeline of lanterns hanging from the ceiling. That's about an Asian American activist history. You're going to see a really cool, nourishing power piece, which we're going to talk to the artists about, that is about how potlucks were used as a tool for queer and trans organizing. You are going to learn more about Hmong dance. And what does that look like, and what does it feel like in your own body? You're going to learn about ancestors, the power of our ancestors and how we can bring that to help us in our healing and moving forward. You're going to see in the exhibit about a Hmong story cloth reimagined with a modern perspective, you're going to see stories of south Asians activists and what they represent. And what does it mean to be a south Asian Muslim in America today? You're going to hear some of these stories. You're going to see them. We hope that you'll experience them. Then we hope that you'll learn more and find out about what we're doing and how you can get involved. So join me on this little journey through some of the artivists—that's artists that are also activists—that are part of our exhibit called Walking Stories. Come board. Join us. Welcome Hà Trần to Apex Express. We're so happy to have you with us. Trần Châu Hà: [00:05:40] Thank you for having me.   Miko Lee: [00:05:41] So you are amazing artist, but I want to start and go back and for you to tell us who are your people and what legacy do you carry with you?   Trần Châu Hà: [00:05:52] Ooh, oh my god, that's such like a big question. I guess my people are the people at Asian Prisoner Support Committee. I come from like a lineage of like Vietnamese refugees, and I think about like the ways that our communities have been impacted by the legacy of imperialism, which includes like incarceration, deportation, and things of that nature. I would say my community are folks who are impacted by, those kinds of pipelines and violences, Southeast Asian folks broadly.   Miko Lee: [00:06:14] And what legacy do you carry with you from them?   Trần Châu Hà: [00:06:18] I think the easy answer is like resilience clearly. To exist and survive under so many different violences and still move forth and create such beautiful communities.   Miko Lee: [00:06:25] Hà how did you get started working with Asian Prisoner Support Committee?   Trần Châu Hà: [00:06:29] It actually started from an interpersonal relationship. My best friend who also works at the organization now. They actually explained to me that a APSC was doing all this work in regards to like stopping the prison to deportation pipeline, how like so many of our Southeast Asian American community members were impacted by this kind of incarceration and things of that nature. At that point, it just became my political home after many, many years.   Miko Lee: [00:06:50] Thanks for sharing that. Then tell us about the work that you have in the new exhibit that is opening up called Walking Stories. Can you tell us the title of your piece and then describe it for us?   Trần Châu Hà: [00:07:01] The piece I'm making is a comic called We Was Girls Together. It's a quote from Sula by Toni Morrison. The comic is about my friend Maria Legarda. She's a re-entry coordinator at the Asian Prisoner Support Committee. She's also a Filipino immigrant who's facing deportation to the Philippines now after she was incarcerated in CCWF for 14 years. We met each other through APSC I know her as a very generous and kind person who loves crocheting. She's always been like an extreme light every time I come to the office and interact with her. But I also know that Maria is like someone who frankly, knows all these like incarcerated women or like formerly and currently incarcerated women. She really shows me what it looks like to be, like, an abolitionist feminist despite the kind of struggles and difficulties that she's moving through as someone who's literally currently still facing deportation because of her quote unquote, deportable offense. My comic is about Maria Legarda. It starts with like her story, her migration story from the Philippines. She was born under the Marcos regime, which basically socioeconomically destabilized the Philippines. She came to the US for economic opportunity. But clearly she had a really hard time adjusting, and then eventually she made some choices that led her to a federal offense that led to her decades of incarceration. When she was in prison, she met all these, wonderful women of color who also were survivors of sexual and gendered violence, so I just follow her story through her healing. Despite the fact that she's healed so deeply and she's shown so much care to other people and she has these communities she still is deportable to a country that she hasn't been to in 30 or so years, and doesn't consider home anymore.   Miko Lee: [00:08:27] Share with me a little bit about how zines are your choice of art medium?   Trần Châu Hà: [00:08:32] I love the nature of how like accessible they are. I think I kind of started out as an illustrator and an essayist separately. But then I realized as I was like writing essays I couldn't necessarily share those things immediately with my mom. She's not super fluent in English, right? But like when I combined the medium of illustration and writing into creating a comic in a zine, I could show that to my mom and even if she can't fully understand all the writing she could still access, like the actual medium. And then the form of the zine is something that is meant to be taken away. It's meant to be shared with other people. I started going to a lot of zine fests last year and it just made me realize like, oh yeah, I want all my stuff to be accessible, right? Like I don't want it necessarily to be underneath a pay wall or things of that nature. I think there's something like, you know, for lack of a better word, very like, democratic about zine making, and as well as, comics generally.   Miko Lee: [00:09:20] I love how you do the mom test.   Trần Châu Hà: [00:09:22] Yes. It's funny, I wrote, an essay about my grandmother, actually, in the Asian American Writers Workshop like 2021, and I had to literally translate the entire thing for her to read it to make sure all the details were right, and I was like, wait, I could have just made this easier by like illustrating some of it to make it accessible across language barriers and things of that nature.   Miko Lee: [00:09:40] And has Maria read through the scene?   Trần Châu Hà: [00:09:42] Yes, she has.   Miko Lee: [00:09:44] What has been her take on it?   Trần Châu Hà: [00:09:46] She actually sent me a very long signal which like made me cry because I was like, oh my god, I can't believe she actually thought this about the work. She was talking about how it helped her reflect on everything she's gone through but also like these relationships that have really sustained her. Namely like, I mentioned this person named Granny in the comic who I've met who's essentially like the person who adopted Maria when she just became incarcerated and was dealing with the fallout and trauma of sexual violence and things of that nature. The comic reminds Maria of just her growth essentially over all these years, but also all these rich relationships that still continue to sustain her like across carceral walls and things of that nature.   Miko Lee: [00:10:17] And what do you hope people that come and see your work and take one of your zines, what do you hope that they walk away with?   Trần Châu Hà: [00:10:25] The obvious answer to the question is, like, how cruel the prison to deportation pipeline is. For someone to build such wonderful communities in the United States and for borders being so arbitrary and things of that nature that they can be stolen away from these communities at any point, and how cruel and unnecessary that all feels for immigrants and refugees who have been criminalized to experience this kind of double punishment. I think the other element of it is the ways that women, specifically currently and formerly incarcerated women create these networks of care amongst each other that, in light of the state not supporting them and their healing, whether they've experienced gendered or sexual violence, these people will find each other, these women will find each other and they'll be able to support each other and help each other through these processes of healing and also like fighting sexual violence in the carceral system. Yeah, just like highlighting those kinds of like organic networks and that relationship building that we don't necessarily get to see in like, for example, like mainstream media or like policy making or things of that nature.   Miko Lee: [00:11:18] What will people see when they walk into the Rdge on the Square exhibit space?   Trần Châu Hà: [00:11:23] Yes, you will see 15 comic pages in acrylic frames and then underneath that will be a table with actually takeaways. So feel free to take the comic away in like a booklet form as well, but you can also read it out on the wall when you walk in.   Miko Lee: [00:11:35] Thank you so much for sharing with us about your artistry and your vision and your story about Maria and your connection with Asian Prisoner Support Committee. We look forward to seeing your work.   Trần Châu Hà: [00:11:45] Thank you, Miko. Pleasure speaking with you.   Miko Lee: [00:11:48] Next up, listen to “Staygo” from DARKHEART, A Concert Narrative by singer and songwriter Golda Sargento.   MUSIC   That was the voice of Golda Sargento from the new Filipinx futurism punk rock sci-fi DARKHEART. Katie Quan, artist, activist, ethnic studies teacher. I'm so happy to have you on Apex Express. And the first question I want to ask you is, who are your people and what legacy do you carry with you?   Katie Quan: [00:16:51] I would say that my people, I really strongly identify with Asian American movement artists, makers, and shakers from like the 60s and 70s. It was my first introduction to really seeing Chinese Americans be out there and be really vocal, be excited, and be loud and angry about all these different topics. And so I've really gravitated towards just all that excitement, all that energy over the past decade just after learning more about them. I really just enjoyed seeing what that looks like and how we can continue that energy, especially for East Asian Americans here in the States, as we move into a new generation of game makers.   Miko Lee: [00:17:38] Tell us about how you carry that legacy of feisty activism into your work as an artist.   Katie Quan: [00:17:44] I like to consider myself a legacy of the Asian American movement. My grandparents came here in the 30s and 40s. I also have great grandparents and great great grandparents who traveled between the US and China, back and forth, back and forth and so I find myself really attached to their stories as well as how they've overcome a lot of those obstacles that Chinese Americans had to face during that time frame. My parents are both second generation Chinese American. They met at Self-Help for the Elderly, which was a organization that came from the Asian American movement in terms of making sure that our elderly are actually taken care of and have culturally relevant care. My parents were very much interested in enrolling us into bilingual education. Bilingual education was not a popular educational pedagogy at that point, partly because people thought that if you learned another language that was not English, that you would lose your Americanness in a lot of ways. And so one of the things that I really like to bring into my art is making sure that legacy and that history is always challenged and always, it feels relevant to where we are now, but also can meet other people where they're at. I do understand that not everyone gets to have a lot of those kinds of privileges where they see themselves, in their role models or that they didn't grow up around the history, I understand that that's the case. And so making sure that the work that I always produce meets people where they need to be at, is something of interest and something that I carry with me in all my work.   Miko Lee: [00:19:32] Thank you, Katie. Can you talk about the work that you have been doing with Chinese for Affirmative Action and tell us about the reparations zine that you've been developing?   Katie Quan: [00:19:43] Me and a team of other artists, academics and activists have been working to make a reparations zine alongside Chinese for Affirmative Action. Here in San Francisco reparations is still a very contentious issue. So one of the things that we're trying to really bring about and inform, especially the Chinese American demographics, is what reparations are and how we can support the work that black communities need and what they're doing at the moment. Within the zine, we are really covering what reparations are, how African Americans in San Francisco have contributed to the making of the city and also the Bay Area, how their community has been bulldozed in many, many ways, whether it's through health, environmental justice, redlining, all of these different issues. What's happened in the past 50, 60 years reparations is that first step in terms of saying sorry and, how can we begin to mend this wound that the United States has created consistently over time with this particular population.   Miko Lee: [00:20:54] What has surprised you about this process?   Katie Quan: [00:20:58] It's hard. [Laughs] And not that I didn't think it wasn't going to be hard. But I think the team that we've been working with, we've been really fortunate because we have some, second, third and fourth generation activists and artists, but we also have a team of other people who are new immigrants, and we've been really fortunate to learn from their perspective. And so rather than approaching it in a lens that talks about anti-blackness, sometimes it's talking about what it means to be American. And how do we participate in democracy? It's bringing a very positive spin, or just kind of a different spin to topics that we already know, and then that we talk about all the time, but making sure that it's accessible to everybody.   Miko Lee: [00:21:46] So this zine is going to be available for free in the Edge on the Square exhibition. Can you talk about what people will see when they walk into the exhibition and see your work? What are they going to see? What are they going to experience?   Katie Quan: [00:21:59] Yeah, we are hoping to make sure that our exhibition is big and it's bold, but at the same time it feels simple in its messaging. Asking people a little bit about what they know about reparations, being able to challenge their own thinking of what they know about black communities here in San Francisco, what they've done. Also talking about how we ourselves get information, how do we learn the things that we know and how can we challenge that? Or how can we push that forward? And so we will have an interactive element, but we will also have the zine there available, which will be created both in English and in Chinese for anybody who needs it. We will also have additional resources via QR code so that if anybody has any other questions or want to learn more about it, want to act on their excitement for this particular issue that they can also do so.   Miko Lee: [00:22:58] And what do you hope that people will walk away from your after taking away your zine after seeing the exhibit? What are you hoping that they will learn or or do after seeing your work?   Katie Quan: [00:23:10] One of the things that we kind of came across when creating the zine is that people had very strong opinions about reparations. They didn't always have all the information, but they had very strong opinions and they had very particular beliefs that come from their own life experiences. Our goal for this is not necessarily to persuade one way or the other, but it's to make sure that they're informed and just making sure that they have all the facts so that they can make a decision that best suits their own life experiences. We're also hoping that people walk away feeling like they know a little bit more and that they can share that with their own communities in a way that makes sense for them.   Miko Lee: [00:23:51] Katie Quan, thank you so much for joining us on Apex Express.   Katie Quan: [00:23:54]Yes, thank you so much.   Miko Lee: [00:23:55] Next up, take a listen to “Live It Up” by Bay Area's Power Struggle.   MUSIC   That was “Live It Up”by Bay Area's Power Struggle. Welcome Tsim Nuj to Apex Express.   Tsim Nuj: [00:27:32] Hi, Miko. Thank you so much for having me today.   Miko Lee: [00:27:37] Can I start with just by asking you, who are your people and what legacy do you carry with you?   Tsim Nuj: [00:27:46] Who are my people and what legacy do I carry with me? My people are Hmong. My ancestors were living in northern Laos, in the mountains and in the jungles and farming. That's where my lineage and then my ancestors had to flee their homes because of the Vietnam War and the secret war in Laos to find refuge in Thailand and then now we're here in the US. specifically in Merced, California in the Central Valley on indigenous Yokut land. So yeah, that's my, those are my people. I think that my community here in Merced that I organize with, who are also queer and trans folks of color are also my people. And I think that the legacy that I carry is this legacy of, I carry this legacy of love. I think that in moments of having to find home and having to survive, I think that love really grounded my people and my people's families. And so I think that I'm really holding onto this act of loving. That I think really grounds me and really affirms who I am and the journey as I honor my ancestors. And I really, as I think about the descendants, right, my descendants, the young people who are a emerging and, you know, the future generations that are coming. And so I think that there's this really special moment where I feel like I'm really longing to connect with my ancestors, especially those who were queer and trans, my queer and trans Hmong ancestors. And I've been also connecting with my descendants. And then I think that there's also this present moment, right, where I'm also connected deeply with my community, who consists of being children of immigrant refugees, you know, queer and trans folks, and folks that are really reimagining and really fighting for a world where we can all be liberated and be our full, authentic, genuine, loving selves.   Miko Lee: [00:29:58] Thank you for sharing. Your art form is as a dancer, as a movement person, and you've created a video for the Walking Stories exhibition. Can you tell us the name of that video and what inspired you to create that?   Tsim Nuj: [00:30:14] I feel really honored to be a part of the Walking Stories exhibit, and this is actually my first exhibit that I get to be a part of and share my work in and so it feels very exciting and it feels very, like such an honor that I get to be a part of this project that's a collection of works who the artists and yeah, the folks that are a part of this are just such like incredible, brilliant beings, sharing our stories. And so my dance video The title of it is Our Queer Hmong Love Dance. What really inspired this piece was this idea of being home, right? And this idea of belonging. There's, there's so much ideas that came up for me. And I think that these ideas were coming up because of a recent transition. Last year, around this time, actually, I graduated from UC San Diego, and I was coming home, right, after five years. And so I think that this piece is really about connecting with my roots and finding home specifically in Merced and in the Central Valley. And really trying to think about who I am as a Hmong person. But it was also about who I was as a Hmong and queer person, right? A queer and Hmong person. And so I started to think about these rituals or these sounds and these movements that I really needed to explore. And so a lot of that exploration and that work. I got to practice and be in process and I think it's really what I needed in this moment. And so I'm really grateful I'm really grateful that I get to share it with my community and I'm really grateful that I get to share with my community and the folks that come and see our exhibit and I really I'm really hopeful that folks will resonate with it and really get to just witness me.   Miko Lee: [00:32:14] And so folks will come to the exhibit, they'll see all these different works, they'll see a booth that will have your film playing in it. Is there something that you want to have your audience lingering with or thinking about after they watch your work?   Tsim Nuj: [00:32:30] Yes. I really want my audience, the folks that come to the exhibit, feel invited to witness my piece, my video in the booth. I want them to allow themselves to really feel, right, whatever they're feeling, whatever is coming up for them. Whether it's the sounds that are guiding them, whether it's the visuals, right. Whether it's, you know, there might be some words or some images that come up, and I really want the audience to just really be with their bodies. Be with their minds, their spirits, right? And I, I hope that they allow themselves to just feel it. And I, I remember having a conversation with you Miko about this like meditative presence. And so I'm hoping that my audience or the folks that come and witness the entire exhibit, right? I hope that they are curious, and that they really allow themselves to just be with the work, whatever that means for them. I don't want to tell people how to watch my work, right? But I do want them to just really, be with it, right? And, and if you can, I hope that you'll be able to watch it for its entirety. I think that there's something really beautiful happening, with how I have put this video together and so I hope that you can be with it. Take the deep breaths. Take those breaths, right, pay attention to the sensations that you experience in your body.   What I want the audience to take away from after seeing my piece, I hope that they get to receive it and that they breathe it in and they're with it, right. And that they really see me and see the people that are in this video. And I hope that they see parts of themselves in it, and parts of their stories and their journeys. And I also really want them to think about these questions that I propose and that I ask, right? That I'm also asking myself. This piece is a dedication, right? I think that I'm creating this piece for my ancestors. I'm dancing for my descendants, and I think I'm also asking them, I'm in conversation with them, right? About where is home? Especially for folks who have been displaced, because of very violent histories of war and persecution and having to flee our homes, right, and survive all that, like, thinking about our indigenous relatives here on Turtle Island and thinking about Palestinians in Gaza. I think that, there's in this moment, this piece, I do ask, and I am trying to find this home, this idea of going home. And also how do we dance there, right? Like, how do we dance towards home? And so what is dance for us? I'm just really inspired by, black queer and trans feminists, specifically Prentiss Hemphill, and just the conversations that Prentiss has shared on their Spotify podcast, go and check it out. I think that this piece is also about remembering and honoring the folks who have come before me and the folks that will arrive after me.   Miko Lee: [00:35:32] Tsi Nuj, thank you so much for sharing your story. And we look forward to seeing your dance piece in Walking Stories.   Tsim Nuj: [00:35:41] Thank you so much, Miko, for your time and for creating the space for me. Yeah, I like, I think there's a lot of excitement that I feel in my body. And so like, I want to talk about the work, but please, please, please, for whoever is listening, come and be with us. Come and experience our work and be in conversation with us. I think it's really important in this moment for us to uplift one another's voices and really affirm each other's stories. When we think about collective liberation, it really is doing this work, right? Of thinking about what is collective care and collective love look like, how do we lean into our creativity, our ancestral technologies and practices to really make meaning of how we show up in this world, right? And to really empower us, right? To, you know, continue showing up for one another and because we know that this work is lifelong. Healing and, you know, really creating this world where we are all free. I hope that the folks that are listening to this and the folks that come to the exhibit and everybody, right, I really hope that we can feel how important it is for each one of us and all of us to be in this movement towards the liberation of everybody, right? Because our liberations are, are so deeply intertwined and connected. So thank you.   Miko Lee: [00:37:04] Thank you so much. That was great. Let's take a listen to one of Byron Au Young's compositions called “Know Your Rights.” This is part of the trilogy of the activists songbook. This multi-lingual rap gives steps to know what to do when ICE officers come to your door.   MUSIC   That was “Know Your Rights” performed by Jason Chu with lyrics by Aaron Jafferis and composed by Byron Au Young. Welcome Visibility Project and Related Tactics to Apex Express. I'm so happy to have you all with me this evening, and I would love to just ask you all the question I love asking for people, which is what is your story? What's your background? And what legacy do you carry with you? And let's start with Weston.   Weston Teruya: [00:40:12] I am a Japanese American and Okinawa American from Hawaii. I identify as an Asian American and person of color, and I draw on the histories of cross-racial solidarity between communities as a strategic alliance and community building effort for justice.   Miko Lee: [00:40:34] Thanks, Weston. And Michelle, how about you? Who are your people and what legacy do you carry with you?   Michelle K Carlson: [00:40:41] Hi, thanks, Miko. I'm Korean American. I grew up in Seattle, Washington and spent most of my time on the West Coast. I, similar to Weston, operate in a realm of cross racial solidarity, linking myself often to histories of racial solidarity justice movements. Weston and I are representing Related Tactics, which is an artist collective that also anchors itself within these histories of cross racial solidarity. We make all sorts of artistic works at the intersection of race and culture.   Miko Lee: [00:41:18] Thanks, Michelle. And finally, Mia Nakano, who are your people and what legacy do you carry with you?   Mia Nakano: [00:41:24] Thank you so much for having me here. I'm Mia Nakano she/her pronouns and I'm the executive director of the Visibility Project. I am a queer fourth generation Japanese American woman. I am the daughter of a single mother and the sibling of a deaf adult. And I think that all of those relationships and intersectional identities bring forth all of the work that I do. And so I think about queer ancestors, I think about accessibility in the deaf community, I think about all of the really powerful women that have been incredibly present in my life to shape who I am today.   Miko Lee: [00:42:10] Thank you, Mia. And you are two different groups of artists. One is Visibility Project. The other is Related Tactics. Can you share with us a little bit about how this collaboration came about?   Mia Nakano: [00:42:22] I was invited to participate as a contributing artist in one of Related Tactics' very first shows back in, I believe, in 2016, and have been following their work as a growing artistic practice and a collective for quite some time. I've always been thinking about how could the Visibility Project as a queer led, you know queer, LGBTQ, archiving and organizing artistic practice collaborate with this cross racial, very intersectional, collective in Related Tactics. One of the ideas that has sort of been percolating for me over a long period of time was that so many queer Asian American organizations and so many queer spaces have all come out of the idea and like the gathering around potluck spaces, right? So potlucks being safe spaces for queer folks, for folks of color, for marginalized communities who didn't have safe spaces to gather. And many queer Asian organizations started off with potlucks that then turned into social and political groups, which then shifted into political advocacy and culture change, and then ultimately like legislative change. And I saw such deep connections in terms of how I see related tactics and experience related tactics. It's building roots and planting seeds for multiple relationships and collaborations through the different intersecting ways that our communities have been able to come together over the past few years.   Miko Lee: [00:44:18] So how did this collaboration begin working on this concept around potlucks?   Michelle K Carlson: [00:44:24] This is Michelle from Related Tactics. The three of us have known each other for a long time and Mia and I have worked together in a lot of different capacities over the years. I think Related Tactics, at the core of what we do is coming together with this kind of shared belief and shared value system around collectivity as this really productive material and tool and method for creative action in the world. I think at the core of that is understanding that we don't have all the information and we don't like to be the only voice in the room and we are not the ones that necessarily should be telling the stories for everyone. Related Tactics, when we often get an opportunity, one of our common strategies is just to figure out a way to share that out and to bring more voices into the room to be in concert with our own. When we understood that the Visibility Project was also going to be a part of this project, we're like we should join forces and bring our communities together. And I think we've been looking for a way to do that over the years.   Miko Lee: [00:45:35] Talk to me about the title, Nourishing Power. Where does that come from? What is that about?   Mia Nakano: [00:45:41] I think because of the individual artistic practices, And the people who comprise Related Tactics, and myself at the Visibility Project, we are all so incredibly busy, that all of our contributions to our various communities, whether it's at universities, in social justice movements, in artistic organizations, we're all about cultivating the power of other people while putting artists into artistic practices and people first, right? Like you have to, put on your oxygen mask first before you're able to really step out and fully do the work that you want to be doing. And to do that, you have to nourish yourself, you have to nourish your power. And I think that there's also the idea of the collectivity and framework that Related Tactics brings where we can all also do that for one another, right? When one person is at 10 percent capacity, the other two people can step forth and we can all move and lift each other up together rather than doing it as individuals.   Miko Lee: [00:46:52] Thank you. And Weston, what can people expect when they walk into Edge on the Square, the corner of Grant and Clay? What will they see that will show them your work?   Weston Teruya: [00:47:04] So the center point of our installation is going to be these carts with an array of takeaways that people are free to engage with in different ways, and they are essentially prompt for various potlucks that, we've contributed as a themes and as collaborators and then have also invited a group of additional artists to contribute as well. One of the modes that Related Tactics works in is in the form of the takeaway and part of the impetus behind that is that we want to provide the seed for people to create their own sort of spaces and gatherings and encounters with people beyond the gallery walls. We don't want art to just be this thing that only exists in these defined spaces. We've had different projects that use that mode, and this is one of them. We invite people to engage with it, take these ideas, plant the seeds for their own potlucks beyond the walls of the gallery and hopefully have these opportunities to build community, in their own spaces, in their own worlds, amongst their own networks of people.   Miko Lee: [00:48:12] I love the accessible takeaway. I still have a divest yourself matchbox from one of your shows. [Laughs] I love that. Michelle, what's a concrete example of a takeaway from Nourishing Power?   Michelle K Carlson: [00:48:27] One of the examples I would talk about is, one of the artists we've invited, Joy Enriquez, has created like hundreds of tiny ceramic spoons. They're thinking a lot about how does one articulate when they need support. They talk about it as if one only has so many spoons to use in a day, but you have way more things you need to do with those spoons. How do you survive that? How do you ask for support? How do you allocate those spoons to this kind of overwhelming existence? They have all these really beautiful prompts that will be printed on a card to take away, but then also you can take away a ceramic spoon that they've been spending many hours in a ceramic studio, making and firing. I think there's this idea too, that there's many, many ways one can use that spoon that can exist to support your day to day that you might not think about. So they have some things that are about how one might hold or touch the spoon or things you might do with it that isn't just about eating. That also really embodies the spirit of this project, that it's also not just about potlucks in the sense of like, bring food to a table, but that it's about this kind of space to share knowledge, to share resources, to exchange things when you don't feel like you have the thing you're supposed to bring, or you can't meet the expectation, the greater expectations of what is supposed to occur in that moment. But that the potluck is a space for us to share and support each other in ways that we maybe have not been able to imagine yet.   Miko Lee: [00:50:06] Ooh, I love that. And Mia, how many different artists are there? How many, and how did you go about selecting all these different artists that are participating?   Mia Nakano: [00:50:15] There's over a dozen artists who are participating, and we collectively just started brainstorming and extending out invitations to our various communities and folks that we've worked with in the past, folks who, have participated in Related Tactic shows or know, you know, through other pathways and connections. And then I just reached out to a few Visibility Project participants, even folks going back that I interviewed over 15 years ago to ask if they would be willing to participate. Each person was invited to create one prompt, one initial prompt of what the potluck would be, like if they were to have a potluck, right? So we have somebody who put forth a potluck for screaming, a potluck for nourishing. So different artists are putting forth their own individual potlucks, and one prompt connected to that, and then folks will be able to use that as a seed to create their own gathering spaces in the future.   Miko Lee: [00:51:15] If there's an action word that you would want people to walk away with, what's that action word after they go to see your exhibit? What is the verb that you want them to do?   Weston Teruya: [00:51:27] I think it might be gather. That's sort of the crux of what we're hoping to seed.   Miko Lee: [00:51:33] What about an emotion? Is there an emotion you want folks to walk away with?   Mia Nakano: [00:51:38] I like the idea of gathering, in that also kind of to be able to connect, right? Like we're not just coming together, like we're building something that we want to connect and maintain.   Michelle K Carlson: [00:51:50] Yeah. And I think also like exchanging, right? It's like something really active is happening, there's an exchange, everybody's kind of, there's like a reciprocity too. That you know, that nobody is hosting, like everybody's coming and sharing and exchanging and giving and receiving and maybe nourish is actually the right, I don't know if nourish is an emotion, but I think in the social justice world it is. [Laughs] So it feels like nourish actually is probably a useful emotion. I think reciprocity is also like a feeling that should happen, that when you are giving you're not doing so to the point of extraction because you are also receiving. And that's I think one of the core things about this project wasn't just about Related Tactics and or Visibility Project offering ideas. It was like, we have created a prompt for a potluck and in many ways audience members will come into the show and see our potluck because it will have all these contributions from all these other artists. And so you get to kind of leave with like a goodie bag, doggie bag that is like the kind of residue of our potluck. We hope that folks go home and do that for themselves within their communities, either using our prompts or using our prompts as a platform to create their own space.   Miko Lee: [00:53:18] Is there a perfect amount of people to attend a potluck? Like how many dishes do you want at your potluck?   Michelle K Carlson: [00:53:26] I feel like we're in like a seven to ten vibe. Like 15 tops, then it's too many. You know, it's like, because not too many, but it, there's a different thing that's happening when you get over 15 people in a room. But like, I feel like 10 is the zone where you can still have kind of like close intimate, you know, conversations where you can like build trust, you can spend some time, get around to see everyone, get a little bit of everybody's, you know, contribution, and then, but it's not like so small that it's like you and one other person and you're on a very awkward blind date or something.   Miko Lee: [00:54:09] And are you all down for the themed potlucks or do you like them to be just open ended, bring whatever you want?   Mia Nakano: [00:54:17] I love a themed potluck. I love just like some sort of container where you're going in and you're acknowledging I've got dessert, or we're gonna go over to Southeast Asia, rather than everybody showing up with ten pots of rice and they're just eating rice all night.   Michelle K Carlson: [00:54:35] Or tortilla chips, or like Trader Joe's brownie bites, like five containers of those. No shame on brownie bites.   Miko Lee: [00:54:44] Okay, how can folks find out more about your work?   Mia Nakano: [00:54:48] So folks want to check out what the Visibility Project is doing, you can go to visibilityproject.org and learn about all the participants and hear their stories and even go on an LGBTQ digital history tour of the Asian American community in the Bay Area.   Michelle K Carlson: [00:55:04] If you want to find out more about Related Tactics, you can go to relatedtactics.com or find us on Instagram and our handle is just at Related Tactics.   Miko Lee: [00:55:15] Thank you so much for joining me and I look forward to seeing your work in the show and feeling nourished and planning my next potluck. Thank you so much. So that was a chance to listen to just a few of the artivists that are part of Walking Stories. You got a little insight into where they're coming from and how they created their pieces. And there's so many more artivists that you didn't get to hear from. So I hope you'll come to our exhibit that runs June 29th through the end of December. We'll be at Edge on the Square in San Francisco Chinatown. We'll put a link in the show notes at our website kpfa.org backslash programs, backslash apex express. We hope that you'll join us and share your story too, because all of us have important stories to tell. Thank you so much for joining us on Apex Express. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Hien Nguyen, Jalena Keane-Lee, Miko Lee, Nate Tan, Paige Chung, Preti Mangala-Shekar, and Swati Rayasam. Tonight's show was produced by Miko Lee and edited by Ayame Keane-Lee. Have a great night.   The post APEX Express – June 13, 2024- Walking Stories appeared first on KPFA.

