Podcasts about Asian Americans

President Trump got the redistricting maps he wanted from Texas, but it may come with a big political price tag. The Democratic Party, so fractured after the 2024 campaigns, suddenly found a rallying issue that washed away many of its own internal divisions - at least temporarily. Brad Johnson of The Texan and Kat Vargas of Howdy Politics join host Jeremy Wallace to break it all down. Plus, Lt. Gov. Dan Patrick called out Gov. Greg Abbott again for his stance against banning all THC products in Texas, further muddying what the Legislature will do in the closing days of the special session of the Legislature. And finally, Texas House Democratic Leader Gene Wu joins the show for a deep dive on how his recent national media attention has helped illustrate how he's had to navigate racism and generational norms in the Asian-American community.  Learn more about your ad choices. Visit megaphone.fm/adchoices

EP289 Kaila Yu is on the Mount Rushmore of Asian American models and influencers from the early 2000's. She joined the show to talk about her new book Fetishized (available August 19, 2025) and also share her thoughts about the modern culture and the historical media exploitation of Asian women. From Kaila's website https://kailayu.com/ : Kaila is an author based in Los Angeles. Her debut memoir, ‘Fetishized: A Reckoning with Yellow Fever, Feminism, and Beauty,' will be published on August 19th, 2025, with Penguin Random House's Crown Publishing.She is also a luxury travel, food, and culture writer and on-camera correspondent based in Los Angeles, who has written for The Los Angeles Times, The New York Times, Rolling Stone, Conde Nast Traveler, National Geographic, and more. She's a certified PADI scuba diver, freediver, and mermaid.Her former band, Nylon Pink, has toured in Australia: Melbourne and Sydney, played in Shanghai at the launch party for Havaianas in China, Costa Rica, played at the Hard Rock in Tokyo, Japan, Macau, China, and Penang, Malaysia.You can follow Kaila on all her social media accounts as just @KailaYuLinks from episode: Man Accused of Killing 8 in Atlanta Pleads Guilty https://www.npr.org/2021/07/27/1021144933/georgia-man-pleading-guilty-to-4-of-8-atlanta-area-spa-killingsRemembering the victims of Atlanta Spa Shootinghttps://people.com/crime/victims-of-atlanta-spa-shootings/Jeremy Lin, Knicks top NBA jersey saleshttps://www.espn.com/blog/new-york/knicks/post/_/id/11845/jeremy-lin-knicks-top-nba-jersey-salesThe Dangerous Privilege of Yellow Feverhttps://www.newsweek.com/dangerous-privilege-yellow-fever-opinion-1577449Main Show Sponsors:Right Honda:⁠⁠⁠ ⁠⁠https://righthonda.com/Right Toyota: ⁠⁠⁠⁠⁠https://www.righttoyota.com/⁠⁠⁠⁠⁠Arcus Foundry: ⁠⁠⁠⁠⁠https://arcusfoundry.comAutocannon Official Gear: ⁠⁠⁠⁠⁠https://shop.autocannon.com/⁠⁠⁠⁠⁠⁠⁠Contact Hard Parking with Jhae Pfenning:email: Info@HardParking.com Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.Hardparking.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.patreon.com/hardparkingpodcast/Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/hardparkingpod/YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://youtube.com/@HardParking

Jeff and Phil welcome Howard Ho, playwright/composer/YouTuber, and Diep Tran, Editor in Chief of Playbill, to discuss Asian Americans in theatre, Broadway, and controversy over the recent announcement that Andrew Barth Feldman, a white actor, would be taking over the lead role in Maybe Happy Ending, the hit Tony Award-winning musical about robots finding connection in future Korea. They talk about the historical lack of opportunities for Asian Americans in theatre, enjoying a moment of hope in the wake of recent successes, and why Maybe Happy Ending's re-casting is such a disappointment on multiple levels. Also: The Good, The Bad, and The WTF of this moment in Asian American theatre.

KPop Demon Hunters has officially gone golden — and Arden Cho voices HUNTR/X front woman, Rumi. Born and raised in Texas, moving to Minnesota for high school, then college in Illinois, Cho often grappled with her Asian American identity while also facing an exhausting pressure to be “perfect” as a way to honor her immigrant parents. Cho shares what it was like to grow thicker skin in LA, her experience on Teen Wolf and Partner Track, and her love for playing poker as a woman underestimated in the game. Video episodes available on Still Watching Netflix YouTube Channel. Listen to more from Netflix Podcasts.