Last week's KEEN ON America interview featured a conversation with R. Derek Black, the son of a KKK Grand Wizard, whose all-too-American life has been defined by radical personal reinvention and second chances. In contrast, Ali Velshi, host of MSNBC's "The Last Word", not only chose to come to America from Canada, but also chose to become an American citizen. For Velshi, a self-styled libertarian who confesses to holding five passports, the act of being America suggests the kind of small act of courage which he writes about in his eponymous new biography. Americanness, for Velshi, is chosen not given. It suggests our agency to fight for democracy. Being American is then, by definition, a form of political obligation. It requires small acts of courage from citizens like Ali Velshi.Ali Velshi is MSNBC's Chief Correspondent and the host of Velshi. Previously, he was CNN's Chief Business Correspondent and co-host of American Morning. Velshi has been nominated for multiple News and Documentary Emmy Awards.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Exploring THE Spiritual Art (For Your Closure)Why did I begin the Free to be Show?What makes you feel that are not free to exist?For the final episode of my podcast, I am speaking freely about the most normalized form of narcissistic abuse and how you alchemize it.When you experience narcissistic abuse your personality splits into your authentic self and your representative, your mask. It is clinically called Dissociative identity disorder (DID), previously known as multiple personality disorder, is a complex psychological condition caused by many things. These include severe trauma during early childhood (usually extreme, repetitive physical, sexual, or emotional abuse). It's also known as split personality disorder. Reference Interestingly there exists a normalized version of this that may lead to a mental health issue over time for BIPOC in general but especially Black women. The first capture of this phenomenon was in the 1903 book, “The Souls of Black Folk,” written by the late civil rights leader W.E.B. DuBois spoke about Black people surviving by highlighting the need for Black Americans to recognize their double-consciousness, or the two parts of their identity: their Blackness and their “Americanness” — or how they were viewed by white Americans. DuBois talked about double-consciousness, and that's what code-switching is now,” Dr. Barlow adds. “You had to, for your survival, exhibit that double-consciousness.” Reference Jodi Ann Burrey talks about showing up as your “authentic self” at work as a Black woman is the same as not wearing a custom to a Halloween party in her TED talk The Myth of bringing your full authentic self to work.This is the beginning of generational trauma or taught imposter syndrome. Because you are always proving to the world that you are someone you are not. And I say all of this to say that the greatest form of narcissistic abuse that occurs is institutionalized racism. Although the “official” dots have not been connected in the American Psychological Association publication created on September 1, 2021 and last updated January 24, 2023 Psychologists are working to develop more effective ways of promoting Black men's mental health “Being a black man in America means being my brother's keeper. Being a black man in America means being my brother's keeper while keeping a distance from my brother because I don't trust him further than I can see him. It's believing the cops don't care about you. It's learning how not to doubt yourself because when you're born everyone else already does.”—Poet Prentice Powell, written following the fatal police shooting of Michael Brown in Ferguson, Missouri, in 2014“We should place less emphasis on whether Black men are resistant to therapy,” said Stevenson, “and more on understanding the contexts in which they already feel comfortable talking about their feelings and traumas. If a Black man is able to find a treatment that is culturally responsive, that he understands, and that embraces the uniqueness of his difference, he is more likely to use that service.”And my work is to heal the souls of Black women because they are the pillars of society, the Black crumbling family. As you can see it is a cellular recalibration that has to...

Examining identity and nationalism in the Reconstruction-era South, Jack Noe's Contesting Commemoration: The 1876 Centennial, Independence Day, and the Reconstruction-Era South (Louisiana State University Press, 2021) investigates debates concerning the One Hundredth Anniversary of American Independence. This commemoration, which came only seven years after the conclusion of the Civil War, provided a crucible for whites, Blacks, northerners, and southerners to reflect on their identity as Americans and their memories of the recent conflict. Using a rich archive, including a variety of newspapers, Contesting Commemoration illustrates how the Centennial became embroiled in the fierce political and racial debates of Reconstruction. African Americans celebrated this opportunity to assert their Americanness, while White Southerners approached the celebration with a profound pragmatism and flexibility, only partially re-embracing American nationalism as they attempted to maintain Southern distinctiveness. Contesting Commemoration follows events in Philadelphia, where ten million visitors came to celebrate the Centennial, and in communities across the South. It is a searching interrogation of the powers of American memory, the bitter debates of Reconstruction, and continued contestations over Southern distinctiveness. Jack Noe is a Teaching Fellow at Queen Mary, University of London and also lectures at Durham University. A native of Birmingham, Alabama, but a long-time resident of the United Kingdom, he earned his PhD from the University of Leeds in 2018. Thomas Cryer is a PhD Student in American History at University College London, where he studies race, nationhood, and memory through the life, scholarship, and activism of the historian John Hope Franklin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Examining identity and nationalism in the Reconstruction-era South, Jack Noe's Contesting Commemoration: The 1876 Centennial, Independence Day, and the Reconstruction-Era South (Louisiana State University Press, 2021) investigates debates concerning the One Hundredth Anniversary of American Independence. This commemoration, which came only seven years after the conclusion of the Civil War, provided a crucible for whites, Blacks, northerners, and southerners to reflect on their identity as Americans and their memories of the recent conflict. Using a rich archive, including a variety of newspapers, Contesting Commemoration illustrates how the Centennial became embroiled in the fierce political and racial debates of Reconstruction. African Americans celebrated this opportunity to assert their Americanness, while White Southerners approached the celebration with a profound pragmatism and flexibility, only partially re-embracing American nationalism as they attempted to maintain Southern distinctiveness. Contesting Commemoration follows events in Philadelphia, where ten million visitors came to celebrate the Centennial, and in communities across the South. It is a searching interrogation of the powers of American memory, the bitter debates of Reconstruction, and continued contestations over Southern distinctiveness. Jack Noe is a Teaching Fellow at Queen Mary, University of London and also lectures at Durham University. A native of Birmingham, Alabama, but a long-time resident of the United Kingdom, he earned his PhD from the University of Leeds in 2018. Thomas Cryer is a PhD Student in American History at University College London, where he studies race, nationhood, and memory through the life, scholarship, and activism of the historian John Hope Franklin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Examining identity and nationalism in the Reconstruction-era South, Jack Noe's Contesting Commemoration: The 1876 Centennial, Independence Day, and the Reconstruction-Era South (Louisiana State University Press, 2021) investigates debates concerning the One Hundredth Anniversary of American Independence. This commemoration, which came only seven years after the conclusion of the Civil War, provided a crucible for whites, Blacks, northerners, and southerners to reflect on their identity as Americans and their memories of the recent conflict. Using a rich archive, including a variety of newspapers, Contesting Commemoration illustrates how the Centennial became embroiled in the fierce political and racial debates of Reconstruction. African Americans celebrated this opportunity to assert their Americanness, while White Southerners approached the celebration with a profound pragmatism and flexibility, only partially re-embracing American nationalism as they attempted to maintain Southern distinctiveness. Contesting Commemoration follows events in Philadelphia, where ten million visitors came to celebrate the Centennial, and in communities across the South. It is a searching interrogation of the powers of American memory, the bitter debates of Reconstruction, and continued contestations over Southern distinctiveness. Jack Noe is a Teaching Fellow at Queen Mary, University of London and also lectures at Durham University. A native of Birmingham, Alabama, but a long-time resident of the United Kingdom, he earned his PhD from the University of Leeds in 2018. Thomas Cryer is a PhD Student in American History at University College London, where he studies race, nationhood, and memory through the life, scholarship, and activism of the historian John Hope Franklin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Examining identity and nationalism in the Reconstruction-era South, Jack Noe's Contesting Commemoration: The 1876 Centennial, Independence Day, and the Reconstruction-Era South (Louisiana State University Press, 2021) investigates debates concerning the One Hundredth Anniversary of American Independence. This commemoration, which came only seven years after the conclusion of the Civil War, provided a crucible for whites, Blacks, northerners, and southerners to reflect on their identity as Americans and their memories of the recent conflict. Using a rich archive, including a variety of newspapers, Contesting Commemoration illustrates how the Centennial became embroiled in the fierce political and racial debates of Reconstruction. African Americans celebrated this opportunity to assert their Americanness, while White Southerners approached the celebration with a profound pragmatism and flexibility, only partially re-embracing American nationalism as they attempted to maintain Southern distinctiveness. Contesting Commemoration follows events in Philadelphia, where ten million visitors came to celebrate the Centennial, and in communities across the South. It is a searching interrogation of the powers of American memory, the bitter debates of Reconstruction, and continued contestations over Southern distinctiveness. Jack Noe is a Teaching Fellow at Queen Mary, University of London and also lectures at Durham University. A native of Birmingham, Alabama, but a long-time resident of the United Kingdom, he earned his PhD from the University of Leeds in 2018. Thomas Cryer is a PhD Student in American History at University College London, where he studies race, nationhood, and memory through the life, scholarship, and activism of the historian John Hope Franklin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Examining identity and nationalism in the Reconstruction-era South, Jack Noe's Contesting Commemoration: The 1876 Centennial, Independence Day, and the Reconstruction-Era South (Louisiana State University Press, 2021) investigates debates concerning the One Hundredth Anniversary of American Independence. This commemoration, which came only seven years after the conclusion of the Civil War, provided a crucible for whites, Blacks, northerners, and southerners to reflect on their identity as Americans and their memories of the recent conflict. Using a rich archive, including a variety of newspapers, Contesting Commemoration illustrates how the Centennial became embroiled in the fierce political and racial debates of Reconstruction. African Americans celebrated this opportunity to assert their Americanness, while White Southerners approached the celebration with a profound pragmatism and flexibility, only partially re-embracing American nationalism as they attempted to maintain Southern distinctiveness. Contesting Commemoration follows events in Philadelphia, where ten million visitors came to celebrate the Centennial, and in communities across the South. It is a searching interrogation of the powers of American memory, the bitter debates of Reconstruction, and continued contestations over Southern distinctiveness. Jack Noe is a Teaching Fellow at Queen Mary, University of London and also lectures at Durham University. A native of Birmingham, Alabama, but a long-time resident of the United Kingdom, he earned his PhD from the University of Leeds in 2018. Thomas Cryer is a PhD Student in American History at University College London, where he studies race, nationhood, and memory through the life, scholarship, and activism of the historian John Hope Franklin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

Examining identity and nationalism in the Reconstruction-era South, Jack Noe's Contesting Commemoration: The 1876 Centennial, Independence Day, and the Reconstruction-Era South (Louisiana State University Press, 2021) investigates debates concerning the One Hundredth Anniversary of American Independence. This commemoration, which came only seven years after the conclusion of the Civil War, provided a crucible for whites, Blacks, northerners, and southerners to reflect on their identity as Americans and their memories of the recent conflict. Using a rich archive, including a variety of newspapers, Contesting Commemoration illustrates how the Centennial became embroiled in the fierce political and racial debates of Reconstruction. African Americans celebrated this opportunity to assert their Americanness, while White Southerners approached the celebration with a profound pragmatism and flexibility, only partially re-embracing American nationalism as they attempted to maintain Southern distinctiveness. Contesting Commemoration follows events in Philadelphia, where ten million visitors came to celebrate the Centennial, and in communities across the South. It is a searching interrogation of the powers of American memory, the bitter debates of Reconstruction, and continued contestations over Southern distinctiveness. Jack Noe is a Teaching Fellow at Queen Mary, University of London and also lectures at Durham University. A native of Birmingham, Alabama, but a long-time resident of the United Kingdom, he earned his PhD from the University of Leeds in 2018. Thomas Cryer is a PhD Student in American History at University College London, where he studies race, nationhood, and memory through the life, scholarship, and activism of the historian John Hope Franklin. Learn more about your ad choices. Visit megaphone.fm/adchoices

As the retribution continues, the state has now cut off supplies to the Palestinian enclave, and America is sending military support to Binyamin Netanyahu. But how will Hamas respond? From cowboys to country music, Brazil's hinterland is taking on a sepia-tinged Americanness (10:46). And which languages might take you the longest to learn (18:00)?Sign up for Economist Podcasts+ now and get 50% off your subscription with our limited time offer. You will not be charged until Economist Podcasts+ launches.If you're already a subscriber to The Economist, you'll have full access to all our shows as part of your subscription.For more information about Economist Podcasts+, including how to get access, please visit our FAQs page. Hosted on Acast. See acast.com/privacy for more information.

As the retribution continues, the state has now cut off supplies to the Palestinian enclave, and America is sending military support to Binyamin Netanyahu. But how will Hamas respond? From cowboys to country music, Brazil's hinterland is taking on a sepia-tinged Americanness (10:46). And which languages might take you the longest to learn (18:00)?Sign up for Economist Podcasts+ now and get 50% off your subscription with our limited time offer. You will not be charged until Economist Podcasts+ launches.If you're already a subscriber to The Economist, you'll have full access to all our shows as part of your subscription.For more information about Economist Podcasts+, including how to get access, please visit our FAQs page. Hosted on Acast. See acast.com/privacy for more information.

With MONICA (Fantagraphics), legendary cartoonist Daniel Clowes has pushed the limits of his storytelling and art to make one of the great graphic novels of the decade. We sat down during CXC weekend to talk about this amazing, haunting, hilarious book and how it grew out of his attempts at trying to figure out his childhood, the ways in which MONICA is haunted by the deaths of cartoonists Richard Sala and Gary Leib (oh, and those of Daniel's brother and mom), what art, community and mortality have come to mean to him, and how certain panels took him 5 years to draw. We get into what he's learned from using multiple genres within a single book, the artists who influenced him and the ones he had to escape, the 7-year gap from his previous book, PATIENCE, and what's changed, and his late-stage depression at finishing MONICA. We also discuss how he was always awaiting the shift from pamphlet-comics to hardcover original books, how thankful he was to not be good enough to get work at Marvel or DC in his youth, what it's like writing and drawing his books without any editorial input, his only takeaway from writing for movies, the Americanness of his comics, why he prefers drawing over writing even though A) he's a really good writer and B) would never draw from someone else's script, the only advice he would ever give young artists, and a lot more. Follow Daniel (sorta) on Twitter and Instagram • More info at our site • Support The Virtual Memories Show via Patreon or Paypal and via our Substack

This 4th of July, we're pondering our Americanness from a different angle. As Taiwanese-Americans - in our case, born and raised in the U.S., with parents and extended family who were born and raised in Taiwan - to what extent should we be emphasizing the "Taiwanese" part of who we are? Inspired by frequent comments we receive on social media from both non-Asian Americans as well as Asians in Asia, we're often told to stop talking about being Asian when we are "simply" American. But to what extent can we even exist as "just" American in a world where what we look like is constantly thrown in our faces in the U.S. as a way to question that Americanness? And to what extent should we discard the heritage of our family, given that we were raised on that culture and still have plenty of family back in the motherland? Does America really embrace the supposed melting pot ideal that it was founded on, or is being American these days about erasing what makes us different to become something more monolithic? This 4th of July, we invite you to also ponder over what it really means to be American for you, and how much of the culture your family comes from breathes life into that definition. Let us know what you think about all of this in the comments on our social media! Follow us on TikTok at @butwhereareyoureallyfrom and on Instagram at @whereareyoufrompod --- Support this podcast: https://podcasters.spotify.com/pod/show/butwhereareyoureallyfrom/support