**Special note to our listeners** Love the show? Help us keep the conversation going! Become a paid subscriber through our ⁠⁠⁠⁠⁠⁠⁠Substack. ⁠⁠⁠⁠⁠⁠⁠Your contributions help us continue to make content on issues related to the Asian-American, immigrant, modern parent experience.THANK YOU to our super awesome listeners who have already signed up!------------------------------------------------Now that we've all officially turned 40, we're wrapping up this series by reflecting on the lessons we've learned. Here's the TLDR of Part 1 (but of course, you'll have to listen to get the juicy bits :p ).Relationships (romantic relationships and friendships): - If someone doesn't treat you well in a relationship, the cause is roughly as likely to be their own baggage as it is yours.- Sometimes you're attracted to someone for the wrong reasons (you're projecting your issues on them, you want to "save" them)- Working on yourself and pursuing the things you want and love are probably the best path to finding a good partner.- At some point in a romantic relationship, you might want to get the Eight Dates book by Gottman and have those critical conversations before investing further.- It's ok if not everyone likes you. You can (and probably should) consider their perspectives but you don't have to be a slave to them.- Boundaries can be a form of care for yourself and others in that they keep relationships sustainable. They acknowledge that everyone has limits.- Sometimes, when you see people struggling, they may not want or need a "fix" at that time. They may need someone to just be with them, listen to them or give them space.Career and work outside of family:- Try to get more clarity early on in your real interests, goals and motivations.- A sizeable chunk of career decisions and issues (risk taking, financial considerations, building relationships with peers and senior people) may be traced back to your personal issues.

Send us a textBettySoo stops by the show to discuss her latest release, If You Never Go Away, Childhood trauma, Life, inspiration, and more. ********BettySoo's vocal prowess is a thing of wonder. A world-class instrument of deft phrasing and purity, a voice that knows when to hold back and when to dive in. At her own live shows, taking a verse onstage with friends or singing harmonies in sessions with Austin's finest, BettySoo sings with consummate loveliness and self-assurance. A voice that knows the roots of American music inside and out; coming from a most unexpected place –a diminutive Korean-American with a deceptively girl-next-door demeanor.They call it the live music capital of the world. Austin, Texas, is a city where the musical bar is set high. Since exploding on the Austin scene a decade ago, BettySoo has carved out an enviable niche among the very best the city has to offer.BettySoo is as Texan as they come.Raised outside Houston by first-generation Korean immigrant parents, educated at UT, she grew up listening to the Great American songbook and country radio. Older sisters led her to the world of singer/songwriters, and nights spent at The Cactus Café and Hole In The Wall turned her on to the legacy of Texas song.Her 2007 solo disc, Little Tiny Secrets, garnered heavy regional airplay; 2009's Heat Sin Water Sin produced by Gurf Morlix (Lucinda Williams, Ray Wylie Hubbard), provided building blocks to a national (and international) audience. In 2014, When We're Gone, co-produced with cellist Brian Standefer (Alejandro Escovedo, Terry Allen) placed her firmly in the first rank of songwriters working today.She's won the requisite awards: New Folk at Kerrville, Songwriter of the Year at Big Top Chautauqua, The Dave CarterSongwriting Award at Sisters Folk Festival, Mountain Stage's New Song.She's played the festivals –multiple South by Southwests, Kerrville, Calgary and more. And the radio shows –E-Town, Mountain Stage, WoodSongs, BBC 2 with Bob Harris.Her singing has been heard on Riverdale and Girl Boss, and her songs formed the musical backbone to Christine Hoang's 2017 play A Girl Named Sue, singled out by Austin360.com in their review as “gorgeous, moving ballads comment(ing) on the themes of the scenes they punctuate.”The future looks auspicious for BettySoo.In the Time of COVID-19, BettySoo cut a unique path through the broad streaming landscape --and as with everything she does, she approached it in a way that invites authentic connection, encourages compassion, and merits listening. Her weekly Nobody's Happy Hour via Zoom fostered an intimate and meaningful community and were hailed by many as one of the most creative streamed residencies anywhere.“In her own words, ‘I guess Asian-American songwriters aren't that common. At least, not in Texas.' Well, songwriting and singing of this caliber aren't that common anywhere." - No Depression******If you would like to contact the show about being a guest, please email us at Dauna@bettertopodcast.comUpcoming guests can be found: https://dmneedom.com/upcoming-guest Follow us on Social MediaInstagram: https://www.instagram.com/author_d.m.needom/Facebook: https://www.facebook.com/bettertopodcastwithdmneedomIntro and Outro music compliments of Fast Suzi©2025 Better To...Podcast with D. M. NeedomSupport the show