Episode Summary This week on Live Like the World is Dying, Emily and Margaret talk about organizing against fascists while the Eye of Sauron is upon us. Emily breaks down the history of some far-right groups in the US as well as the history of opposition to them. She talks about how to organize against neo-Nazis, the interconnections of antifascism and transness, the perils of seeking asylum, and how to hunt Nazis and win. Guest Info Emily (she/her) can be found out in the world winning. Or, she can be found on Twitter @EmilyGorcenski or at www.emilygorcenski.com Host Info Margaret can be found on twitter @magpiekilljoy or instagram at @margaretkilljoy. Publisher Info This show is published by Strangers in A Tangled Wilderness. We can be found at www.tangledwilderness.org, or on Twitter @TangledWild and Instagram @Tangled_Wilderness. You can support the show on Patreon at www.patreon.com/strangersinatangledwilderness. Transcript Live Like the World is Dying: Emily on Antifascist Organizing & Hunting Nazis Margaret: Hello and welcome to Live Like the World is Dying, your podcasts what feels like the end times. I'm when your host, Margaret Killjoy, and today I'm excited. I guess I say that every single time that I'm excited. But it's actually true. I really...I wouldn't interview people if I wasn't excited about it. Today, we're going to talk about antifascism. There's going to be a couple of weeks--I don't actually know what order they're gonna come out--And maybe you've already heard me talking about antifascism recently, but nothing feels more important in terms of community preparedness than stopping fascism. So, that's what we're going to talk about today. And today, we're going to talk with someone who was involved in organizing the counter protests in Charlottesville, the anti-Nazi side of Charlottesville, and has had to deal with the ramifications of that. And I think you'll get a lot out of it. But first, we're proud member of the Channel Zero Network of anarchists podcasts and here's a jingle from another show on the network da da duh da da. [humming a made up melody] Margaret: Alright, if you could introduce yourself with your name, your pronouns, and then I guess, a vague overview of who you are and why I had you on today. Emily: My name is Emily Gorcenski. She and her. And I am an activist from Charlottesville. I had called Charlottesville my home for about eight years before the infamous Unite the Right rally happened. And that sort of called me to anti- fascism. In the wake of all of that, I also started initiatives to digitally hunt Nazis and track them down, expose them, and understand how their networks operate, how their movements form and grow and evolve, and have been involved in sort of organizing against fascism for the last several years. Margaret: Awesome. This is going to be good stuff that we're going to talk about. Well, bad stuff, I suppose. So the Unite the Right rally, what was that? I mean? It's funny because it feels like it was either yesterday or 15 years ago. Emily: Yeah, both of those. It was both of those. Unite the Right was what a lot of people call "Charlottesville." It was the big neo-Nazi rally in August of 2017, August 11th and 12th to be precise, and it was one of several neo-Nazi rallies in Charlottesville. It was the biggest and got the most news coverage. During that summer...Locally, we call it the "summer of hate." We don't like to use the word "Charlottesville" to describe the moment in time because we are still a community, but it was the moment that you saw everything from the neo-Nazis marching with the swastika, to the terror attack, to Donald Trump saying there were very fine people on both sides. Margaret:Yeah, kind of it feels like the moment that sort of kicked off the modern Nazi-right. Like it feels like their big coming out party, their gender reveal--if Nazis a gender. I don't know if it's...Nazi might not be a gender. I hate to disrespect people's gender, but that might be not on the list. And I don't know what color they would use for fireworks. But it... Okay, so it feels like their coming-out, right, like it was this thing. And I'm kind of curious what your take on it is because from where I'm at it seems like kind of a little different than stuff had gone before and a lot of bad things happened. A lot of very bad things happened and we can talk about some of those things. But, it felt like kind of this like aberration. Everyone was like--I mean, except the president the US--everyone was like, "Oh fuck, that's bad. We don't like this. This is bad when Nazis march down the street with torches chanting, 'Jews will not replace us.'" Clearly this is bad. But it feels like...it does feel like it kind of worked for them to kick them off into the mainstream. Like it. It doesn't feel Like their movement has shrink since then, I guess I will say. Emily: I think it's a complicated. Yeah, that's a complicated topic. If you look at the history of what led up to Unite the Right, there were a number of neo-Nazi rallies, sort of the ascendance of the alt-right throughout the country, right. So we had Richard Spencer growing in prominence and forming the alt-right movement. We had these groups like Identity Europa and Vanguard America, and Traditionalist Worker Party. And all of them were sort of, they're holding these rallies all over the country, right. There were some in Pikeville, and there are some in in Huntington Beach, California, and there was some in in Berkeley, right, the the sort of infamous battles of Berkeley. And all of these events were sort of in the months around, I don't know, anywhere from one month before or two months before to a year, year and a half before, right. And this is sort of aligned with the ascendance of Donald Trump, the sort of hard shift right in American politics, the reaction to a lot of things, including Obergefell, the court case that legalized gay marriage, and two terms of a black man being president, right, there are a lot of factors that kind of started to swirl together and formed this vortex of the alt-right. And what happened in Unite the right was, this was...it was almost like that moment in an orchestra where everything was tuning up beforehand, right? You know, there was like the smaller rallies, there was some violence, there were some, you know, definitely some things that are fairly scary, but it was isolated. And it was easy for people to ignore. What happened in Charlottesville, everything came together. And when we saw on the night of August 11th, at the University of Virginia, the Nazis marching with the torches and chanting, "You will not replace us," and eventually, "Jews will not replace us," all of that started to come together to be like that moment that the orchestra starts playing, right. And I think ironically, August 11th was also their high watermark. Because even though we have seen fascism grow in power since then, the dynamics are much more complicated because those groups that organized and participated in Unite the Right have essentially been destroyed and that movement has essentially been destroyed. And so what we see is actually something that's morphing. And I think that's a much more important thing to understand. Margaret: Okay, that makes sense. That does kind of--because I don't hear people talking about the alt-right anymore, right? And a lot of the individual groups that made up yeah Unite the Right like, died, like the part of the Lord of the Rings, where the orc grabs the barrel of dynamite and runs towards the wall and blows up--maybe that...I think that was Lord of the Rings--to bring down the wall or whatever. Like because we don't talk about the alt-right anymore. We talked about the right wing. And now but it does seem like the right wing is now doing the things that the alt-right used to do. Like, why is it--I'm asking this like half earnestly and half to get a an answer from you--but like, why is it we got rid of, we voted out the far right politician and now things are going further and further right, even though he's gone. Does that relate to all of this? Emily: I think I think it does, right? So it's all about movement and counter-movement. We defeated the alt-right. We killed the alt-right. The alt-right didn't die. It didn't die of its own accord. it was killed. it was killed through through antifascist organizing, it was killed through through criminal charges being brought against key players, it was killed through alt-right people committing mass shootings and the movement being unable to recruit, and it was killed through civil court cases even. So there was a number of factors that killed that movement, but Margaret: I take back my comparison the to the Lord of the Rings guy. Emily: The thing about the alt-right, though, is that it doesn't need to exist anymore. Its purpose was simply to set an anchor point that everything else can be sort of tied around, right? And so actually what you see if you look at, over time. at these dynamics, you know, 2015, 2016, 2017, you had the alt-right movement on its upswing. 2018 It started to die. And by 2020 It was pretty much gone. On sort of that sort of downswing of the alt-right, you had groups like the Proud Boys starting to grow in power. So the Proud Boys existed as early as 2016. They participated in Unite the Right, but they were not a major factor. They didn't really participate in the organizing. They were kind of on the fence of "Should we? Should we not?" But they we're there. Enrique Tarrio was there. Many Proud Boys organizers were there. As the alt-right died, the Proud Boys started to gain in prominence. And the difference between the Proud Boys and the alt-right, is that the Proud Boys had more of a sanitized image in the public eye, right? They were led by a Hispanic man. And they were...they had these members that were like Samoan and Asian and they didn't look like the, you know, dapper Nazi with the fascy haircut and all that stuff. And that kind of...what the alt-right did is it created a foil for the Proud Boys, right? So, it was very easy for everyone to decry the alt-right after they committed a terror attack, murdered Heather Heyer, and did all this awful stuff using images of swastikas and stuff like that, right? It was to set a sort of expectation so far removed from what was acceptable, that as long as you weren't that, as long as you weren't the worst possible thing, you were probably pretty okay. And so now you see the Proud Boys and they got really involved in the electoral politics, right, they were really close to Roger Stone, and they had a really big part in the the J6 [January 6th] insurrection and all of this stuff, right? So, you see this sort of like...it's like a three phase current, right, as one, as one movement starts to decline, another movement starts to pick up, and now the Proud Boys are in the decline now. They're they're facing trial. The trial is currently ongoing. I don't know how it will end up. And you see these other movements start to pick up, right, and this is now more mainstream. Now we have more politicians like Ron DeSantis and they're bringing this explicitly fascist agenda into legislatures and into sort of normie spaces, even though it's the same exact thread that has been going through the alt-right, the Proud Boys, etc, all the way to like the white power movements. It's a lot of the same philosophy, but it presents itself differently. And so even though we elected out Trump, we didn't get rid of that undercurrent. We just changed the face of it. Margaret: Okay, so if we have these three phases, and this is a very--I'm not really saying...is a very convincing argument--that we have these three phases. And I really like focusing on this idea that this the first wave of it, at least, was stopped by antifascism and through a diversity of tactics, both electoral and direct action tactics. I want to come back to that because I want to talk about what those tactics are, but I want to ask about with this current wave, what do you think are effective organizing strategies? Like what can stop this? Because it does seem probably, legally speaking, no one's gonna go fistfight DeSantis in the street, right? No one's going to out him because we know who he is. He lives at Florida's White House. I don't know how governors live. What? Yeah, what do we do? Emily: I think this is why the diversity of tactics is so important, right? Because every movement has a different face. And it has a different way of operating. So you need to be able to confront it with different techniques. And I think that what's important about like the current wave of fascist organizing is that there actually does exist a long activist history of opposing what they're doing, right? This movement is not actually new. Everything that like Ron DeSantis is doing, Ron DeSantis is essentially a product of a decade's long evangelical project to essentially turn America into a theocracy, a christo-fascist theocracy. And so this is like, if you look at the history of how these groups have organized and tried to introduce bills and stuff like that, there's actually a really strong sort of cadre of people who can oppose those things through the systematic means that we have, right? And so some of the direct action, yes, you can go out on the street and you can punch Nazis and that's great. You don't want to go out into the street and punch Ron DeSantis. That's probably going to end really, really, really badly for you. Margaret: I feel like there's different ways of defining the word "want." "Shouldn't," maybe. Emily: Yeah, maybe yes. So I think that what we need to do is we actually need to look to these groups that have been opposing the other sort of things that this group that these these fascists have been focusing on over the last several years, like homeschooling, and parental rights, and the opposition to gay marriage, and, you know, things like the Tebow bill, if you remember the Tebow bill, right? It was this this whole thing about like using federal funds to allow home schooled athletes to participate in public college sports. And all of this is coming from the same core, right, and there are people who have been opposing this for a long time quite successfully. And so I think that what's important is actually to understand how to organize with them and follow their leadership and to try to muster up the resources that they can use to effectively oppose these things in the forms where these things can effectively be opposed. Now, there may come a time when that opposition renders itself ineffective, either the bills pass, or, you know, these groups just don't have enough money to fight all of the bills or whatever it might be, there will probably come a time when that no longer works. And then we have to look at other means, right? Funding battles in the courts, right? Use that system against them, you can protest outside of these people's houses, right, you can protest outside of these offices that our that are responsible for, you know, some of these consulting firms that are like, funding these politicians, right you can do, there's a bunch of direct action campaigns that you can choose to organize around that don't necessarily need to be movement versus movement in the streets type of confrontation, there are a lot of tools in the toolkit. And it's really important for us to be fluent with as many of them as we can, right. Organize boycotts, strikes, right, all of that stuff. Margaret: How do people get involved in that kind of stuff? Like, I mean, this would be true, regardless of the tactic, like one of the main questions that I get asked a lot, and I'm always sort of the wrong person ask because I don't have blanket answers and I can't necessarily speak to individuals and also I'm just not an organizer. If people say like, "Well, how do I get involved?" and whether it's how do I get involved in the groups that are fighting Nazis or doxing Nazis, or whatever, but also, how do you find the sorts of organizations that are fighting these bills? How do you? Yeah, how do you do it? Emily: Yeah, I think that the most important thing is to connect with your local community and see who's been organizing in your local community because they usually know the best, right. And even if they're not the ones that are opposing these things, they usually know who is and how to oppose it and stuff like that, or they usually know what groups are out there. There's also a lot of resources online, right. If you're opposed to like the hateful legislation that is being proposed and debated, there's like the Equality Network that tracks and, and lobbies against it and and they're different in each state--and some of the states are kind of mediocre, and some of them are actually pretty good--but they've been effective, right? And I think that what we forget is that what we're seeing now is not unique. It's barely even noteworthy compared to what we've seen over the last year. So right, there's like, 400 or so like anti-trans bills this year, right. But if you look at the last three years, there's been a thousand anti-LGBT bills that have been introduced, right? So, we know how to fight this stuff. And in these organizations that are putting themselves out there and raising funds and looking for volunteers and stuff like that have been showing leadership. Now, I don't always love equality, right? I don't the Equality Network, right. I love equality. But the Equality Network, right. I'm not always their biggest fan, right? If you don't know...like, you can start there and branch out. And I think that the most important thing is that a lot of people come to activism because they're upset with seeing something, they're hurt, they're feeling marginalized, they're feeling scared, and they feel like they need to do something. And that kind of gets bundled up with a feeling that nobody else is doing something. But it's not really true, right? There are people who are fighting these things. And the most important thing that you can do is actually just start with your local community, see who's doing what, go to your city council meetings, talk to your....you know, find your local Black Lives Matter chapter, find your local immigrant rights chapter, you know, whoever is fighting for....fighting against ICE, fighting against, you know, police violence, right? This exists in almost every community. And if it doesn't exist in your community, look at the neighboring community. Network with these people, because they have the leadership. Even if they're not fighting for the cause that you believe in directly, all of these causes are linked together and they will be able to help you. So that's the first step is just get to know people around you. Margaret: Well, it's good...that actually...you know, most of what we talked about on this show is preparedness, right, like how to store water and all that shit. And the number one thing in all of that is the same. It's literally the same. It's get to know your neighbors. And whether it's get to know your neighbors because you want to share water with them or get to know your neighbors because you want to know who is going to try and murder you as soon as it's legally allowed for them to murder you. getting to know the landscape of what's around you makes them a lot of sense to me. And it ties into something...Okay, so you're like talking about diversity of tactics often is used as this kind of like, way of saying, "Hey, more people should support more radical action." But it's worth also understanding that diversity of tactics also means like supporting action that like, isn't quite as radical seeming or as like revolutionary, like you might want in terms of just actually maintaining a decent platform from which to fight, right? It's like easier to fight for things when you're not in jail. It's easier to fight for things when you're not in the process of being forcibly detransitioned medically. And it's interesting because like, okay, earlier on, you talked about how one of the reasons that all this stuff came up is that people felt so aggrieved by the fact that we had two terms of a black president and we had gay marriage, you know, sanctified in law, or whatever. And it's funny, because in the crowds that I'm part of, two terms of a black president and gay marriage was like, so unimpressive. The left was like, "Yeah, yeah, yeah," right? Whereas meanwhile, I guess the right is, like frothing at the mouth that these things are happening, which makes me realize that they were a bigger deal all along, or something, you know, I don't know. Emily: Yeah, I think it's because the left is really good at judging situations as a...in their distance from where we want them to be. Right? So we judge things, as, you know, from how far are they from our ideal. The right doe opposite, right. They judge things as "How far is it from the norm," so things like gay marriage and a black president, those aren't really big things. Like a black president is not a big deal when they actually what you want to do is abolish the presidency, right? But if you're if you're a, you know, white Christian Evangelical that is a racist and, you know, maybe doesn't like openly support the Klan, but doesn't really denounce them either, right, like, that's a huge deal because you actually do believe in this notion that like white Christian men should be in charge of everything. And that means the presidency. And that means everything else, too. So, I think that part of what we have to do as organizers is actually try to look at where things are, and how our sort of political opponents are using change to drum up recruitment, and are using fear mongering and things like that, right. And we're so used to trying to judge based on the outcomes that we want that we miss that picture. Margaret: Now, I really liked that way of framing it. It's an interesting...do you think that relates to...there's there's sort of this cliche that the left will cast you out for one sin and the right will take you in for one virtue? Which I don't think is...doesn't have to be true, but... Emily: It doesn't have to. It doesn't have to be true. And it's not really true, right? Because there's much more complex dynamics on top of that. But I mean, it's really kind of like to same philosophy. Yeah, exactly. It's the right, well, if...they'll overlook a lot of failures if you can move the needle even one degree further, which is why you have things like fairly moderate, otherwise moderate politically women in the UK who are like, supporting the Proud Boys and these anti-trans issues, right? They're just like, "Oh, yeah, I don't care about the fact that you're basically a Nazi organization, as long as you also hate the trannies." Like, that's kind of how that is all working. Margaret: Yeah, and you have this thing that I wanted to be a bigger split than it was--although I think it's something worth holding on to--is that like, there's like Satanists and pagans throwing down alongside evangelical Christians because they're all Nazis together. And it like, it doesn't make any sense to me. I can't imagine--Well, it's hard to imagine being a Nazi period--but it's just like...You know, even like the rise of the Catholic right. I keep wanting to be like, "Y'all know that the evangelical right doesn't even think you're Christians. Like, they want to murder you too." That is the history of the United States. That is the history of large parts of Europe. Like, it's amazing who will decide the Nazis are on their side because they all hate the same people or whatever. Okay, so to tie this into the the trans thing, right? Both of us are in a book called No Pasarán on by Shane Burley, that you can go and get from wherever you get your books--this is really ad, this is a plug--and your piece in that talks about relating antifascism and transness. And when we talk about like a lot of the laws that are right now being challenged, a lot of the stuff that...currently, the Eye of Sauron seems to be on the trans community in particular. It's on lots of communities in particular, but like we're the ones in the news, even more than usual or something right now. I'm wondering if you kind of want to talk about antifascism and transness. And then we can kind of tie that back into this conversation. Emily: Yeah, sure. So the chapter I wrote is about looking at antifascism through the lens of transgender identity. And what I tried to do is to take a walk through the current day to the historical context and then back through to the current day of how fascist and far right movements have used trans people as scapegoats for a larger agenda, part of that agenda being hatred of other people, including hatred of the Jews, but also a power play, right? And I think part of the lesson of the chapter is that we need, we need to be much more careful and thoughtful in how we look at comparative analysis. Because there's sort of two schools of thought that are happening in the left, especially in social media discourse. One is, you know, you you sort of look at historical mapping, and you say, this is basically the same thing as this thing that happened in the past, right, like, the laws that are being passed against trans people now, it's like, just what happened in the Holocaust. And that's kind of a problematic comparison, right? But it's also, it's also like another thing where it's like, you also have people saying, "Oh, don't compare what like the bathroom bills are about to what happened during Jim Crow, because that's a problematic comparison," right? So these are two things, like two different perspectives. Or it's like, don't compare these two groups of people. And then another perspective is like, "Actually, these things are..." you know, because the first is like, "Don't compare these two, these two situations because, you know, people now don't have the same dynamics. There's not a racial element. There's not a history of slavery," for example, right? And the other school is kind of like, "Well, actually, you need to look at the causes. And you need to look at the factors that went into it." And I think that there's a little bit of both of these things that are going on, right. And so when we actually look at historically how trans people were targeted in the Holocaust and how gay people were targeted in the Holocaust--and they were. There were a lot of trans--what we would now, today, call transgender people--they didn't have those words back then and also they were speaking German--And, you know, and queer people. They were targeted in the Holocaust. But it's also impossible to separate the way that they were targeted from the anti-semitism, right. So a lot of trans people talk about, today, talk about like the raids and the Institut für Sexualwissenschaft [Institue for Sexual Science] in Tiergarten, Berlin. So, the Deutsche Studentenschaft, which was like kind of like the Proud Boys of its time, raided the archives of Magnus Hirschfeld, who is a sexual scientist at the time, and they burned those books and a lot of trans people love to focus on these images and say, "You know, these, these books were the archives of the Institute for Sexualwissenschaft, and it's partly true, right? But, it also erases a big part of that history because it wasn't only those books, it was also Jewish authors like Sigmund Freud. It was Carl Jung. It was Jewish scholars,and politicians, and philosophy. Margaret: So all of this homosexuality is all a Jewish plot to destroy the good German people? [said with dry sarcasm] Emily: Right. And if you actually look at the posters that the DST put up to recruit for what they were calling the aktion gegen den undeutschen Geist, the action against the un-German spirit. Their...one of their key like bold faced bullet points was "Our principle enemy is the Jew," and so what they were doing is they were using trans people as a way to attack Jews. It doesn't mean that trans people weren't attacked. What it means is that you have to recognize that, historically, there was an interconnection here. And so if when we're erasing that interconnection, we're losing out a big part of that history. And we're also losing out a big part of how we can fight against these movements. At the same time, when we, when we totally ignore these things, like when we say, "You know, don't compare the trans movement now to the civil rights struggle of before," we're missing out on how the right wing uses these arguments to recruit and to motivate, right. So yes, it's not true that trans people who are denied bathroom use now, they're not in the same position as black people were who were denied bathroom use during Jim Crow, right, but the arguments are very similar. The white Christians back then were saying "These black people are going to like go into the bathrooms and they're going to rape your women," right? They use the like the fragile virginity of the white American woman as this this sort of rallying cry to drum up support for their cause, which is very similar to the arguments that are being made against trans people now. So when we look at this sort of comparative analysis, we have to bring in sort of a two sided perspective. Margaret: Yeah, there's so much there. It's funny because my immediate instinct, and I don't know whether this comes from my position as a white American or something, is to...it would never occur to me to compare the bathroom bill to Jim Crow, right? That just, to me, seems like obvious that the foundation of slavery is so dramatic and so influential. When, as compared to when I think about being targeted by the Holocaust, you know, to me--and maybe it's just like, my Twitter brain or like constantly thinking about what people could say to undermine what I'm saying or find holes in it or whatever--to me, that feels like a not only a safer argument but a more logical argument because it's...I wouldn't compare what's happening to trans people as to what's happened to Jews in the Holocaust. I compare what happens to trans people, to what happened to trans people in the Holocaust. I can make that comparison. But I really, I think this is really useful, this thing that you're talking about because the way I've been talking about it lately, right, like a lot of the anti-trans stuff and the rhetoric right now on the not-far-right, but the middle right, is around trans athletes, right? Specifically, trans feminine people, participating in sports with other feminine people with similar levels of hormones and bone density and shit, or whatever. Whatever the fuck. And it's this wedge issue, right?. And if you take a step back--it's the reason I don't fucking discourse about that--is because it's a wedge issue. It is meant not to talk about trans people in sports but to use trans people in sports as to break off support for trans people in general from the rest of LGBT community with the eventual intention, I believe--I evade anything that seems conspiratorial, but this seems like the strategy that our enemies are taking--to then eventually, you weaken LGBT, you split them off. Homosexuality can be a larger wedge issue to start more and more just like basically dividing and conquering and, you know, with the eventual plan of making us no longer exist. Emily: Yeah, I don't think it's conspiracy, right, I think it's exactly true because they say so much. They say it like that. They say, "Let's split the T off of the LGB." I think that's absolutely true. And you're right, it is a wedge issue, it is a way to get us to fight amongst each other instead of fighting against them. At the same time, the answer to us fighting against each other, is actually to look outside of us and actually to go and seek the solidarity of other groups of people who are marginalized, right. And so I, like I'm really uncomfortable with some of the language. Like I've written about this, like, there's a big movement of like, "How do you apply for asylum?" right? I'm like, screaming at the top of my lungs, "Please do not do this." Because not only do you not understand how bad this process is for people who are actually seeking asylum--and you thinking that you're going to get some sort of preferential treatment to that is really problematic--but it will also ruin your life, and in ways that you don't yet know. And this is like that sort of, there's like a whiteness or an Americanness of the privilege to this, this thing that's being that's being promoted, right? And so I'm like really hesitant to embrace some of this catastrophizing language. Also, because we have seen stuff that is just as bad being done against people like immigrants at the southern border of the US, right, of Muslims during the early days of the Trump administration, right? We've seen this stuff, right. And what we should be doing is we should be banding together with solidarity with these groups and saying, "Look, it doesn't actually matter what our internal dramas are. What matters is that we must be united against this broader front, right? We have to unite against patriarchy, we have to unite against white supremacy, we have to unite against xenophobia, against anti-semitism, against Islamophobia, all of these things. And we have to, we have to come together, right. And so I'm a little uncomfortable with some of the things that have been sort of out there because it's such an internal focus on ourselves. And it's not really doing a great job at saying like, "Actually, you know, what, like, we've been saying, you know, 'First they came for the x...'" And we've been saying that about three different groups, four different groups over the last four years. At some point, you actually have to stop and think, "Actually, wait a second, I'm not the first. They were the first. And before them, or, you know, before them...before us, was them and before them was another group. Why don't we start building those connections? Why don't we start building those networks? Margaret: Right. Well, and that's actually why like, at the beginning, I was like, you know, the Eye of Sauron like currently on us, right? Like, it's not, it didn't start on us. We are not the primary....yeah, like, I guess I'm saying I agree with you. And then even in terms of when I think about the history of splitting up the movement and things like that, like I think about how the first thing that the Gay Liberation Front did after, in 1969, after Stonewall, you know, which was a very diverse crowd of different queer people fighting back against the repression as gay people, it was in this context of the late 60s in which all of these other struggles are happening. And the Gay Liberation Front, at least, and many other people, at least--whether because of their own intersectional marginalization or just out of having some awareness of history and present--worked together, right? Like the first actions of the Gay Liberation Front were to protest the Women's House of Detention where Afeni Shakur, Tupac Shakur's mother, was being held as part of the Panther 23 [Meant 21] trial, right. And the Gay Liberation Front, I don't think was even aware of Shakur's sexuality at this point--I don't actually know if she was at this point, it was around...I believe she had her realizations while she was in the Women's House of Detention--but they were doing that because they were part of the new left. They were part of...like, of course we roll with the Black Panthers, of course we work together with all of these other groups, all of these different marginalizations. And yeah, so in my mind, it's less like...yeah, rather than comparing ourselves one to one with other marginalized groups, yeah, we just need to be fucking working together. Emily: And I think it's also important, like, at the same time, that we don't...like the Eye of Sauron, as you said, it's on us now and it's going to look away. And it's probably going to look away pretty soon, right? The right wing doesn't have the attention span to stay focused on one thing for a long time, right. Like, over the last five years, I've been called a terrorist by a government organization of some sort at least four times, right? And I'm still hearing, I'm still walking free, right? I remember when Antifa was a terrorist organization that Donald Trump was going to like executive order in prisons all, right? I remember all of this stuff. And I've been through so much of this, right? This focus on the trans thing, it's going to go away and it's going to be on somebody else. And what we should be doing is actually preparing for supporting that group, whoever it goes on to next whether it's Muslims, whether it's immigrants, whether it's Asians, right, remember when it was the Asian hate, right? That was at the beginning of the pandemic. All of this stuff, right. It's going to be something else, pretty soon and we just need to be prepared for that. But at the same time, I think we also owe ourselves this look at history to look at how these groups have won and how they have succeeded, even in the face of these, you know, incredible odds, right? Because, we actually owe ourselves a little bit of joy and hope at the same time, right? You don't become an antifascist, because you like, are a cynic, right? antifascism is about creating a better future. Nobody goes out into the street and like maybe gets shot because they don't believe that they can create a better world. So we do need to think about this as a struggle but a struggle that we will win and a struggle that is going to, you know, lead to a better future at the end of the day. So, I think it's really important to like, keep that sort of focus in that perspective. Margaret: That makes sense to me. One thing, I kind of want to push back a little bit on is about the asylum thing, where--and maybe it's just because my standard is that I do not judge people on whether they choose to fight or whether they choose to go, right? Like, I'm a bit of a stay-and-fight person myself, right. But, I think that there's also this thing where I'm coming at this as an adult, right? Like, the state I'm in will probably pass a law this year that will make it illegal for me to go to the grocery store. It probably won't be used against me. And I can put on pants and pass as a weird looking cis man with bangs, you know? And, but like, I have the tools to navigate that, right? But, the children who can't access gender-affirming care or the adults in some states that will no longer be able to access gender-affirming care without breaking the law--and I do think that there is a difference between...I guess you don't seek asylum in Oregon, right. You just moved to Oregon. But, I think that the general...I dunno, frankly, I think that a lot of people should, if they're able to, keep their passports current. Like, I...go ahead. Emily: Absolutely. Like there's nothing wrong with with fleeing, right? Nobody has to fight. I moved to Germany because I had a Nazi that was trying to kill me and like there were multiple attempts on my life. Right. I was SWAT'd. There was all sorts of stuff. Yeah, there's nothing there's nothing shameful about fleeing. Asylum is a very specific word, however. It has a legal meaning and it means a specific thing and a lot of people...like, yes, keep your passports handy. But before you even think about moving overseas and requesting asylum, talk to people who have done this because there's a lot of options out there for how you can do this safely, and not request asylum. Because, the thing that a lot of trans folks who are not organizing in solidarity, or who have not yet organized in solidarity, let's just say, with immigrants with with refugees and stuff like that do not understand how bad this process is. If you apply for asylum in Europe, for example, like some people are like, "I'm gonna go to Europe" First of all, Europe will deny your claim, almost certainly. I'm not a lawyer. Not legal advice. But, they will almost surely deny your claim. But they will only deny after two years, maybe. During those two years, you have to live in a detention center, essentially...not a detention center. It's called an Arrival Center. But it's essentially a camp. You have four square meters to yourself. You cannot work. You cannot travel. You can't leave the city or the state that you're in. Right? The medical care is worse than the medical care that you'll get even under the laws that are being passed in the United States. The violence in those centers is off the charts horrible, right. And there are trans people who have tried to apply to asylum. There's a there's a case, that I am not going to name to the person, but this person went to Sweden and applied for asylum and spent like 16 or 18 months there, living on the equivalent of $6 a day. And at the end, her claim was denied and was deported. And now she can't even come back to Europe, most likely. So it's a really, it's a really dangerous thing. And I really want to stress this for anyone that's out there. Talk to people who can help with this because this is...the stuff that's going around is so dangerous that if you don't have an expert supporting you, it's going to ruin your life. Margaret: Okay, now that that makes a lot of sense. I was thinking of it mostly in the context of like, leaving the country versus the specifics of seeking asylum. Emily: It's way easier to move to Minneapolis than it is to move to Madrid. Margaret: Right. And there is kind of a like, "Where we'll stay safe" is a very blurry thing, right? It is unlikely, but not outside the realm of possibility that we'll see federal bans on various things in United States, depending on how power can move. But it's unlikely, right? And, but at the same time, it's like, "Oh, yeah, that place that everyone loves all the trans people, and no one thinks we're horrible monsters who are against the will of God," that place, you know, like, I mean, there are places that are better and worse, don't get me wrong. But okay, so I want to I want to change gears and talk about digitally hunting Nazis because I feel like that's something that you have some experience with, is that fair to say? Emily: I think that I'm a pretty decent Nazi Hunter. I've exposed a few. Margaret: What's, you know, cuz it's funny, because I think about like, Okay, we've talked about how the landscape has changed to where it's no longer doxing and holding physical space in cities as like the two primary...Well, they were never the primary, but they're certainly the most visible and some of the easiest to sort of get involved in in some weird way because you can just...you can't just go fight Nazis, right? It's not a good idea. You should have support networks and all that shit. But it is like...it's like the advantage of direct action, as you can imagine point A to point B fairly easily. But even though the landscape has changed, I feel like a lot of people....his, like, the grassroots Nazis still exist, right? And like, they still, like I have my Nazi doxers who occasionally remind me that they exist and things like that, you know? And like, so it still feels like there is still this territory. And I'm curious about what your experiences has been hunting Nazis, like, what are some of the...what are some of like, the wins, you've gotten out of that and some of the things that you've learned from doing that? Emily: I think that what really makes me proud when I do that work is when I get somebody out of the community that could have done harm to that community. And by exposing these folks and by helping a community defend itself, I think that's the greatest reward. So there's a young neo-Nazi, who with his 17 year old wife, lit a synagogue and fire in Indiana, and I did a lot of work tracking down his case and researching the documents. And in following his case, I found that he was recruited along with his wife into Identity Europa and found evidence of some of the people that recruited him and how they met and how they brought him into the network and her into the network and exposed this information. And as it turns out, this information helped connect to an online presence to a real name, and it turns out that this woman was running a stand in the Farmers Market in Bloomington, Indiana, and was just there in the community every day, and she was a neo-Nazi recruiter. And when the community found out, they mobilized and they organized and they work to get this woman kicked out and pushed out a farmers market and totally disrupted her ability to organize and recruit for that group. And I think for me, that's like the reward of sort of hunting Nazis and exposing them is that you actually get to help a community defend itself. I think the thing that I've learned from doing this is that it's fucking dangerous. Because, what you're doing is actually you're exposing people to shame. And the reason that this sort of--we can call it doxing--the way that this sort of doxing works is that it has to be bad enough for a person to be shamed out of their community, right. We don't do it to harass, we don't do it to intimidate. It's done to give people the tools to say, "I'm not willing to have this person in my midst. I'm not willing to employ them. I'm not willing to go to school. I'm not willing to work with them." Shame has to be a factor, right? And when you shame people, they can react, and they can come after you and yeah, that's why I had like an Atomwaffen hit squad tried to fly to Germany to assassinate me once, so I knew that was always a possibility. Margaret: Aw, that's exciting. Emily: Yeah, that was very strange. It was really strange when the Berlin police, like the Berlin polizei slid into my Twitter, DMs. That's 100% true story. I will show I will show you the DMs if you want some day. Margaret: No, I believe you. The interactions I've had with German police have all been incredibly authoritarian and incredibly polite. Those are the two...whatever, I've only been stopped by the German police twice. And both times, very polite, very stern. Emily: That's, the German dream, that that's Deutschland for you. Very authoritarian and very polite. Margaret: Which, you know, I have feelings about but yeah, it is what it is. I guess...Damn, okay. So wait, tell me more about this hit squad. Like what happened? Emily: Yeah. I don't exactly know what the motivation was. But I got a DM from the Berlin polizei. They were trying to find me. Because apparently--we think it was the CIA because the CIA is responsible for protecting Americans overseas--But somebody had, through whatever surveillance they had on Atomwaffen, the Atomic Division in English, whatever like surveillance they had on this group, they detected that these folks were flying overseas and had intentions to be in Germany and that they had intercepted chats apparently, saying that they're going to try to find me at a demo and stab me. Which is very funny, because I don't really go to demos in Berlin. But anyways, that was their plan. And I think I know who these folks are. They ended up getting arrested and sent to prison at some point, not for trying to murder me but for other things. Margaret: For being an Atomwaffen. So pretty...Yeah. Yeah. I don't feel like that group deter deserves to be pronounced properly in German because I feel like that's like what they want is to be like, "We're good, proper German Nazis," but there's just some fucking...I mean, obviously, I'm not trying to....Well it's interesting, I do want to diminish them and make fun of them, but at the same time, like, there's a weird balance here, where you kind of want to be like, "Oh, you dumb little assholes," you know? Well, not, while still accepting that they're a very serious threat in some ways. You know? Emily: I could always speak actual German around them. And watch them be dumbfounded. Margaret: Yeah. Okay, so one of the things that stands out from what you just said about all this stuff--besides the how complicated of strange times we're in where the CIA is stopping Nazis from murdering antifascists--is the fact that this recruiter was at the farmer's market instead of like...like when I was more actively involved in stuff, it was like metal shows, you know, it was this like, it was a very subcultural milieu, the the Nazi scene. And I feel like this like move to farmer's markets is like worth exploring and talking about, you know, you have the kind of like, the way I usually see it expressed is like the crunchy granola to Nazi pipeline and things like that. And like you talked about how, like homeschooling was like a big avenue. Yeah. Do you want to talk more about that just to the why they're at farmer's markets? Emily: I think it's, you know, there's so many different factions of the far-right. And one of them is sort of this traditionalist faction, right, there's a lot of like homesteading, and there's a lot of prepping, and there's a lot of like live off the land and be independent and have lots of white children and be pregnant and barefoot all the time. That's part of this sort of Christian, this this far-right, like, Christian sort of segment of the far right. And there's also like it's part of this white Christian sort of traditionalist second segment of the far-right. There's also like, Neo-pagan segments of the far-right that are similar. But yeah, I think that there's there's a lot of this like mythology, right? One of the essential elements of fascism is that what differentiates fascism from other far-right, authoritarian ideologies, is that Fascism is fundamentally around sort of this mythos of rebirth, right? So these these mythologies around like folkish culture and traditionalism, and the rebirth of like, return to like proper America, and like, when men were men and women were women and all of that stuff, right? Yeah, this is part of the mythology of it. And so the difference, like the shift between the skinhead Nazi to the traditionalist Nazi, it's as much a matter of ideology and aesthetic as it is the degree to which they understand and embrace those elements of the fascist belief, right? And I think it's dangerous because so much of American identity is also about nuclear family and home values, like you know, good old fashioned values and home cooking, and you know, doing things with your mom and your dad and your 2.7 kids and having a white picket fence, right. So much of American culture is wrapped up into that, fascists have realized that it's really easy to prey on that. That's why you have Nazis at the farmer's market. Margaret:Yeah. Makes me sad, but I get it. So what are what are we...we're coming up on an hour, and I'm kind of wondering what's the question I should have asked you? What else do you think? Do you have any, any final thoughts or any like, you know, rousing "How do we solve all of this?" not to put you in, not to give you an awkward question. Emily: I would have asked me about what it's like beyond the activism? Right, because I've actually kind of retired from the activism. And I think that a lot of my perspective now, is about what it feels like to be in the middle of this whole milieu of the shit. And then to walk away from it. Margaret: Yeah. Alright. What's that like? Emily: So I don't know. I think that there's a few years where like, I spent almost every day looking through Discord logs, doing alt-right research, tracking their cases. I was spending thousands of dollars on pacer fees, downloading and court documents and all this shit, right. And I would end my workday, and I would go home and I wouldn't play video games, I would start hunting Nazis. And I would wake up in the weekends and I would update my website where I tracked Nazis and I did this and this was my life. And it was a way of dealing with trauma. There was also a time, still today, probably a week doesn't go by that I don't see the torches from from the rally from August 11th, right? So that trauma is still very present. And it was a response to it was my way of coping with it and dealing with it. And then when the insurrection happened, I kind of saw that as a passing of the torch. The insurrection was the moment that the alt-right stopped being relevant and the Republican-right started being relevant in this discussion of "Extremism," right? And I realized pretty quickly that I wasn't going to...one, I wasn't going to be able to keep up with it and two, my work was done. My goal was always to try to give tools to mainstream journalists so that they could write more effectively about what we were seeing in the world from the position of an antifascist, right? antifascist often have a really antagonistic relationship with the media and for very good reasons. At the same time, if you don't have relationships with the media, nobody's going to tell your story to that forum for you. You have to have some sort of ability to work with these groups of people in order to help get your message out. With these reporters and stuff, right. And I feel like since 2016 up until 2021 there were a lot of folks that actually started to figure out how to write about the far-right. They're not always perfect at it, they don't always do a good job, they sometimes fail to credit and stuff like that. All of those things are annoying, but I think that they covered substantively a lot of this much better. And I decided to retire from public activism. And now that I stepped back, and I can look at this, and I'm not on Twitter day to day, and I'm not, you know, in every debate and having every argument, I can actually sort of zoom out and feel like I can have a much broader picture. And it helps helps with like my mental health. And I think that's actually...I think it's actually important to also take breaks from this work. Because if you're just in the day after day, you're going to be fucking miserable. And it's, and you're not going to be able to change anything, you're not going to fix anything if you don't give yourself breaks. Margaret: That makes a lot of sense to me. I feel like there's a lot of cycling in and out. And I don't know, I do think that there's a difference between...I think that sometimes people and you're not necessarily doing it here, but sometimes people refer to it as sort of like leaving a thing, right, and being like done with it. Or like, sometimes people burn out so hard that they're like, "Now I'm apolitical," or, "Now I don't care," or whatever. And I think there's a very big difference between like, "My time in the front line of this particular struggle is done. And now I'm in this like, support role where mostly I'm living my life," you know, and I feel like--and maybe I say that, because that's what I do, right? Like, I'm no longer in the streets to the degree that I was when I was younger. But and I actually think it's useful for people to see folks like you, who are no longer doing something full time but still still existing in this. Like, I don't know how to say this. But it's just like, I think it's useful for people to see that it's like, this isn't everything. This is not the entire life, one's entire life is not the struggle and things like that, you know? Emily: Yeah. And I think one, people are doing it better than I ever have done it. The people, the work that's being done now is such high quality, like the antifascist groups that are out there, they're so good at what they do that I'm embarrassed to even be in the same breath as them, right? They're so much better. They're so much more rigorous, they're so much more careful, they're' so much more impersonal egoless, right, that I like, stand in awe watching what they do. And I don't even want to consider myself part of that because they're just on another plane. I think that when I started this, we didn't have enough people doing the work. And I'm happy that I was able to contribute. And I think that that's my chapter of it. antifascism is shift work, right? You can't work in solid...like part of solidarity work is knowing when to step up and knowing when to step back. I'm still writing, you know, I think I know that not everyone agrees with some of my takes. My goal is not to get everyone to agree with me. Right? I think that's also something that I'm trying to take away getting away from Twitter, right, is I don't actually necessarily need to convince you or to sell you or to get you to agree with me. What I want to do is actually give you something to think about. And I want to try to give you a lot of tools to view a problem from a variety of perspectives, knowing that we're all on the same side. Right. And so, I don't know, I'm just sort of hoping that that I can add, if there's anything that I still have to add to this fight, it's that there's a little bit of to add depth and sort of dimensionality to it, rather than just being front lines, whether it's digital front lines or physical front lines, just to try to add some...to broaden the spectrum. Margaret: That makes sense. Yeah, go ahead. Emily: And also, just to kind of live a good life. Like I was targeted by Andy Ngo for how long....I was like...Seb Gorka once followed me on Twitter, right, while he was in the White House, you know. There was like, Milo Yiannopoulos was targeting me, right. I went through all of this stuff. I had Atomwaffen trying, you know, flying overseas and threatening to execute me and all this stuff. It's like...none of them succeeded. None. Like Chris Danwell spent, has spent five years trying to put me in jail and has never succeeded. These folks, they're not winning. I won. Yeah. And what allowed me to say that I won is I can close my laptop whenever I want, I can walk out the door, I can breathe free air. And even though I will face oppression in everything that I do because I'm not white and because I'm trans, I still had the freedom of that choice. And that is something that the fascists can never take away from me. And I think that that is an act of defiance and antifascism too. Margaret: That makes a lot of sense. And that feels like maybe a good note to end on. If people want to find more of your work, or in a nice way, if people want to follow you do or....I mean, it sounds like you...do you want people to find your work? And if so, how can they do so? Emily: Um, you can you can google my name. I still syndicate stuff through Twitter, right? So you'll still see the links and the stuff that I do when I post, right. So you can twitter @EmilyGorcenski, you can go to emilygorcenski.com and see what I'm posting and half of it is about my day job working in technology and half of it is about trans issues or antifascism or politics and half of it is shitposting. And I know that that's three halves. But I'm a mathematician, so I get to make the rules with numbers. And yeah, I think that, you know, I'm on Mastodon as well, but it sounds complicated. So just like Google my name and figure it out. Margaret: Yeah. Okay. Well, thank you so much for coming on. And keep winning. It makes me happy. Emily: Thank you for having me and keep doing what you're doing because I couldn't be winning if it weren't for people like you. Thanks. Margaret: Thank you so much for listening. If you enjoyed this episode, you got something out of it then well, the main thing to do is to think about how to be in solidarity with different groups when the Eye of Sauron passes upon each of us, because it does stay in motion for better and worse. You can also, if you like this podcast, tell people about it. You can tell people about it on the internet. You can tell people about it in real life. You can tell your dog about it. Kind of the only person I'd be able to tell about it right now. Hey, Rintrah, I like this podcast. Rintrah doesn't care. I recommend telling people. Animals are great but people are most of our listeners as far as I'm aware. I'm about to shout out Hoss the Dog. Shout out to Hoss the Dog, our like longest standing Patreon backer. If you want to support us as well as Hoss the Dog has supported us, you can go to patreon.com/strangersinatangledwilderness. And there you will see that we put out new content every month that actually anyone can access for free at tangledwilderness.org But, if you want it mailed to your house support us there. And also you get a discount on everything we do in the store. You can also check out our other podcasts. At the moment...well, there might even be a new one by the time this comes out because I'm recording this a little bit before this one comes out--but at the moment, there's Anarcho Geek Power Hour, for people who hate cops and like movies. And there's Strangers in a Tangled Wilderness for the content that we put out as Strangers in a Tangled Wilderness. That one comes out monthly. And I want to thank some of our backers. I want to thank Hoss the motherfucking Dog, who has been with us as a Patreon backer for years. Thank you Hoss, Michaiah, Chris, Sam, Kirk, Eleanor, Jenipher, Staro, Kat J., Chelsea, Dana, David, Nicole, Mikki, Paige, SJ, Shawn, Hunter, Theo, Boise Mutual Aid, Milica, Paparouna, Aly, Paige, Janice, Oxalis, and Jans. If you'd like to see your name on here, you can do it. You can even make it be a silly name that I have to say every time but not an offensive one because I wont do it, not even for money. Anyway, I hope you're doing as well as you can and I or one of the other hosts will see you next Friday. Find out more at https://live-like-the-world-is-dying.pinecast.co

Darshana Khiani shares I'm an American, a beautifully depicted, thought-provoking look at the many ways we define what it means to be an American. BOOK DESCRIPTION: I'm an American by Darshana Khiani; illustrated by Laura Freeman Page Length: 48 pages Ages 4to 8, Grades P to 3   I'm an American by Darshana Khiani; illustrated by Laura Freeman   What does it mean to be American?   A classroom of children across many races, cultures, and origins explores the concept of Americanness as they each share bits of their family history and how their past has shaped their own personal American experience. Whether as new immigrants, or those whose family came to this country generations ago, or other scenarios, these children's stories show some of the broad range of cultures and values that form the history and identity of our nation.   A beautifully depicted, thought-provoking look at the vast expanse of cultures that exists in America, the values that bring us together as one people despite our differences, and the many ways we define what it means to be an American. NOTABLE QUOTES:   (7:01) “This book, honestly, I think it's for ages eight to a hundred. I think it's a conversation starter. What does it mean to be an American?”   (8:32) “There's a term that I learned and I hope we hear it more in the media. It's called “representational belonging”. And it's about when you see yourself in history, it makes you feel that, “Oh my God, I'm an American, too. I belong here.” Right? “I'm not just that immigrant or part of that immigrant family that came post 1965.”   (8:59) “I'm hoping it can open up discussion about what are the challenges we have of living up to our American values, cause we certainly have plenty. And where have we succeeded as a nation and where do we still have work to do?”  (11:23) “And I also wonder if it's the fear of the unknown, right? Because we understand ourselves and so if we see people talking and we don't understand what they're saying, then, you know, we might worry, “Oh, are they talking about us? What do they think about?” You know, it's just that fear of the unknown.” (12:29) “Being in the writing world has allowed me to diversify and to learn. I've learned about so much about other cultures by being a writer because I just have the ability to come into contact with more people. So, I personally am grateful of how it has changed my life by being a writer. (13:27) “I'm hoping now we're at a time where we can really broaden our definition of American. Obviously, we can't get away from the colonial history and our foundings, but I think as we talk about the other groups  and their achievements during those times, which were, you know, in the 1800s or in the early 1900s where there's just so much focus on white history. And if we talk about the accomplishments and the contributions of these other people, I think that will then help ingrain into kids from an early time that America was diverse from the beginning.” (22:01) “No group of people, you know, ethnicity or religion or class, is a monolith. And to truly learn about anyone, you have to dig deeper. So like, if you see something that's interesting, don't assume that that represents the kid next to you that might be from that culture, because it may, but most likely it may not.  So it's always best to go into a conversation about something with an open mind and rather than assumption.”  (21:08) “No matter your skin color, religion, ethnicity, or even your citizenship, if you feel America is your home, then you are American. And for those of you who have a stronger connection to another country and don't consider yourself American, that's okay too. You still belong and are welcome here.” ADDITIONAL LINKS: Darshana Khiani Website - darshanakhiani.com South Asian Kidlit Newsletter - darshanakhiani.com/southasiankidlit Purchase the Book - I'm an American TALK ABOUT THE EPISODE: Who do you consider an American? What qualities, characteristics, or qualifications do you think one must possess in order to be considered an American? What is a part of your identity for which you feel pride? This could be literally anything from the place where you live to a skill you have or an identifying feature. Anything at all. What makes you proud about this part of yourself? Is it something you've shared with others? What does it feel like to share something about your identity with someone who is different from you? Have you ever felt like a part of your identity has kept you out of being included? If so, in what way? Have you ever felt like a part of your identity was the very reason for being included? If so, what was that experience like for you? Name three ways that our differences can actually make us stronger together.  CREDITS:   This podcast episode of The Children's Book Podcast was written, edited, and produced by Matthew Winner. For a full transcript of this episode, visit matthewcwinner.com.    Write to me or send me a message at matthewmakespods@gmail.com.    Our podcast logo was created by Duke Stebbins (https://stebs.design/).    Our music is by Podington Bear.    Podcast hosting by Libsyn.    You can support the show and buy me a coffee at www.matthewcwinner.com.   We are a proud member of Kids Listen, the best place to discover the best in kids podcasts. Learn more at kidslisten.org.   Fellow teachers and librarians, want a way to explore building a stronger culture of reading in our communities? In The Reading Culture podcast, Beanstack co-founder Jordan Bookey hosts conversations that dive into beloved authors' personal journeys and insights into motivating young people to read. And I am a big fan! Check out the Reading Culture Podcast with Jordan Bookey, from Beanstack. Available wherever podcasts are found. DISCLAIMER: Bookshop.org affiliate links provided for any book titles mentioned in the episode. Bookshop.org support independent bookstores and also shares a small percentage of any sales made through this podcast back to me, which helps to fund production of this show.  

Today we have the pleasure of hosting an episode of one of our favorite travel podcasts, Far From Home, hosted by Scott Gurian. In this episode, Jamie Yuenger talks about the unexpected challenges of adjusting to life as a New Yorker living in the Netherlands. She describes the near impossibility of making friends with locals, the lost feeling of not knowing the "terms of engagement," and the surprise in finding that her Americanness is often perceived as "too much." It wasn't until she went back to New York for a visit after three years that she was able to put her finger on why adjusting to life in a small Dutch city was such a challenge. She talks about the things she misses, things as simple as being able to walk into a bookstore and be able to read any book there, to as important as being able to fully express yourself to your partner. This is an unmissable episode for any expat who's having a hard time, or anyone who is planning a move abroad.  Way back in our archives, you can find an interview with Scott Gurian,  Episode 174 Rally, where he talks about an amazing adventure he went on, the Mongolian Rally. You can also listen to more from Jamie on her own podcast, If You Knew Me.  ------------------------------------- ADVERTISE WITH US: Reach expats, future expats, and travelers all over the world. Send us an email to get the conversation started. BECOME A PATRON: Pledge your monthly support of The Bittersweet Life and receive awesome prizes in return for your generosity! Visit our Patreon site to find out more. TIP YOUR PODCASTER: Say thanks with a one-time donation to the podcast hosts you know and love. Click here to send financial support via PayPal. (You can also find a Donate button on the desktop version of our website.) The show needs your support to continue. START PODCASTING: If you are planning to start your own podcast, consider Libsyn for your hosting service! Use this affliliate link to get two months free, or use our promo code SWEET when you sign up. SUBSCRIBE: Subscribe to the podcast to make sure you never miss an episode. Click here to find us on a variety of podcast apps. WRITE A REVIEW: Leave us a rating and a written review on iTunes so more listeners can find us. JOIN THE CONVERSATION: If you have a question or a topic you want us to address, send us an email here. You can also connect to us through Twitter, Facebook, and Instagram. Tag #thebittersweetlife with your expat story for a chance to be featured! NEW TO THE SHOW? Don't be afraid to start with Episode 1: OUTSET BOOK: Want to read Tiffany's book, Midnight in the Piazza? Learn more here or order on Amazon. TOUR ROME: If you're traveling to Rome, don't miss the chance to tour the city with Tiffany as your guide!  

Back by popular demand! The Hutchisons! You've heard from Nate, and now we hear from his better half, Whitney. She has a beautiful perspective on cultural empathy and shedding her Americanness to serve with humility in New Zealand.Learn more about Whitney:http://www.n8andwhitney.comhttps://churchnorthwest.nzMusic by: Irene & the SleepersLogo by: Jill EllisWebsite: brokenbanquetpodcast.comContact Us: brokenbanquetpodcast@gmail.com

Frieze Masters presents this conversation with Amy Sherald, Ekow Eshun and Jenni Sorkin in partnership with Hauser & Wirth (@hauserwirth). The panelists discuss Sherald's practice and the relevance of her work within the canon of historical portraiture. This episode also marks the release of the artist's first substantial monograph by Hauser & Wirth Publishers, providing a unique insight into her work and studio practice, alongside newly-commissioned texts.  "When I'm considering my Americanness, and my American story, I think farming and agriculture is essential to that. It's the reason that the US is a superpower. And it's the way that black families were able to sustain themselves. It was legacy, it was the way that we planted our seeds, it was the animals that we raised. It was something that we could not live without. And so to have all of that, taken away, is disappearing, those voices are disappearing." – Amy Sherald  Amy Sherald (@asherald) documents contemporary African American experience in the United States through arresting, intimate portraits. Ekow Eshun (@ekoweshun) is a British writer, journalist, broadcaster, and curator. Jenni Sorkin (@jennisorkin) is an American art historian, curator and educator who writes on the intersections between gender, material culture, and contemporary art.  About the Frieze Masters Podcast  Exploring themes of identity, originality, geopolitics and Blackness through a historical lens, the new Frieze Masters Podcast is now available. Bringing together some of today's most celebrated artists, art historians and curators, the podcast launches with the Talks programme from the 2022 edition of Frieze Masters – one of the world's leading art fairs – and offers compelling insight into the influence of historical art on contemporary perspectives and creativity.     www.frieze.com  @friezeofficial

It seems like the only commercials playing on Amazon Prime and Hulu right now, if they're not for car insurance or other shows you could watch on those platforms, are pushing HIV meds, contraceptives, and heart conditions. Is it just us? Is it just my household? Please tell me America feels other needs besides for pharmaceutical solutions to sexually transmitted diseases, avoiding pregnancy, and not dying from myocarditis. Speaking of heart disease, former President Trump has finally unleashed a nickname for his anticipated Republican rival for 2024, calling him 'Ron DeSanctimonious' to something like the MAGA rally equivalent of crickets, not to mention held noses and downed thumbs among conservatives on Twitter. And this is well-deserved. From everything I've seen of DeSantis over the past several years, he's an excellent governor, and would be a better choice for next President of the United States. A quick word, then, about trying to box your political opponents out with pejoratives. Calling people and things by their name is one thing. Assassinating the character of others with falsehoods and slander, however, is quite another. Trying to trade someone's good name for an ugly one just because they may be competing with you in the near future? That's corrupt, selfish, short-sighted, and foolish. And it's liable to bring painful self-inflicted damage to your own reputation more than that of the one you're trying to bring down a few notches. Another true thing to remember is that an untoward thing can be suspected or true of others even as a greater benefit and virtue may be found in not calling them what you might be tempted to. There are many true things that can be said. They cannot all be said simultaneously, nor do they all need to be in every circumstance. Rather, we must consider relevance and circumstance to know when a word or phrase is fitting versus when it is a distraction or undermining of otherwise profitable means and ends we should be pursuing instead. Given our current circumstances more broadly, however, we should turn our attention to the question of how best to love our countrymen and country. Some say that to especially love America, or our fellow Americans, by virtue of their Americanness, is partiality at best, and possibly even idolatry at worst. And while rose-colored glasses about our country might be called loving it too much, I am reminded of what the Scriptures say of a father who refuses to discipline his son, that he hates him. Yet a father who loves his son will discipline him. Thus, I conclude that there is too much in common between loving America "too much" and hating it. Much damage is done either way which impedes the righteousness which Proverbs 14 promises "exalts a nation," even as the sin which "is a reproach to any people" runs all the more rampant thereby. In both extremes, we will refuse to call for repentance when it is needed. On the one hand, we will deny that there is any sin to repent of. On the other, we will hope no repentance comes because we want to see our nation punished or even destroyed. Are either of these attitudes of the Lord, or do either honor Him? I fail to see how, especially when they are compared with noting the sins, calling our country to repent of them, and praying for that healing and forgiveness from the Lord without which no nation or people can ever be truly blessed. It's time to seek the Lord's face, and humble ourselves, and pray that the Lord will hear us from heaven. --- Send in a voice message: https://anchor.fm/garrett-ashley-mullet/message Support this podcast: https://anchor.fm/garrett-ashley-mullet/support

There are three American myths that define "Americanness." The frontier, the melting pot and the "self-made man." They're concepts that define how we are to think about transformation, progress and possibility in America. They also rarely hold up. Heike Paul, author of The Myths That Made America, is our guide to the stories we tell about how it is in this country (even when it isn't.)

Hundreds of magazine titles were banned by the Irish censor. This true-crime periodical, full of murder and gangsterism, couldn't avoid being banned for discussing crime. But advertising ‘daring' and ‘frank' books didn't help either. The exuberant rampant Americanness of this magazine is what really struck me.The law also banned court reports on ‘any indecent matter the publication of which would be calculated to injure public morals'.You can see the roots of contemporary true crime in this one edition.The edition read for this episode is June 1930 https://archive.org/details/TrueDetectiveJune1930/mode/2up?view=theater Fancy supporting the show? Do so here https://www.patreon.com/censoredpod Or buy stickers here: https://censoredpod.bigcartel.com/ Hosted on Acast. See acast.com/privacy for more information.

(8/30/2022)According to Socio-cultural Anthropologist Joshua Reno and Associate Professor of Anthropology Britt Britt Halvorson, many associate racism with the regional legacy of the South yet in fact, it is the Midwest that has upheld some of the nation's most deep-seated convictions about the value of whiteness. From Jefferson's noble farmer to The Wizard of Oz, imagining the Midwest has quietly gone hand-in-hand with imagining whiteness as desirable and virtuous. Since at least the U.S. Civil War, the imagined Midwest has served as a screen or canvas, projecting and absorbing tropes and values of virtuous whiteness and its opposite, white deplorability, with national and global significance. Imagining the Heartland provides a poignant and timely answer to how and why the Midwest has played this role in the American imagination. Join is when anthropologists Britt Halvorson and Josh Reno argue that there is an unexamined affinity between whiteness, Midwestness, and Americanness, anchored in their shared ordinary and homogenized qualities on this installment of Leonard Lopate at Large.

Professor & biographer Ira Nadel joins the show to talk about PHILIP ROTH: A Counterlife (Oxford University Press). We get into Ira's approach to literary biography, his history with Roth's books, and what it was like publishing the other major Roth bio of 2021 (and whether the materials & records that Roth authorized for Blake Bailey's biography will remain accessible, against Roth's wishes). We also talk about how his understanding of Roth changed over the course of the project, Roth's . . . disrespect for women, the major trends that emerged in Roth's life through the books, letters and other documents Ira explored, Roth's need to self-mythologize and his conflation of fact, fiction and metafiction in his work, Kafka's influence on Roth's involvement with Eastern Europe writers during the Cold War, the question of whether Roth was deluding himself when he insisted his writerly identity was his Americanness (as opposed to his Jewishness), his bad relationships with editors and publishers, the health woes that governed so much of his life, my key questions — "What's your favorite Roth novel?" and "Does Roth's work survive another 10-20 years?" — and plenty more! More info at our site • Support The Virtual Memories Show via Patreon or Paypal

Brad speaks with Dr. Khyati Joshi, author of White Christian Privilege: The Illusion of Religious Equality in America (NYU 2020). https://nyupress.org/9781479840236/white-christian-privilege/ The United States is recognized as the most religiously diverse country in the world, and yet its laws and customs, which many have come to see as normal features of American life, actually keep the Constitutional ideal of “religious freedom for all” from becoming a reality. Christian beliefs, norms, and practices infuse our society; they are embedded in our institutions, creating the structures and expectations that define the idea of “Americanness.” Religious minorities still struggle for recognition and for the opportunity to be treated as fully and equally legitimate members of American society. From the courtroom to the classroom, their scriptures and practices are viewed with suspicion, and bias embedded in centuries of Supreme Court rulings create structural disadvantages that endure today. For access to the full Orange Wave series, click here: https://irreverent.supportingcast.fm/products/the-orange-wave-a-history-of-the-religious-right-since-1960 To Donate: https://www.paypal.com/paypalme/BradleyOnishi For an ad-free experience and to support SWAJ: https://irreverent.supportingcast.fm/straight-white-american-jesus-premium To become a patron: https://www.patreon.com/straightwhiteamericanjesus Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://swaj.supportingcast.fm

Hana's immigrant generation is called the 'one and a half'- those who came to the U.S. with their families as young children. Not 1st gen like her mom- they're more attached to their home countries. Not 2nd gen like her kids- they're settled in their Americanness. She's caught in the middle- and it's weighing on her. Where is home? We hear the stories of two women and their mothers- Khadega from Sudan, and Melly from Haiti- plus Hana ponders with her own mom and daughter.