• Intro with GSV Insider Kenzo Fukuda (0:00 - 5:34)• Valkyries' Playoff Seeding (5:34 - 7:27)• Are the Valks Built for the Playoffs? (7:27 - 13:50)• What Makes GSV's System Successful? (13:50 - 20:42)• Trade Deadline Thoughts (20:42 - 25:31)• Janelle Salaün (25:31 - 30:00)• Carla Leite (30:00 - 34:35)• Tip Hayes' Veteran Mentorship (34:35 - 39:40)• GSV Leadership's Poise (39:40 - 45:05)• Is Veronica Burton the MIP? (45:05 - 49:30)• Is Natalie Nakase COTY? (49:30 - 50:35)• Can The Valkyries Win a Playoff Series? (50:35 - 54:05)• Asian-Americans in the WNBA (54:05 - 58:46)• Outro (58:46 - 1:00:55)Will the Valkyries make the playoffs?Who would they face in the first round?What do you think about this roster and staff?We discuss all that and more in this episode with special guest Kenzo Fukuda!#wnba #valkyries #goldenstatevalkyries

This was a live recording with Jenn Suen Chen, author of "Dim Sum and Faith: How Our Stories Form Our Souls." We talked about story, spirituality, and how our cultural narratives shape who we are and who we're becoming. The author's deepest prayer is that the book would serve as a resource for deeper discussion around growing in our relationship in Christ and with one another. Her ultimate desire is that Asian American and Christians globally would experience the love of God in deeper ways through the book.Check out this new book!• Read a free chapter at the publisher's book page https://www.ivpress.com/dim-sum-and-faith• Buy on amazon at https://amzn.to/4lv8PPd - available in print, kindle, and audiobook• Buy at B&N https://www.barnesandnoble.com/w/dim-sum-and-faith-jenn-suen-chen/1146378006• Win a free print copy of this book https://www.goodreads.com/en/book/show/220113507-dim-sum-and-faith (enter by August 19, 2025)Connect with Jenn Suen Chen:• website https://www.jennsuenchen.com• instagram https://www.instagram.com/jennsuenchenJenn Suen Chen was previously on 5 episodes of Erasing Shame @https://erasingshame.com/tag/jenn-suen-chen/