Hello and Welcome back to Our Japan Podcast. Today our hosts Roza and Kiyoshi talk about the changes your personality can take when you speak Japanese versus when you don't. They talk about the HBO show Tokyo Vice, Americanness, problems at the Japanese Embassy, and how to properly slurp ramen. Only the best advice from the best purveyors of Japanese culture. THE JAPANESE WORD OF THE EPISODE: Seikaku (せいかく, 性格) = PERSONALITY Ourjapanpodcast@gmail.com for all of your questions and comments which may be read on the podcast. --- Support this podcast: https://anchor.fm/ourjapanpodcast/support

2022年2月19日，在【三辉图书】邹怡编辑的邀请下，我和人民大学历史学院的环境史专家侯深、《成败落基山》译者贾丁，一起进行了一场题为【朝俄勒冈走去——如何以地理学的方式理解美国性格？】的新书分享会，从人文地理学与其它社会科学领域的多重视角出发，探讨美国的社会政治变迁、以及全球化时代整个世界所面临的种种挑战。特别鸣谢网友Emma（播客：“好运签”）帮忙对录音文件进行后期处理。文字整理稿见：《打破对美国模式的迷思，有助于构想一种更好的全球化和城市化的路径》。 【主持】 贾丁：《成败落基山》译者，亚太研究青年学者，现供职于中国国际问题研究院 【嘉宾】 侯深：中国人民大学历史学院教授，美国史、环境史专家，新著《无墙之城：美国历史上的城市与自然》（四川人民出版社，2021） 林垚：我，侯深老师的粉丝，公众号【林三土】，播客【催稿拉黑】、【时差】 【时间轴】 01:38 邹怡：介绍嘉宾与主持人 【03:23 – 06:40 贾丁】 03:23 罗伯特·卡普兰及其作品简介 05:44 提问：如何看待卡普兰的作品，以及他作品中所描述的美国？ 【06:40 – 13:30 侯深】 07:15 卡普兰心目中的读者并非美国东海岸精英，而是美国中西部偏保守的普通民众 09:18 卡普兰本人的美国认同与新保守主义倾向 11:30 卡普兰为弥合当代美国社会撕裂开出的药方：要找到新的美国感，必须重新回到地方、回到对美国这片土地的感同身受之上 【13:30 – 25:00 林垚】 14:08 相比于卡普兰《荒野帝国》、《世界尽头》等其它著作，《成败落基山》在写作上因为现实政治的紧迫感而显得较为仓促，未能展现其作为记者的特长 17:49 卡普兰敏锐地指出了问题，但其解答则囿于新保守主义立场而有所偏颇：西进运动与教材之争 20:58 卡普兰敏锐地指出了问题，但其解答则囿于新保守主义立场而有所偏颇：民生凋敝与种族矛盾 【25:00 – 28:26 贾丁】 28:00 提问：从环境史的角度看，为什么是五月花号的后裔建立了美国，而更早移民到美洲大陆的印第安人却没有建立起一个影响全世界的现代国家？ 【28:26 – 36:45 侯深】 29:25 卡普兰关注环境议题，但他热衷援引的德沃托、斯泰格纳等环境史学家年代都偏早；当代的环境史学研究有很多新发展，尤其是摒弃了地理决定论 31:50 新大陆生态的特殊性：戴蒙德《枪炮、病菌与钢铁》、斯科特《反谷》 35:40 美国西部和东部的环境有着巨大不同，尤其是前者的干旱；卡普兰认为这种环境让美国人在开拓西部的过程中习得了一种较为审慎的保守主义，与特朗普式的美国优先主义大相径庭 【36:45 – 38:38 贾丁】 37:25 提问：卡普兰这样一个老派的地缘政治家，在美国当代决策界有多大影响力？他的信众是哪些人？ 【38:38 – 56:10 林垚】 39:55 地理、技术与政治三方面因素的互动，以美国中西部的兴衰为例：铁路到航空的交通技术变迁；僵化的宪政框架导致中西部衰败地区的政治影响力不成比例地放大 50:46 卡普兰式地缘政治思路在当前美国政界遭到的内外夹攻：内政上，各种社会经济问题的迫切性；外交上，过往二十年的军事挫败，表明再高瞻远瞩的地缘政治思路也依赖于充分的在地知识作为支撑，否则寸步难行 【56:10 – 58:45 贾丁】 57:20 提问：卡普兰认为，全球化在为美国创造大量财富的同时，也使得美国的城市与村镇出现了发展上的趋同，根植于土地的稳定与保守的传统逐渐消失；二位老师对此如何看待？ 【58:45 – 67:33 侯深】 59:06 美国对全球事务的介入：摇摆在道德主义与实用主义之间 61:26 美国中产生活方式以普世主义的想象自诩，但从环保角度看却是不可持续的、无法全球共享的 64:09 城市趋同化与保育地方风味之争：反对连锁店、抵制资本统御、推动慢食运动；问题在于，面对能源与环境危机，这些生活方式是否足以满足城市大多数人口的日常需求 【67:33 – 68:40 贾丁】 67:33 美国对内对外都有非常糟糕的人权纪录，因此在批评别国时难免显得虚伪 【68:40 – 81:30 林垚】 68:40 美国的环保困境，部分源于其根深蒂固的种族矛盾：窗式空调、烘干机、房屋设计、市政土地规划 72:35 与卡普兰所认为的相反，美国城市的地方独特性消失，主要不是城市化的后果，而是城郊化的后果；后者同样与种族主义息息相关 74:57 在美国的城市化地区，八九十年代以来的经济保守主义与去监管化，令大型连锁企业得以不断排挤本地小商铺 77:00 全球化未必总是导致地方性的消失，相反也有可能通过巨型城市内部的规模经济效益，为本地文化创造生机 78:30 美国文化霸权过于强大，后发国家纷纷模仿美国模式；认识到美国模式背后长久以来扭曲的激励机制，打破对其迷思，有助于重新想象和构造一种更好的全球化和城市化的路径 【81:30 – 99:38 听众问答互动环节】 【81:45 – 87:10 侯深】 81:45 美国作为实验性质的国家，很多改革都仍然在进行时 82:35 地理环境对美国实验的重要影响：美国与欧洲的城市规划对比；十九世纪乌托邦主义者对美国的向往；二十世纪中期反主流文化者的社区主义实践 85:42 美国文化影响力的根源：消费文化的强大诱惑力 【87:10 – 97:50 林垚】 87:10 听众提问：是否存在弥合美国社会撕裂的可行路径 87:49 当代美国政治在制度架构上留给地方改革实验的空间越来越小 93:18 当代美国对多元文化议题的过分聚焦，是政治经济改革之路不断被堵死之后的无奈转向 【97:50 – 99:38 贾丁】 97:50 韩国流行文化兴起的启发 99:38 邹怡：总结与致谢

Kristina Cho is the creator of the food blog and Instagram feed Eat Cho Food and the author of the cookbook Mooncakes & Milk Bread.Having the opportunity to live in this incredible neighborhood in California gave me some type of resolve, and I was able to feel confident embracing both sides of me. I think if I grew up in California, in some of these different neighborhoods, I would probably feel and be able to fully embrace the Asianness and Americanness more than I am now. But it's a thing I'm continuing to work on through my food, in a way. With each recipe, I'm trying to kind of explore different facets of my upbringing and my life and try to combine these things.Notes and references from this episode: @eatchofood - Kristina Cho on Instagram  EatChoFood.com - home pageMooncakes & Milk Bread, by Kristina Cho (HarperCollins, 2021)“Cecilia Chiang, Who Brought Authentic Chinese Food to America, Dies at 100,” by William Grimes, NY TimesWildcat Canyon Regional Park, Richmond, CACantonese-style Tomato Egg - Eat Cho FoodEastern Bakery - San FranciscoPhoenix Bakery - Los AngelesAli Wong - home pageRuth Asawa - home page=====Produced, hosted and edited by Stu VanAirsdaleTheme music: Sounds SupremeTwitter: @WhatCaliforniaSubstack newsletter: whatiscalifornia.substack.comSupport What is California? on Patreon: patreon.com/whatiscalifornia  Email: hello@whatiscalifornia.comPlease subscribe wherever you get your podcasts. And if you liked What is California?, please rate and review What is California? on Apple Podcasts! It helps new listeners find the show.

Want to support 'Cotto/Gottfried'? Send the show a monthly contribution! Follow this link and click 'Monthly tip': https://streamlabs.com/cottogottfried/. Your support is greatly appreciated. Like this episode? Donations much appreciated -- no worries about size; it's the thought that counts. Many thanks! https://www.paypal.com/paypalme2/CottoGottfried THERE WILL BE NO MORE 'Cotto/Gottfried' episode uploads in video format. Of course, the show will still hold its usual livestreams on YouTube. Please subscribe to 'C/G' on one (or more -- maybe even all) of the following podcasting platforms ASAP: Apple Podcasts: https://podcasts.apple.com/podcast/id1494171864 Spotify: https://open.spotify.com/show/1X7N1Xw0EstfhuqjAVI6VB Pocket Casts: https://pca.st/rpzzk0z8 Stitcher: https://www.stitcher.com/podcast/anchor-podcasts-provider-2/cottogottfried#/ Breaker: https://www.breaker.audio/cotto-slash-gottfried Google Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMWY0M2IyOC9wb2RjYXN0L3Jzcw== Overcast: https://overcast.fm/itunes1494171864/cotto-gottfried Castbox: https://castbox.fm/channel/Cotto%2FGottfried-id2556945 Anchor: https://anchor.fm/cotto-gottfried Radio Public: https://radiopublic.com/cottogottfried-6VZegX

This is our 2022 Lunar New Year special edition. We hope you enjoy this episode and Happy New Year!Every year around late January or early February, people all over the world celebrate the Lunar New Year according to the traditional lunisolar calendar. As for the United States, in the 1950th, grand celebrations and American style parades in San Francisco Chinatown brought the concept of the Chinese New Year to the general American public, first to fight against racism and to show loyalty to the United States during the Cold War, as well as to boost Chinatown tourism business, although reinforcing the modal minority myth as well as other racial stereotypes , these public displays of Americanness during Chinese New Years celebrations contributed to a unique identity forward for Chinese Americans as well as for Chinatowns all around North America. Then, in the 1970s, American presidents started wishing the public "Happy Chinese New Year". In the 1980s and 90s, we see the transition from "Chinese New Year" to "Lunar New Year", we see an Asian American and AAPI identity emerging. Throughout these historical changes, much like the "War on Christmas", for a Chinese celebrity or an international institution, to say "Happy Chinese New Year" or "Happy Lunar New Year" can be seen as a political stance. Was there really a war on Chinese New Year? Or, should we all fight for the Lunar New Year in observance of solidarity as well as intersectionality in today's America as well as the world? Recommended Books1. Making an American Festival: Chinese New Year in San Francisco's Chinatown  By Chiou-ling Yeh2. The Color of Success, Asian Americans and the Origins of the Model Minority By Ellen D. Wu3. Scratches on Our Minds: American Images of China and India By Harold R. IsaacsThe American Presidency ProjectJohn Woolley and Gerhard PetersUC Santa BarbaraCover Photo TitleCrowd of people watching a dragon at a Chinese New Year Celebration, Los Angeles, [s.d.]Cover Photo SourcePublic Domain. Credit to University of Southern California. Libraries and California Historical Society. Digitally reproduced by the USC Digital Library.

What you'll learn in this episode: The characteristics that define contemporary American jewelry What narrative art jewelry is, and why it was so prevalent in the 1960s and 70s What defines American counterculture, and why so many 60s and 70s jewelers were a part of it Who the most notable American jewelry artists are and why we need to capture their stories How Susan and Cindi developed their book, and why they hope other people will build on their research About Susan Cummins Susan Cummins has been involved in numerous ways in the visual arts world over the last 35 years, from working in a pottery studio, doing street fairs, running a retail shop called the Firework in Mill Valley and developing the Susan Cummins Gallery into a nationally recognized venue for regional art and contemporary art jewelry. Now she spends most of her time working with a private family foundation called Rotasa and as a board member of both Art Jewelry Forum and California College of the Arts. About Cindi Strauss Cindi Strauss is the Sara and Bill Morgan Curator of Decorative Arts, Craft, and Design and Assistant Director, Programming at the Museum of Fine Arts, Houston (MFAH). She received her BA with honors in art history from Hamilton College and her MA in the history of decorative arts from the Cooper-Hewitt/Parsons School of Design. At the MFAH, Cindi is responsible for the acquisition, research, publication, and exhibition of post-1900 decorative arts, design, and craft. Jewelry is a mainstay of Cindi's curatorial practice. In addition to regularly curating permanent collection installations that include contemporary jewelry from the museum's collection, she has organized several exhibitions that are either devoted solely to jewelry or include jewelry in them. These include: Beyond Ornament: Contemporary Jewelry from the Helen Williams Drutt Collection (2003–2004); Ornament as Art: Avant-Garde Jewelry from the Helen Williams Drutt Collection (2007); Liquid Lines: Exploring the Language of Contemporary Metal (2011); and Beyond Craft: Decorative Arts from the Leatrice S. and Melvin B. Eagle Collection (2014). Cindi has authored or contributed to catalogs and journals on jewelry, craft, and design topics, and has been a frequent lecturer at museums nationwide. She also serves on the editorial advisory committee for Metalsmith magazine. Additional Resources:  Museum of Fine Arts Houston Art Jewelry Forum  Photos: Police State Badge 1969/ 2007 sterling silver, 14k gold 2 7/8 x 2 15/16 x 3 15/16 inches Museum of Arts and Design, New York City, 2012.20 Diane Kuhn, 2012 PHOTO: John Bigelow Taylor, 2008 Portrait of William Clark in a bubble_2 1971                        photographer: Unknown Necklace for the American Taxpayer 1971 Brass with silver chain  17 " long (for the chain)  and 6.25 x 1.25 " wide for the hanging brass pendant. Collection unknown Dad's Payday 1968 sterling, photograph, fabric, found object 4 ½ x 4 x ¼ inches Merrily Tompkins Estate, Ellensburg Photo: Lynn Thompson Title: "Slow Boat" Pendant (Portrait of Ken Cory) Date: 1976 Medium: Enamel, sterling silver, wood, copper, brass, painted stone, pencil, ballpoint pen spring, waxed lacing, Tiger Balm tin, domino Dimensions: 16 3/4 × 4 1/8 × 1 in. (42.5 × 10.4 × 2.5 cm) Helen Williams Drutt Family Collection, USA Snatch Purse 1975 Copper, Enamel, Leather, Beaver Fur, Ermine Tails, Coin Purse 4 ½ x 4 x 3/8” Merrily Tompkins Estate, Ellensburg The Good Guys 1966 Walnut, steel, copper, plastic, sterling silver, found objects 101.6 mm diameter Museum of Arts and Design, NYC, 1977.2.102'                        PHOTO: John Bigelow Taylor, 2008 Fetish Pendant 1966 wood, brass, copper, glass, steel, paper, silver 3 ½ x 3 ½ x 5/8 inches Detroit Institute of Art, Founders Society Purchase with funds from the Modern Decorative Arts Group, Andrew L. and Gayle Shaw Camden Contemporary and Decorative Arts Fund, Jean Sosin, Dr. and Mrs. Roger S. Robinson, Mr. and Mrs. Marvin Danto, Dorothy and Byron Gerson, and Dr. and Mrs. Robert J. Miller / Bridgeman Images November 22, 1963 12:30 p.m. 1967 copper, silver, brass, gold leaf, newspaper photo, walnut, velvet, glass 6 ¼ x 5 x 7/8 inches Smithsonian American Art Museum, Gift of Rose Mary Wadman, 1991.57.1 Front and back covers Pages from the book Transcript: What makes American jewelry American? As Susan Cummins and Cindi Strauss discovered while researching their book, In Flux: American Jewelry and the Counterculture, contemporary American jewelry isn't defined by style or materials, but by an attitude of independence and rebellion. Susan, who founded Art Jewelry Forum, and Cindi, who is Curator of Decorative Arts, Crafts and Design at the Museum of Fine Arts in Houston, joined the Jewelry Journey Podcast to talk about what it was like to interview some of the most influential American artists; why they hope their book will inspire additional research in this field; and why narrative jewelry artists were part of the counterculture, even if they didn't consider themselves to be. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Today, my guests are Susan Cummins and Cindi Strauss, who, along with Damian Skinner, are the co-authors of In Flux: American Jewelry and the Counterculture. Susan is the founder of Art Jewelry Forum and for several decades drove the organization. Cindi Strauss is the Curator of Decorative Arts, Crafts and Design at the Museum of Fine Arts in Houston. Susan and Cindi, welcome to the program. Susan: Thank you. Cindi: Thank you for having us, Sharon. Sharon: So glad to have you. Can you each give us a brief outline of your jewelry journey? Susan, do you want to start? Susan: Sure. My journey started in the 80s. I had a gallery in Mill Valley, California. I was showing various crafts, ceramics mostly, and a bit of glass, fiber, a whole grouping, and then I decided I should show jewelry. I don't really know why, because I didn't wear jewelry, but it sounded like a good idea. I started showing it, and I was very impressed with how smart and incredibly skilled the artists were. I continued to show that, and the gallery became known for showing jewelry. In 1997, I still had the gallery, and I decided along with numerous other craft groups that we should start an organization that represented the collectors of jewelry. I started Art Jewelry Forum with the help of several other people, of course. That has continued onto today, surprisingly enough, and it now includes not only collectors, curators and gallerists, but also artists and everybody who's interested in contemporary art jewelry. Sharon: It's an international organization. Susan: Yes, it's an international organization. It has a website with a lot of articles. We plan all kinds of things like trips to encourage people to get to know more about the field. I also was part of a funding organization, shall we say, a small private fund called Rotasa, and years ago we funded exhibitions and catalogues. That switched into funding specific things that I was working on instead of accepting things from other people. I've been very interested in publishing and doing research about this field because I feel that will give it more value and legitimacy. It needs to be researched. So, that's one of the reasons why this book came into being as well as Flocks' book. It really talks about the beginnings of American contemporary jewelry in the 60s and 70s. That's my beginning to current interest in jewelry. Sharon: I just wanted to say that people can find a lot more if they visit the Art Jewelry Forum website. We'll have links to everything we talk about on the show. Cindi? Cindi: Sure. My jewelry journey was surprising and happened all at once. The Museum of Fine Arts, Houston, had no contemporary jewelry in its collection until 2000, when we acquired an Art Smith necklace from 1948. That was my first real knowledge of post-Arts and Crafts jewelry and post-Mid-Century, people like Harry Bertoia. That led me to Toni Greenbaum's Messengers of Modernism catalogue, a fantastic resource for American jewelry from the 30s through the 50s. It opened a whole new field for me, and I started to think about how we should focus on some modern jewelry from that period to expand on the Art Smith necklace, because that Mid-Century design was a specialty of the institution.  Truly, I would say my life changed in respect to jewelry for the better in every way I could explain. When the museum acquired, in 2002, Helen Williams Drutt's private collection of artist-made contemporary jewelry, dating from 1963 to 2002 at the time of the acquisition, in one fell swoop, we acquired 804 pieces of international jewelry as well as sketchbooks and drawings and research materials. We began to build an extensive library. Helen opened her archives and we had recordings of artist interviews. It was just going from zero to sixty in three seconds and it was extraordinary. It was a field I knew really nothing about, so I was on a very steep learning curve. So many people in the field, from the artists to other curators to collectors—this is how I met Susan—were so generous to me in terms of being resources. The story about how the acquisition happened is familiar to probably many of your audience, so I'll keep it brief, which is to say that there was an exhibition of Gijs Bakker's jewelry that Helen organized for the Houston Center for Contemporary Craft. Sharon: Cindi, I'm going to interrupt you for a minute because a lot of people listening will not have heard of Gijs Bakker. Cindi: Sure. Gijs Bakker, one of the most prominent Dutch artists, began his career in the 1960s, along with wife, Emmy van Leersum, and was part of the group of Dutch jewelry artists who revolutionized the concept of contemporary jewelry using alter-native materials. They created a lot of photo-based work challenging the value system of jewelry and also challenging wearability. It was his photo-based work that was shown in a small exhibition at the Houston Center for Contemporary Craft in March 2002 as part of a citywide festival called Photofest, which is all photography-based work. It was through that exhibition, at the opening weekend—that's how I met Helen. I said to her, “This is something I don't know anything about. I'm interested in exploring it. I'm starting to build a collection for the museum. Could we meet and have coffee and talk?” So we met, and I peppered her with a lot of questions and said, “Could I call on you for advice in terms of building a collection?” Of course, at this time she had the gallery, and she said, “Well, you know, I have a collection,” and I said, “Yes, I know, and I understand it's going to the Philadelphia Museum of Art,” her hometown museum. She said, “Not necessarily. We haven't had any formal talks about that.” So, one thing led to another, and six months later, we signed papers to acquire the collection. That set me off on my initial five-year journey, which resulted in the exhibition and catalogue “Ornament as Art: Contemporary Jewelry from the Helen Williams Drutt Collection” that opened in Houston and traveled to Washington, D.C., to Charlotte, North Carolina, and to Tacoma, Washington. After that point, I felt that I was really steeped in the field. I have, since that point, been adding works to the collection. It was always going to be a long-term commitment and journey for the museum. We have works installed all over the museum in relationship to other contemporary art, whether it's photography, prints and drawings, sculpture, painting. We also have a robust presentation of jewelry in our departments' galleries. It is an ongoing journey, just like with Susan. It's a journey that never ends, happily. There are always new artists to discover and new ideas. Part of that is our meeting of the mind, if you will, and then with Damian, is what resulted in this book. Sharon: How did you come to write the book? Susan, you started to mention it. The research in this is jaw-dropping. How did you decide to write the book? Why this particular period, the two of you? Susan: We decided to write the book because I was wondering what's American about American jewelry. Europeans have done a lot of research and writing about their beginnings, but I didn't see a document or a book that really talked about the American origins. As Cindi mentioned, Gijs Bakker started in the 60s. So did American contemporary jewelry, but it's a very different story than the European one. We wanted to talk to the people who are still alive now, so we did tons of interviews for the book. We specifically concentrated on the pioneers who were responding to the political and social events of the time. In other words, we were investigating those artists who were considered narrative artists, because that was the defining feature of American art to those out of the country. We wanted to discover who was making this work and what were they saying in their narrative, so really answering “What was American about American jewelry?” We did tons of research through old documents of the American Crafts Library. We went all over the country and interviewed, and it was about a five-year-long process to get this point. The book is incredibly condensed. You can feel that there's a lot there, but it took a lot to condense it down to that.  Really, what we hope is that it's an easy-to-read story about the stories that jewelers were telling at the time, which was the origin of all that's come down to us now. It was the beginning of the development of university programs in the country. They just were in the process of expanding them, and people were learning how to make things. Nobody had a lot of skills in this country, so everybody had to learn how to make things. There were a lot of alternative ways of passing around information. The counterculture, we regarded that not as hippies per se, although hippies were part of it, but also a lot about the political and social issues of the time and how people responded to them. The ethos of the time, the values that people developed really became part of the craft counterculture itself. The craft field is based on a lot of those ways of working in the world, a sort of hope and trying to create a new society that had more values than the 50s had aspired to for each individual. People were trying to find ways to have valuable lives, and doing something like making something yourself and selling it at a craft fair became a wonderful alternative for many people who had the skill to do that. That was a very different way of having a life, shall we say, and that's how American jewelry developed: with those values and skills. I still see remnants of it in the current field. That's my focus. Cindi, do you have some things you want to add to that? Cindi: Yeah, the larger public's ideas and thoughts about American jewelry from that period were rooted in a history and an aesthetic that emerged largely on the East Coast, but certainly spread, as Susan said, with the development of university programs. That was an aesthetic that was largely rooted in the organic modernism of Scandinavian influence, as well as what had come before in America in terms of modernist studio jewelry. There's a history there in the narrative, and that narrative played out in early exhibitions. It played out in the first SNAG exhibition in 1970 in St. Paul, which is considered one of those milestones of the early American studio jewelry movement.  Now, we knew that there were artists like Fred Woell, Don Tompkins, Ken Cory, Merrily Tompkins, who were on the West Coast and working in a different vein, as Susan said, a narrative vein, and who were often working with assemblage techniques and found materials and were making commentary on issues of the day. Within the accepted history of that period, they were a minority, with the exception of Fred Woell and really Ken Cory. Their work was not as widely known, as widely collected, as widely understood. Damian and Susan and I started after we thought, as Susan said, “What is American about American jewelry?”  Fred Woell was an artist who immediately came to mind as embodying a certain type of Americanness. We had an extraordinary trip to visit with Fred's widow, Pat Wheeler, and to the see the studio and go through some of his papers. When we went, we thought we would be doing a monograph on Fred Woell. It was on that trip that we understood that it was a much larger project, and it was one that would encompass many more artists. As part of our research, there were certain artists who were known to us, and our hope was that we would rediscover artists who were working intently during that period who had been lost to history for whatever reason. There were also artists whose work we were able to reframe for the reasons that Susan mentioned: because of their lifestyle, their belief system, the way they addressed or responded to major issues during the day. So, we started developing these list of artists. I think what readers will find in the book is looking at some of the well-known artists, perhaps more in depth and in a new frame of analysis, but also learning about a plethora of other artists. For us, it was five years of intense work. There's a tremendous amount of research that has gone into this book, and from what we've been hearing, it has enlightened people about a period. It's not an alternative history, but it is an additional history. We hope it will inspire people to pick up the mantle and go forth because, of course, one has constraints in terms of word counts for publishing. At a certain point, you have to get down to the business of writing and stop the research, but there are so many threads that we hope other scholars, curators, students, interested parties will pick up and carry forth. In some ways we were able to go in depth, and in other ways we were able to just scratch the surface of what has been a fascinating topic for all of us. Sharon: I have a lot of questions, but first, I just wanted to mention that SNAG is the Society of North American Goldsmiths, in case people don't know. Can you explain, Susan or Cindi, what narrative jewelry is? Cindi: There's no one definition. Everybody would describe it a little bit differently, but I think a basic definition is jewelry that tells a story, that uses pictorial elements to tell a story. Whatever that story is can range from the personal to the public, to, in our case, responding to things like the Vietnam War, politics, etc. Susan, do you want to add to that? Susan: It's a very difficult thing to do when you think about. Narratives usually have a storyline from this point to that point to the next point. Here's a jeweler trying to put a storyline into one object, one piece. It is tricky to bring enough imagery that's accessible to the viewer together into one piece to allow the viewer to make up the story that this is about or the comment it's trying to make. You have to be very skilled and smart to make really good narrative jewelry. Sharon: It sounds like it would be, yes. When you realized what this book was going to entail—it sounds like you didn't start out thinking this was going to be such a deep dive—were you excited, or were you more like, “I think I'd probably rather run in the other direction and say, ‘Forget it; I can't do it'”? Susan: I don't think at any point did we stop and think, “Oh, this is a gigantic project.” We just thought, “Let's see. This person's interesting; O.K., let's talk to this person. Oh, gosh, they said these about this other person. Let's talk to them.” You just go step by step. I don't think, at any point, did any of us realize how vast a project this was until the end, probably. Cindi: Yeah, I would say because it happened incrementally, deep dive led to another and another. We would have regular meetings not only over Skype, but we would get together in person, the three of us, for these intense days in which we would talk about—we each had different areas we were focusing on. We'd bring our research together and that would lead to questions: “Should we explore this avenue?” Then someone would go and explore this avenue and come back, and we would think, “Maybe that wasn't as interesting as we thought it was going to be,” or maybe it was far more interesting than we thought, so it spun out a number of different avenues of research.  At a certain point, we started looking at the most important threads that were coming out and we were able to organize them as umbrellas, and then look at subthemes and think about the artists. It became like a puzzle. We had pockets of deep research, whether it was the in-person artist interviews or whether it was the archival research that was done, whether it was the general research. Damian and I were not alive during this time. Susan was, which was fantastic because I learned a lot about this in history class and school. Damian is a New Zealander, so he was coming at it from an international perspective. There was a lot of reading he did about American history, but Susan was the one gave us all the first-person accounts in addition to the artists. She participated in the American Craft Council Craft Fairs and was able to balance the sometimes emotionless history books with the first-person experiences that made it come alive. I think that's what you see throughout the book. It was important to us that the book would be readable, but it was also important to us that it would have a flavor of the times. When you do oral history interviews, there are many different kinds of questions that can be asked. We set out to talk not only about the jewelry that artists were making, but their lives, what was important to them, how they felt. The richness of experiences and emotions that came out in those interviews really inflected the book with feeling like you were there and a part of what these artists were thinking. This is a 2 part episode please subscribe so you can get part 2 as soon as its released later this week. 

Oklahoma's Black towns aren't just places of the past - they maintain an enduring allure, and look toward the future, argues Karla Slocum in her new book, Black Towns, Black Futures: The Enduring Allure of a Black Place in the American West (UNC Press, 2019). Dr. Slocum, the Thomas Willis Lambeth Chair of Public Policy and a professor of Anthropology at the University of North Carolina, traveled extensively through Oklahoma and conducted many interviews in researching this book, and the result is a vibrant and at times personal look at the past, present, and future of Black places in Oklahoma and the West. From rodeos to heritage tourism, these towns offer a fascinating case study in the relationship between storytelling, Blackness, and Americanness in the 21st century West, and affirm the place of Black communities in the region's history. Dr. Stephen R. Hausmann is an assistant professor of history at the University of St. Thomas in Minnesota. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Oklahoma's Black towns aren't just places of the past - they maintain an enduring allure, and look toward the future, argues Karla Slocum in her new book, Black Towns, Black Futures: The Enduring Allure of a Black Place in the American West (UNC Press, 2019). Dr. Slocum, the Thomas Willis Lambeth Chair of Public Policy and a professor of Anthropology at the University of North Carolina, traveled extensively through Oklahoma and conducted many interviews in researching this book, and the result is a vibrant and at times personal look at the past, present, and future of Black places in Oklahoma and the West. From rodeos to heritage tourism, these towns offer a fascinating case study in the relationship between storytelling, Blackness, and Americanness in the 21st century West, and affirm the place of Black communities in the region's history. Dr. Stephen R. Hausmann is an assistant professor of history at the University of St. Thomas in Minnesota. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Oklahoma's Black towns aren't just places of the past - they maintain an enduring allure, and look toward the future, argues Karla Slocum in her new book, Black Towns, Black Futures: The Enduring Allure of a Black Place in the American West (UNC Press, 2019). Dr. Slocum, the Thomas Willis Lambeth Chair of Public Policy and a professor of Anthropology at the University of North Carolina, traveled extensively through Oklahoma and conducted many interviews in researching this book, and the result is a vibrant and at times personal look at the past, present, and future of Black places in Oklahoma and the West. From rodeos to heritage tourism, these towns offer a fascinating case study in the relationship between storytelling, Blackness, and Americanness in the 21st century West, and affirm the place of Black communities in the region's history. Dr. Stephen R. Hausmann is an assistant professor of history at the University of St. Thomas in Minnesota. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

Oklahoma's Black towns aren't just places of the past - they maintain an enduring allure, and look toward the future, argues Karla Slocum in her new book, Black Towns, Black Futures: The Enduring Allure of a Black Place in the American West (UNC Press, 2019). Dr. Slocum, the Thomas Willis Lambeth Chair of Public Policy and a professor of Anthropology at the University of North Carolina, traveled extensively through Oklahoma and conducted many interviews in researching this book, and the result is a vibrant and at times personal look at the past, present, and future of Black places in Oklahoma and the West. From rodeos to heritage tourism, these towns offer a fascinating case study in the relationship between storytelling, Blackness, and Americanness in the 21st century West, and affirm the place of Black communities in the region's history. Dr. Stephen R. Hausmann is an assistant professor of history at the University of St. Thomas in Minnesota. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Oklahoma's Black towns aren't just places of the past - they maintain an enduring allure, and look toward the future, argues Karla Slocum in her new book, Black Towns, Black Futures: The Enduring Allure of a Black Place in the American West (UNC Press, 2019). Dr. Slocum, the Thomas Willis Lambeth Chair of Public Policy and a professor of Anthropology at the University of North Carolina, traveled extensively through Oklahoma and conducted many interviews in researching this book, and the result is a vibrant and at times personal look at the past, present, and future of Black places in Oklahoma and the West. From rodeos to heritage tourism, these towns offer a fascinating case study in the relationship between storytelling, Blackness, and Americanness in the 21st century West, and affirm the place of Black communities in the region's history. Dr. Stephen R. Hausmann is an assistant professor of history at the University of St. Thomas in Minnesota. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Oklahoma's Black towns aren't just places of the past - they maintain an enduring allure, and look toward the future, argues Karla Slocum in her new book, Black Towns, Black Futures: The Enduring Allure of a Black Place in the American West (UNC Press, 2019). Dr. Slocum, the Thomas Willis Lambeth Chair of Public Policy and a professor of Anthropology at the University of North Carolina, traveled extensively through Oklahoma and conducted many interviews in researching this book, and the result is a vibrant and at times personal look at the past, present, and future of Black places in Oklahoma and the West. From rodeos to heritage tourism, these towns offer a fascinating case study in the relationship between storytelling, Blackness, and Americanness in the 21st century West, and affirm the place of Black communities in the region's history. Dr. Stephen R. Hausmann is an assistant professor of history at the University of St. Thomas in Minnesota. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Alexi and Mosse open the show with a discussion with author Steven Mandis, who just released the book “What Happened to the U.S. Men’s National Soccer Team? (4:18). The guys then recap MLS headlines that include the Atlanta United’s win in front of 40k fans, FC Cincinnati loses in its stadium debut thanks to Gonzalo Higuaín, Chicharito keeps scoring, and LAFC struggles (20:08). They react to Barcelona losing out on La Liga title, Real Madrid, Atletico Madrid final matches, Serie A recap, Juventus’ Champions League hope, Chelsea’s struggles, Leicester City’s becoming an elite team, and Alisson’s heroic goal for Liverpool (47:20). The guys then look at Germany’s top four-fight, Dortmund’s season, American in UCL, and the League One title race. In #AskAlexi, fans ask about a New England Revolution rebrand and thoughts on Tim Tebow. Plus, our first audio question on Alexi’s perceived negativity on Twitter (1:11:05). Finally, Alexi caps the show with his “One for the Road,” where he discusses embracing the “Americanness” in our game. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jason & fellow deep voiced American, Brian Jian (Twitter - @BrianJian) discuss dumb things like the Americanness of the J&J vax and the emasculation of moving men.   They are not tough men, despite the commanding bass in their voices.

This week Adam and Mtume go further down the Americana Road, looking at "lost" 1970's film Joe, a film Mtume calls "a fascinating failure" as well as current films American Skin and One Night In Miami where we analyze the conversation around Americanness in movies. Adam also gives his keys to what Black Mainstream films must contain in order to be released.

This week, the Sound of Water podcast hosts Nidhi Shastri! Nidhi is the current host and founder of her podcast, Model Minority: Uniquely American. This is the very FIRST collaboration episode from Sound of Water! Nidhi started her podcast to explore the many layers and depths of the "model minority" myth: the good, the bad, and the invisible. She graduated from the University of Illinois with degrees in Political Science and Environmental Science and has experience working in radio, campaign organizing, and advocating for single-payer healthcare in Illinois. Nidhi also served as part of the panel for the Asian American Pacific Islanders for Biden, which hosted the @joebiden camp prior to the election! Tune in to this week's episode to hear Josh and David dive deep into why it's important for minority groups to understand the "model minority" myth, how it originated, why it is considered a myth, the Racial Wedge, Orientalism, Andrew Yang, and much more in this highly-educational episode! Model Minority: Uniquely American recently dropped a new episode, "One Jump Ahead of the Punchline", which discusses the issue of Asian-American media representation with the case study of Apu and Disney Channel's usage of Desi characters. Model Minority podcast website: https://nshastr2.wixsite.com/modelminority Model Minority podcast Instagram: @model.minority.u.a https://www.instagram.com/model.minority.u.a/ "The Two Asian Americas" By Karan Mahajan: https://www.newyorker.com/books/page-turner/the-two-asian-americas/amp "We Asian Americans are not the virus, but we can be part of the cure" by Andrew Yang: https://www.washingtonpost.com/opinions/2020/04/01/andrew-yang-coronavirus-discrimination/ "Andrew Yang was wrong. Showing our ‘Americanness' is not how Asian-Americans stop racism." by Canwen Xu: https://www.washingtonpost.com/opinions/2020/04/03/andrew-yang-was-wrong-showing-our-american-ness-is-not-how-asian-americans-stop-racism/ Sound of Water website: www.soundofwater.fm Sound of Water Instagram: @soundofwater.fm (https://www.instagram.com/soundofwater.fm/) Time Stamps: 0:40 The Gift That Keeps on Giving 1:58 My homeboy…my co-host…Josh. 3:32 Welcome, Nidhi Shastri! 4:50 Model Minority: Uniquely American 8:58 What exactly is the "Model Minority" myth? 10:34 History of the MM myth 16:02 Elements of truth within the MM myth 20:55 Are Asian stereotypes such a bad thing? 25:40 The Racial Wedge 29:42 Asian immigration patterns 33:47 Relationship between Asians and blacks 37:20 How should Asians process this information? 40:18 Generational gaps in the perception of MM myth 45:06 The American Dream Tax 47:05 Police brutality and Asians 50:12 Reinforcing the MM myth 53:28 Orientalism 54:47 Andrew Yang 62:41 Two Asian Americas 66:46 Nidhi's favorite episodes from her podcast 70:23 Nidhi's powerful closing thoughts

Shelby and Matt finally break down Emily in Paris as they discuss the plot, the boys, and the Americanness of it all before deciding whether it’s a guilty pleasure or just another covid hate watch. Rapid fire questions at 43:16.

Shelby and Matt finally break down Emily in Paris as they discuss the plot, the boys, and the Americanness of it all before deciding whether it's a guilty pleasure or just another covid hate watch. Rapid fire questions at 43:16.

In this episode we are talking to Ken Hirano, who was born in Japan but his family moved to the U.S. before he started school. He has returned to Japan to live a few times in his life, and now is one of them. He moved back to Tokyo about a year ago and recently https://www.linkedin.com/posts/kenhirano_china-culture-asianamericans-activity-6707162545993711616-aQZP/ (wrote a post on LinkedIn) on this geographic anniversary about his cultural and language identity. And that is what we are digging into today. This identity path took us through how he feels in different languages, why he feels more simple and defenseless in Japanese than English, how Japanese locals versus expats in Japan treat his Japanese & Americanness and where he is the most comfortable. Spoiler: none of these issues have a clearly defined answer and that is what made this nuanced discussion with Ken so interesting to have.   You can find the full show notes, links, etc to this episode at https://www.stephfuccio.com/geopatspodcasting (https://www.stephfuccio.com/geopatslanguage/32) Support this podcast

In this episode we are talking to Ken Hirano, who was born in Japan but his family moved to the U.S. before he started school. He has returned to Japan to live a few times in his life, and now is one of them. He moved back to Tokyo about a year ago and recently https://www.linkedin.com/posts/kenhirano_china-culture-asianamericans-activity-6707162545993711616-aQZP/ (wrote a post on LinkedIn) on this geographic anniversary about his cultural and language identity. And that is what we are digging into today. This identity path took us through how he feels in different languages, why he feels more simple and defenseless in Japanese than English, how Japanese locals versus expats in Japan treat his Japanese & Americanness and where he is the most comfortable. Spoiler: none of these issues have a clearly defined answer and that is what made this nuanced discussion with Ken so interesting to have.  You can find the full show notes, links, etc to this episode at https://www.stephfuccio.com/geopatspodcasting (https://www.stephfuccio.com/geopatslanguage/32) Support this podcastSupport this podcast at — https://redcircle.com/geopats/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacyCheck it out: https://www.getrevue.co/profile/stephfuccio

Lyra chooses Guillermo Del Toro's The Shape of Water for Dan. Dan chooses Michel Gondry and Charlie Kaufman's Eternal Sunshine of the Spotless Mind for Lyra. In this episode, father and daughter also talk about manic pixie dream girls, oppressive Americanness, and Homestuck.Intro music from Alexandre Desplat's Shape of Water score.Outro music from Jon Brion's Eternal Sunshine score.

There are few more iconic pieces of Americana than a Harley-Davidson motorcycle. But its singular Americanness - the thing that has kept the brand popular for decades - may now be a harbinger of its downfall. Podcast production by Jess Miller, with help from Asha Saluja. Slate Plus members get ad-free podcasts and bonus episodes of shows like Dear Prudence and Slow Burn. Sign up now to listen and support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

There are few more iconic pieces of Americana than a Harley-Davidson motorcycle. But its singular Americanness - the thing that has kept the brand popular for decades - may now be a harbinger of its downfall. Podcast production by Jess Miller, with help from Asha Saluja. Slate Plus members get ad-free podcasts and bonus episodes of shows like Dear Prudence and Slow Burn. Sign up now to listen and support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

There are few more iconic pieces of Americana than a Harley-Davidson motorcycle. But its singular Americanness - the thing that has kept the brand popular for decades - may now be a harbinger of its downfall. Podcast production by Jess Miller, with help from Asha Saluja. Slate Plus members get ad-free podcasts and bonus episodes of shows like Dear Prudence and Slow Burn. Sign up now to listen and support our work. Learn more about your ad choices. Visit megaphone.fm/adchoices

Claudia Cragg @claudiacragg speaks here with Kyathi Joshi @ProfKJoshi about her book 'White Christian Privilege: The Illusion of Religious Equality in America.' The United States is recognized as the most religiously diverse country in the world, and yet its laws and customs, which many have come to see as normal features of American life, actually keep the Constitutional ideal of “religious freedom for all” from becoming a reality. Christian beliefs, norms, and practices infuse our society; they are embedded in our institutions, creating the structures and expectations that define the idea of “Americanness.” Religious minorities still struggle for recognition and for the opportunity to be treated as fully and equally legitimate members of American society. From the courtroom to the classroom, their scriptures and practices are viewed with suspicion, and bias embedded in centuries of Supreme Court rulings create structural disadvantages that endure today. In White Christian Privilege, Khyati Y. Joshi traces Christianity’s influence on the American experiment from before the founding of the Republic to the social movements of today. Mapping the way through centuries of slavery, westward expansion, immigration, and citizenship laws, she also reveals the ways Christian privilege in the United States has always been entangled with notions of White supremacy. Through the voices of Christians and religious minorities, Joshi explores how Christian privilege and White racial norms affect the lives of all Americans, often in subtle ways that society overlooks. By shining a light on the inequalities these privileges create, Joshi points the way forward, urging readers to help remake America as a diverse democracy with a commitment to true religious freedom.

This week a Critical Language Scholarship (CLS) program participant from Atlanta, GA describes her experience while living in China and studying Mandarin. Learning to better communicate boundaries, having your Americanness challenged, and cherry-picking with the neighborhood, join us on a journey around the globe through international exchange stories. For more information about the CLS program visit https://www.clscholarship.org.

On our first Show-Show-Series-Series, each of the guys challenged the other watch their personal favourite limited series of the year in its entirety. Slaney gave Sweets HBO's Watchmen, and Sweets gave Slaney Hulu's Normal People. Also chats about High Fidelity's cancellation, Olivia Wilde's new venture into the supersphere, the Americanness of American Pickle, and much much more! Tweet your thoughts to @ShowShowPodcast!

Kylie makes Dan read James Baldwin's second novel, Giovanni's Room (1956). They discuss Baldwin's unique prose style, why his essays get more attention than his fiction, and the history of black American writer-activists and analyze why Baldwin's novel about doomed love, repressed sexuality, and the difficulty of defining Americanness feels so timeless. 

In this first episode of Flesh "N Bold, we wonder if you can celebrate July 4th (US Independence Day) and still be "woke". We discuss history, identity, Americanness and power. Listen and find out!Show notes:"What to the Slave is the Fourth of July?" --Frederick DouglasWhy African Americans Struggle to Celebrate Independence Day -- Cheryl BrownWhen the Fourth of July Was a Black Holiday -- Ethan J. Kytle How Place Matters: Unpacking Technology and Power in Health and Social Care -- B. Poland, P. Lehoux, D. Holmes, and G. AndrewsTheories of Social Inequality: Classical and Contemporary Perspectives (Third Edition) -- E.G. GrabbProducers: Nia J. Heard and Nevin J. HeardEditor: Wayne D. Garris, JDMusic: Clay-Podington Bear; LA-Podington Bear

Hello Language Lovers, Today, I have the pleasure of talking with Melita Issa of Miso Studios, an NYC/ Tokyo design studio with a focus on hospitality. dining and multi-family design interiors. Melita is an interior designer who has lived and worked in Japan off and on throughout her career. In this episode, we talk about how she developed a love for Japanese language, Japanese culture, Japanese design and Japanese food. We talked about youth culture, work culture, design aesthetics and of course, one of my favorite things... Japanese food! It's a love story, guys! One takeaway from this episode that you'll notice is how important immersion within a culture is when it comes to learning the language. You'll hear in Melita's story how she has been able to embrace many facets of Japan and ensure that the Japanese culture remains a fixture in her life even when she's back in the US. In this episode we talk about perception and Americanness. We also discuss the concepts of foreignness vs belonging in a society that is not your own and the reality of being "black and abroad" which both of us have faced in our lifetime of traveling the world. In this episode Melita talked to me about how Black American culture is interpreted in Japan and if you're not familiar with it then what she has to say will probably surprise you as much as it surprised me. I hope you enjoy this episode and to find Melita and Miso Studios, be sure to click the links in the show notes. Ok, let's chat! Miso Studios: https://www.wearemiso.com/ Instagram: @misostudios

In The Psychoanalytic Ear and the Sociological Eye: Toward an American Independent Tradition (Routledge 2020) Professor Nancy J. Chodorow gives name and shape to an American middle group between the ego psychological and interpersonal approaches: The American Independent Tradition or intersubjective ego psychology. Through her careful exegesis of theoreticians like Hans Loewald, Erik Erikson and her contemporaries Warren Poland and James McLaughlin she is able to distill an analytic attitude in which the patient's individuality takes front and center. We get a measured account of how her thinking about the American Independent Tradition evolved over the last two decades, about its "Americanness" and about a powerful approach to technique in which the patient becomes a centred unit by being centred upon. Turning outward from the consulting room, the in-depth study of psychoanalytic theory is framed by a focus on a larger context, the connection between individuality and society. Chodorow advocates for a return to an interest in the social and social sciences in psychoanalytic thinking. At the same time, she rues the lack of attention within the social sciences to the serious study of individuals and individuality. Sebastian Thrul is a psychiatrist and psychoanalyst in training in Germany and Switzerland. He can be reached at sebastian.thrul@gmx.de. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

In The Psychoanalytic Ear and the Sociological Eye: Toward an American Independent Tradition (Routledge 2020) Professor Nancy J. Chodorow gives name and shape to an American middle group between the ego psychological and interpersonal approaches: The American Independent Tradition or intersubjective ego psychology. Through her careful exegesis of theoreticians like Hans Loewald, Erik Erikson and her contemporaries Warren Poland and James McLaughlin she is able to distill an analytic attitude in which the patient’s individuality takes front and center. We get a measured account of how her thinking about the American Independent Tradition evolved over the last two decades, about its "Americanness" and about a powerful approach to technique in which the patient becomes a centred unit by being centred upon. Turning outward from the consulting room, the in-depth study of psychoanalytic theory is framed by a focus on a larger context, the connection between individuality and society. Chodorow advocates for a return to an interest in the social and social sciences in psychoanalytic thinking. At the same time, she rues the lack of attention within the social sciences to the serious study of individuals and individuality. Sebastian Thrul is a psychiatrist and psychoanalyst in training in Germany and Switzerland. He can be reached at sebastian.thrul@gmx.de. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Psychoanalytic Ear and the Sociological Eye: Toward an American Independent Tradition (Routledge 2020) Professor Nancy J. Chodorow gives name and shape to an American middle group between the ego psychological and interpersonal approaches: The American Independent Tradition or intersubjective ego psychology. Through her careful exegesis of theoreticians like Hans Loewald, Erik Erikson and her contemporaries Warren Poland and James McLaughlin she is able to distill an analytic attitude in which the patient’s individuality takes front and center. We get a measured account of how her thinking about the American Independent Tradition evolved over the last two decades, about its "Americanness" and about a powerful approach to technique in which the patient becomes a centred unit by being centred upon. Turning outward from the consulting room, the in-depth study of psychoanalytic theory is framed by a focus on a larger context, the connection between individuality and society. Chodorow advocates for a return to an interest in the social and social sciences in psychoanalytic thinking. At the same time, she rues the lack of attention within the social sciences to the serious study of individuals and individuality. Sebastian Thrul is a psychiatrist and psychoanalyst in training in Germany and Switzerland. He can be reached at sebastian.thrul@gmx.de. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Psychoanalytic Ear and the Sociological Eye: Toward an American Independent Tradition (Routledge 2020) Professor Nancy J. Chodorow gives name and shape to an American middle group between the ego psychological and interpersonal approaches: The American Independent Tradition or intersubjective ego psychology. Through her careful exegesis of theoreticians like Hans Loewald, Erik Erikson and her contemporaries Warren Poland and James McLaughlin she is able to distill an analytic attitude in which the patient’s individuality takes front and center. We get a measured account of how her thinking about the American Independent Tradition evolved over the last two decades, about its "Americanness" and about a powerful approach to technique in which the patient becomes a centred unit by being centred upon. Turning outward from the consulting room, the in-depth study of psychoanalytic theory is framed by a focus on a larger context, the connection between individuality and society. Chodorow advocates for a return to an interest in the social and social sciences in psychoanalytic thinking. At the same time, she rues the lack of attention within the social sciences to the serious study of individuals and individuality. Sebastian Thrul is a psychiatrist and psychoanalyst in training in Germany and Switzerland. He can be reached at sebastian.thrul@gmx.de. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Psychoanalytic Ear and the Sociological Eye: Toward an American Independent Tradition (Routledge 2020) Professor Nancy J. Chodorow gives name and shape to an American middle group between the ego psychological and interpersonal approaches: The American Independent Tradition or intersubjective ego psychology. Through her careful exegesis of theoreticians like Hans Loewald, Erik Erikson and her contemporaries Warren Poland and James McLaughlin she is able to distill an analytic attitude in which the patient’s individuality takes front and center. We get a measured account of how her thinking about the American Independent Tradition evolved over the last two decades, about its "Americanness" and about a powerful approach to technique in which the patient becomes a centred unit by being centred upon. Turning outward from the consulting room, the in-depth study of psychoanalytic theory is framed by a focus on a larger context, the connection between individuality and society. Chodorow advocates for a return to an interest in the social and social sciences in psychoanalytic thinking. At the same time, she rues the lack of attention within the social sciences to the serious study of individuals and individuality. Sebastian Thrul is a psychiatrist and psychoanalyst in training in Germany and Switzerland. He can be reached at sebastian.thrul@gmx.de. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Hotpot Chat!Chinese American Clara Luo encountered her own "Americanness" on a trip to China. Recalling this experience 12 years ago, Clara said she found something that could help her to navigate in culture shocks and seemingly conflicting ideas. What is it? A less edited full-length chat is available, too. 

We’ve got Moury Minhaz reporting from ground 0, in NYC, where they’ve been hit by the biggest cases of COVID19. But you think you’re having it bad... The Karen’s of the world are really having a time of it as a journalist has taken THIS as the opportune time to ask, "Is Karen the N word for White Women”.. Hmm... let’s discuss. That Rona is still raging and we have so much to talk about: how it’s effecting transplant patients, effecting the Wisconsin Primary, how some politicians are using this as an opportunity to pass laws, mostly on the evil side (but one good one), Italy's high death rate, domestic violence is on the rise, and the Queen gave a speech making us wish we had lost the American Revolution. In the main korner it’s a tale as old as time: it wouldn’t be a pandemic without some racism. We explore America’s history of racism in times of pandemics, how it’s effecting the Asian American Community, and how Andrew Yang’s op Ed pushing for Asian Americans to prove their "Americanness" is bringing up past feelings of WWII Japanese American Internment camps amongst some.  On the entertainment front Moury watched the Tiger King and has a quick review... We both are burning with love for Kerry Washington and Reese Witherspoon’s Little Fires Everywhere, which fuck "daddy issues" this show is brining front and center the complicated relationships between mothers and daughters and what spawns into: mommy issues. Moury talks about from experience, and the challenges of immigrating here and balancing this with assimilating to a new culture, and holding up traditional expectations. James is late but jumping into The Wire which has ruined television for him. Plus Ozarks season 3 we couldn’t sit or unclench or butts. And words of encouragement for Bernie Sanders supporters at the very end!  Harboring Hearts links and social media:   Donate here: http://www.harboringhearts.org/donate Twitter: @HarboringHearts IG: harboringhearts FB: http://facebook.com/harboringhearts   LINKS: - Wisconsin STILL votes ! Thanks Republicans - Black folks are dying/contracting it at a higher rate - Women are using codewords at pharmacies to escape abuse during lockdown - Corona Beer Halts Production! - Idaho Passed two Discriminatory Laws against Transgeder folks - French doctors suggest experimental COVID-19 vaccines should be tested on Africans - HISTORY OF PANDEMICS AND RACISM - For Asian Americans there are two Pandmeics: COVID19 & Racism - Andrew Yang.... Get Your Shirt at the Max Fun Store: CONTACT US Twitter: @minoritykorner Email: minoritykorner@gmail.com IG: @minoritykorner  James Arthur M: TW: @JamesArthur_M, IG: @JamesArthurM Moury Minhaz: Twitter: @MouryM, IG: mourym Facebook Minority Korner Kids Playgroun  

Welcome back to Polarity! "Polarity" is a weekly political and cultural podcast that discusses current affairs from a populist perspective, supports the Humanity First movement, and interviews guests from all sides of the political aisle. On today's program, hosts Shahzeb Malik and Seth Tucker discuss....Panic in the Situation Room, the debate over hydroxychloroquine, and Trump's Balancing Act: will he fall under the wire? They also go through Andrew Yang's Washington Post Op-Ed discussing "Americanness" and patriotism being a formidable way to fight the adverse effects of this coronavirus and the xenophobia that has resulted because of it. This and more on "Polarity" ! Check us out on YouTube “Unbranded News and Media”, like, comment, and subscribe for all things pop culture !! Follow the company social media pages !!! Instagram @unbrandednews @unbranded.sports @unbranded.filmz Twitter @unbrandednews @unbrandedsports Check out Seth's Yang social media pages !!! Instagram & Twitter @yangfloridagang --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Uncle Ben and Hollywood Steve are reviewing John Landis's classic An American Werewolf in London this week! We rate werewolf designs, discuss Americanness, and talk about the similarities between horror and comedy. It's a howl of a time! This episode was suggested by a $5-tier Patreon patron and randomly drawn. If you want to help decide which movies we cover in the future, go become a $5 patron! Patreon.com/deadandlovely We have t-shirts for sale! Small-XL for $25; XXL-XXXL for $28. Email us at deadandlovelypod@gmail.com with your order and we'll respond with a price including shipping. Pay us at PayPal.me/deadandlovely and we'll mail out your order on the next business day. Movie discussion begins at 00:39:24 Music by intergalactic rock star Ben Eller!

In this special bonus episode of See the Music recorded live in the David H. Koch Theater, Resident Conductor Daniel Capps briefly surveys the history and unique musical qualities of Aaron Copland’s Rodeo, which provides the score for Justin Peck’s Rodeo: Four Dance Episodes. Capps and the NYCB Orchestra demonstrate how Copland uses familiar folk songs and rhythmic invention to convey a distinct Americanness, achieving for the piece a place in the “very fabric of American identity.” (13:13) Music: Rodeo (1942) by Aaron Copland All music performed by the New York City Ballet Orchestra.

What does it mean to be an American? Phil Klay, a former Marine and critically acclaimed writer, returns to the podcast to discuss the connection between military service, citizenship, and “Americanness.” Elaborating on his November 2019 New York Times essay “The Soldiers We Leave Behind,” Phil recounts the story of the World War I “Melting Pot” division, and one of their leaders, Charles Whittlesey. He also describes the harrowing experiences of Black veterans after both world wars, and he connects these narratives to the stories of two Iraqi nationals – Ali and Ted – who, in recognition for serving alongside the US military in Iraq as interpreters, were promised visas to come to the United States. “Thank You For Your Service” is a production of the University of Chicago Public Policy Podcasts and does not necessarily represent the official positions of the Department of Defense or the U.S. government. References: Phil Klay, “The Soldiers We Leave Behind”. https://www.nytimes.com/interactive/2019/11/09/opinion/veterans-war-immigration.html Equal Justice Initiative, “Lynching in America.” https://eji.org/reports/targeting-black-veterans/ Congressional Research Service report on the Special Immigrant Visa Program. https://crsreports.congress.gov/product/pdf/R/R43725/10 Podcast Production Credit: Thomas Krasnican, host Nick Paraiso, host Tom Lattanzio, producer Bobby Maxwell, producer Aishwarya Kumar, production manager Special thanks to Phil Klay.

I discuss Elizabeth Warren being grilled on the Breakfast Club for her lack of native Americanness, and the importance of figures like Charlamagne Tha God forcing difficult conversations. Pandering for votes continues making candidates look weak. The spelling bee crowned 8 champs & somehow ran out of words. More impressive if they spelt some of those kids names. I dig into a little Game 1 finals action & offer my philosophy on dating/timing in long term relationships. TUNE IN

We have eight listener questions for you, but we open with some analysis of TSS co-host Ryan Baileys recent athletic exploits. Here's the video, which we break down, in detail, on the first couple pf minutes of todays episode: https://twitter.com/RyanJayBailey/status/1123971753309552641 And here are the questions, with timestamps: 5:05 — —Why don’t our national soccer teams have nicknames? 11:20 — If Bobby Wood were to move to MLS, what team or teams would be a good fit? 21:20 — How much of Christian Pulisc's transfer fee value was his Americanness? 28:50 — Today's show is sponsored by Talisman Caps. Go to http://talismancaps.com and use code TOTALSOCCER20 for 20% off anything priced $35 or more. 32:10 — Who would we pick as our 30th MLS expansion team? 40:20 — Does USL's split into 3 divisions and MLS's continued (and future) expansion point towards eventual pro/rel? 45:00 — Who would be the better Scotland national team manager — Bruce Arena or David Moyes? 49:25 — Today's show is sponsored by Grip6. Be a patriot and go to http://grip6.com/tss for the TSS listener discounts 51:55 — In the year 2040, will there be more English players in the NFL or more Americans in the Premier League? 56:45 — Does Man Utd's recent poor run of form vindicate Jose Mourinho?

This week's episodes discusses the "Americanness" of border wall support, wall progress, and the latest in smartphone technology - or is it. Tune in!

Why is everyone taking DNA tests to find out about their heritage? While Americans are fueling an industry selling them a story of global identity, the country’s President is spreading fear and hostility about non-white immigrants. Trump seems to have an idea of “Americanness” that is limited to those of a certain ethnic inheritance and anyone from places like Mexico or South America or Haiti is fundamentally foreign and ‘other’. The most obvious fact remains that the overwhelming majority of us came from somewhere foreign, that at some point, our heritage was ‘other’. This is the intersection Alex Wagner explores in her new memoir, “Futureface”. It’s a story about how we think about who we are based on where we come from and how that fits into our conception of our own “Americanness”.Read more at NBCNews.com/whyisthishappening

In this finale, I discuss everything and all that this season of America On The Fritz has been all about. And my conversation partner, Thomas Frank, manages to help me understand how America got to where it is. And why America is a country full of wonderful people and great ideals nonetheless. Come along and find out what's up with America, one episode at a time. If you like the episode and you feel so inclined, please subscribe, share, and review and rate the podcast. Artwork by Laurens Hebly. Music 'Fire Escape' by Peter Salett.

Zoë Heller is a novelist and essayist. She sits down with Isaac Chotiner to discuss Trump’s peculiar Americanness, lame defenses of Hillary Clinton, working on Fleet Street, and becoming friend’s with writers whose books you have savaged. Learn more about your ad choices. Visit megaphone.fm/adchoices

Zoë Heller is a novelist and essayist. She sits down with Isaac Chotiner to discuss Trump’s peculiar Americanness, lame defenses of Hillary Clinton, working on Fleet Street, and becoming friend’s with writers whose books you have savaged. Learn more about your ad choices. Visit megaphone.fm/adchoices

Happy Holidays! In this episode, Dan and James talk about the different nuances of Americanness. James shares a bad date he had with a overly critical girl and the concept of being thirsty versus being hungry sexually (thanks to DS for the share). Dan reveals his knowledge of forbidden Martial arts, his terrible matchmaking experience, and why it’s ok to ghost.

After City of Angels, we were looking forward to a happy movie. We're gonna have to keep waiting. Nicky, Marielle and Cam discuss 8MM, where Nic Cage goes down the sick rabbit hole of snuff movies. We talk about puritanical attitudes to sex, the Americanness of this movie, more Resting Cage Face, and more. Theme music by Skin Mechanix, accessible at Magnatune. This podcast has a language warning. 

Colin Marshall sits down in San Francisco's Bernal Heights with Peter Orner, author of the novels Love and Shame and Love and The Second Coming of Mavala Shikongo and the short story collection Esther Stories as well as co-editor of the nonfiction collections Underground America: Narratives of Undocumented Lives and Hope Deferred: Narratives of Zimbabwean Lives. They discuss the heightened Americanness of Chicago and what it has offered his literary sensibility; our tendency as Americans, for good and ill, to chase stuff, whether in the city or the suburbs; his fascination with how life simply goes on amid grand (and possibly meaningless) power struggles; how, as a fresh college graduate, he found his was to Namibia; how his experience compares with the fictional Scottish doctor who falls in with Idi Amin in The Last King of Scotland, especially in the sense of the gnawing burden of non-belonging; life in a country where things slow down, and the space for thought that provides; how Namibia inspired him to write a story of a man lost in a Kafkanly inescapable shopping mall, and how he used a school's sole typewriter to compose it; his constant aspirations to the condition of the short story collection, the "highest form," and how even his novels secretly take that form; the experimentalism of great books that don't seem experimental, like Bleak House or Moby Dick; how Namibia's situation compares to that of Zimbabwe, and how many of Zimbabwe's problems can be laid at the feet of Robert Mugabe; how he experiences a San Francisco beyond the Fisherman's Wharves and the Transamerica Pyramids; and his criticism of the city's increasing pricing out of families that leads, ultimately, to a loss of stories.

Frank Bidart, Wellesley CollegeVijay Seshadri, Sarah Lawrence CollegeKevin Young, Emory UniversitySally Dawidoff (moderator), American Social History ProjectThe Association of Writers and Writing Programs ConferenceWashington, DC, February 5, 2011In the first part of this two-part panel discussion, held at the Association of Writers and Writing Programs Conference, distinguished contemporary American writers Frank Bidart, Vijay Seshadri, and Kevin Young talk about writing about the Civil War 150 years after it began. Seshadri grew up an immigrant child of an immigrant father obsessed with the war; Young comes to the subject as a twenty-first-century African-American poet living in the South; and Bidart was spurred to write about Gettysburg by “the world created by the Bush administration.” Allen Tate and Robert Lowell’s seminal odes are also read and discussed. For all these writers, the war has become part of their Americanness.Part 1: Introduction by Sally DawidoffReadings:Ode to the Confederate Dead by Allen Tate (recording), read by the authorFor the Union Dead by Robert Lowell, read by Frank BidartThe Nature of the Chemical Bond (excerpt) by Vijay Seshadri, read by the authorFor the Confederate Dead by Kevin Young, read by the authorFor the Republic by Frank Bidart, read by the authorPart 2: DiscussionCreditsPermission to broadcast Frank Bidart’s reading of Robert Lowell’s poem “The Union Dead” granted by Farrar, Straus and Giroux, LLC.Permission to broadcast the recording of Allen Tate reading his poem “Ode to the Confederate Dead” granted by Farrar, Straus and Giroux, LLC and by Universal Music Enterprises, a division of Universal Music Group Recordings, Inc.Permission to post Vijay Seshadri’s “The Nature of the Chemical Bond” granted by Graywolf Press.

Frank Bidart, Wellesley CollegeVijay Seshadri, Sarah Lawrence CollegeKevin Young, Emory UniversitySally Dawidoff (moderator), American Social History ProjectThe Association of Writers and Writing Programs ConferenceWashington, DC, February 5, 2011In the second part of this two-part panel discussion, held at the Association of Writers and Writing Programs Conference, distinguished contemporary American writers Frank Bidart, Vijay Seshadri, and Kevin Young talk about writing about the Civil War 150 years after it began. Seshadri grew up an immigrant child of an immigrant father obsessed with the war; Young comes to the subject as a twenty-first-century African-American poet living in the South; and Bidart was spurred to write about Gettysburg by “the world created by the Bush administration.” Allen Tate and Robert Lowell’s seminal odes are also read and discussed. For all these writers, the war has become part of their Americanness.Part 1: Introduction by Sally DawidoffReadings:Ode to the Confederate Dead by Allen Tate (recording), read by the authorFor the Union Dead by Robert Lowell, read by Frank BidartThe Nature of the Chemical Bond (excerpt) by Vijay Seshadri, read by the authorFor the Confederate Dead by Kevin Young, read by the authorFor the Republic by Frank Bidart, read by the authorPart 2: DiscussionCreditsPermission to broadcast Frank Bidart’s reading of Robert Lowell’s poem “The Union Dead” granted by Farrar, Straus and Giroux, LLC.Permission to broadcast the recording of Allen Tate reading his poem “Ode to the Confederate Dead” granted by Farrar, Straus and Giroux, LLC and by Universal Music Enterprises, a division of Universal Music Group Recordings, Inc.Permission to post Vijay Seshadri’s “The Nature of the Chemical Bond” granted by Graywolf Press.

In this episode we are talking to Ken Hirano, who was born in Japan but his family moved to the U.S. before he started school. He has returned to Japan to live a few times in his life, and now is one of them. He moved back to Tokyo about a year ago and recently https://www.linkedin.com/posts/kenhirano_china-culture-asianamericans-activity-6707162545993711616-aQZP/ (wrote a post on LinkedIn) on this geographic anniversary about his cultural and language identity. And that is what we are digging into today. This identity path took us through how he feels in different languages, why he feels more simple and defenseless in Japanese than English, how Japanese locals versus expats in Japan treat his Japanese & Americanness and where he is the most comfortable. Spoiler: none of these issues have a clearly defined answer and that is what made this nuanced discussion with Ken so interesting to have.   You can find the full show notes, links, etc to this episode at https://www.stephfuccio.com/geopatspodcasting (https://www.stephfuccio.com/geopatslanguage/32) Support this podcastSupport this podcast at — https://redcircle.com/geopats/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Shelby and Matt finally break down **Emily in Paris** as they discuss the plot, the boys, and the Americanness of it all before deciding whether it's a guilty pleasure or just another covid hate watch. Rapid fire questions at 43:16.