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.   In this two-part series of Oakland Asian Cultural Center's “Let's Talk” podcast Eastside Arts Alliance is featured. Elena Serrano and Susanne Takehara, two of the founders of Eastside Arts Alliance, and staff member Aubrey Pandori will discuss the history that led to the formation of Eastside and their deep work around multi-racial solidarity.   Transcript: Let's Talk podcast episode 9  [00:00:00] Emma: My name is Emma Grover, and I am the program and communications coordinator at the Oakland Asian Cultural Center, known also as OACC. Today we are sharing the ninth episode of our Let's Talk Audio Series. Let's Talk is part of OACC'S Open Ears for Change Initiative, which was established in 2020. With this series, our goals are to address anti-Blackness in the APIA communities, discuss the effects of colorism and racism in a safe space, and highlight Black and Asian solidarity and community efforts specifically in the Oakland Chinatown area. Today's episode is a round table discussion with Elena Serrano, Susanne Takahara, and Aubrey Pandori of Eastside Arts Alliance.  [00:00:53] Aubrey: Hello everybody. This is Aubrey from Eastside Arts Alliance, and I am back here for the second part of our Let's Talk with Suzanne and Elena. We're gonna be talking about what else Eastside is doing right now in the community. The importance of art in activism, and the importance of Black and Asian solidarity in Oakland and beyond.  So I am the community archivist here at Eastside Arts Alliances. I run CARP, which stands for Community Archival Resource Project. It is a project brought on by one of our co-founders, Greg Morozumi. And it is primarily a large chunk of his own collection from over the years, but it is a Third World archive with many artifacts, journals, pens, newspapers from social movements in the Bay Area and beyond, international social movements from the 1960s forward. We do a few different programs through CARP. I sometimes have archival exhibitions. We do public engagement through panels, community archiving days. We collaborate with other community archives like the Bay Area Lesbian Archives and Freedom Archives here in Oakland and the Bay Area. And we are also working on opening up our Greg Morozumi Reading Room in May. So that is an opportunity for people to come in and relax, read books, host reading groups, or discussions with their community. We're also gonna be opening a lending system so people are able to check out books to take home and read. There'll be library cards coming soon for that and other fun things to come.  [00:02:44] So Suzanne, what are you working on at Eastside right now? [00:02:48] Susanne: Well, for the past like eight or nine years I've been working with Jose Ome Navarrete and Debbie Kajiyama of NAKA Dance Theater to produce Live Arts and Resistance (LAIR), which is a Dance Theater Performance series. We've included many artists who, some of them started out here at Eastside and then grew to international fame, such as Dohee Lee, and then Amara Tabor-Smith has graced our stages for several years with House Full of Black Women. This year we're working with Joti Singh on Ghadar Geet: Blood and Ink, a piece she choreographed, and shot in film and it's a multimedia kind of experience. We've worked with Cat Brooks and many emerging other artists who are emerging or from all over, mostly Oakland, but beyond. It's a place where people can just experiment and not worry about a lot of the regulations that bigger theaters have. Using the outside, the inside, the walls, the ceiling sometimes. It's been an exciting experience to work with so many different artists in our space.  [00:04:03] Elena: And I have been trying to just get the word out to as many different folks who can help sustain the organization as possible about the importance of the work we do here. So my main job with Eastside has been raising money. But what we're doing now is looking at cultural centers like Eastside, like Oakland Asian Cultural Center, like the Malonga Casquelord Center, like Black Cultural Zone, like the Fruitvale Plaza and CURJ's work. These really integral cultural hubs. In neighborhoods and how important those spaces are.  [00:04:42] So looking at, you know, what we bring to the table with the archives, which serve the artistic community, the organizing community. There's a big emphasis, and we had mentioned some of this in the first episode around knowing the history and context of how we got here so we can kind of maneuver our way out. And that's where books and movies and posters and artists who have been doing this work for so long before us come into play in the archives and then having it all manifest on the stage through programs like LAIR, where theater artists and dancers and musicians, and it's totally multimedia, and there's so much information like how to keep those types of places going is really critical.  [00:05:28] And especially now when public dollars have mostly been cut, like the City of Oakland hardly gave money to the arts anyway, and they tried to eliminate the entire thing. Then they're coming back with tiny bits of money. But we're trying to take the approach like, please, let's look at where our tax dollars go. What's important in a neighborhood? What has to stay and how can we all work together to make that happen?  [00:05:52] Susanne: And I want to say that our Cultural Center theater is a space that is rented out very affordably to not just artists, but also many organizations that are doing Movement work, such as Palestinian Youth Movement, Bala, Mujeres Unidas Y Activas, QT at Cafe Duo Refugees, United Haiti Action Committee, Freedom Archives, Oakland Sin Fronteras, Center for CPE, and many artists connected groups.  [00:06:22] Aubrey: Yeah, I mean, we do so much more than what's in the theater and Archive too, we do a lot of different youth programs such as Girl Project, Neighborhood Arts, where we do public murals. One of our collective members, Angie and Leslie, worked on Paint the Town this past year. We also have our gallery in between the Cultural Center and Bandung Books, our bookstore, which houses our archive. We are celebrating our 25th anniversary exhibition.  [00:06:54] Susanne: And one of the other exhibits we just wrapped up was Style Messengers, an exhibit of graffiti work from Dime, Spy and Surge, Bay Area artists and Surge is from New York City, kind of illustrating the history of graffiti and social commentary.  [00:07:30] Elena: We are in this studio here recording and this is the studio of our youth music program Beats Flows, and I love we're sitting here with this portrait of Amiri Baraka, who had a lot to say to us all the time. So it's so appropriate that when the young people are in the studio, they have this elder, magician, poet activist looking at him, and then when you look out the window, you see Sister Souljah, Public Enemy, and then a poster we did during, when Black Lives Matter came out, we produced these posters that said Black Power Matters, and we sent them all over the country to different sister cultural centers and I see them pop up somewhere sometimes and people's zooms when they're home all over the country. It's really amazing and it just really shows when you have a bunch of artists and poets and radical imagination, people sitting around, you know, what kind of things come out of it. [00:08:31] Aubrey: I had one of those Black Power Matters posters in my kitchen window when I lived in Chinatown before I worked here, or visited here actually. I don't even know how I acquired it, but it just ended up in my house somehow.  [00:08:45] Elena: That's perfect. I remember when we did, I mean we still do, Malcolm X Jazz Festival and it was a young Chicana student who put the Jazz Festival poster up and she was like, her parents were like, why is Malcolm X? What has that got to do with anything? And she was able to just tell the whole story about Malcolm believing that people, communities of color coming together  is a good thing. It's a powerful thing. And it was amazing how the festival and the youth and the posters can start those kind of conversations.  [00:09:15] Aubrey: Malcolm X has his famous quote that says “Culture is an indispensable weapon in the freedom struggle.” And Elena, we think a lot about Malcolm X and his message here at Eastside about culture, but also about the importance of art. Can we speak more about the importance of art in our activism?  [00:09:35] Elena: Well, that was some of the things we were touching on around radical imagination and the power of the arts. But where I am going again, is around this power of the art spaces, like the power of spaces like this, and to be sure that it's not just a community center, it's a cultural center, which means we invested in sound good, sound good lighting, sprung floors. You know, just like the dignity and respect that the artists and our audiences have, and that those things are expensive but critical. So I feel like that's, it's like to advocate for this type of space where, again, all those groups that we listed off that have come in here and there's countless more. They needed a space to reach constituencies, you know, and how important that is. It's like back in the civil rights organizing the Black church was that kind of space, very important space where those kind of things came together. People still go to church and there's still churches, but there's a space for cultural centers and to have that type of space where artists and activists can come together and be more powerful together.  [00:10:50] Aubrey: I think art is a really powerful way of reaching people. [00:10:54] Elena: You know, we're looking at this just because I, being in the development end, we put together a proposal for the Environmental Protection Agency before Donald (Trump) took it over. We were writing about how important popular education is, so working with an environmental justice organization who has tons of data about how impacted communities like East Oakland and West Oakland are suffering from all of this, lots of science. But what can we, as an arts group, how can we produce a popular education around those things? And you know, how can we say some of those same messages in murals and zines, in short films, in theater productions, you know, but kind of embracing that concept of popular education. So we're, you know, trying to counter some of the disinformation that's being put out there too with some real facts, but in a way that, you know, folks can grasp onto and, and get.  [00:11:53] Aubrey: We recently had a LAIR production called Sky Watchers, and it was a beautiful musical opera from people living in the Tenderloin, and it was very personal. You were able to hear about people's experiences with poverty, homelessness, and addiction in a way that was very powerful. How they were able to express what they were going through and what they've lost, what they've won, everything that has happened in their lives in a very moving way. So I think art, it's, it's also a way for people to tell their stories and we need to be hearing those stories. We don't need to be hearing, I think what a lot of Hollywood is kind of throwing out, which is very white, Eurocentric beauty standards and a lot of other things that doesn't reflect our neighborhood and doesn't reflect our community. So yeah, art is a good way for us to not only tell our stories, but to get the word out there, what we want to see changed.  So our last point that we wanna talk about today is the importance of Black and Asian solidarity in Oakland. How has that been a history in Eastside, Suzanne?  [00:13:09] Susanne: I feel like Eastside is all about Third World solidarity from the very beginning. And Yuri Kochiyama is one of our mentors through Greg Morozumi and she was all about that. So I feel like everything we do brings together Black, Asian and brown folks. [00:13:27] Aubrey: Black and Asian solidarity is especially important here at Eastside Arts Alliance. It is a part of our history. We have our bookstore called Bandung Books for a very specific reason, to give some history there. So the Bandung Conference happened in 1955 in Indonesia, and it was the first large-scale meeting of Asian and African countries. Most of which were newly independent from colonialism. They aimed to promote Afro-Asian cooperation and rejection of colonialism and imperialism in all nations. And it really set the stage for revolutionary solidarity between colonized and oppressed people, letting way for many Third Worlds movements internationally and within the United States.  [00:14:14] Eastside had an exhibition called Bandung to the Bay: Black and Asian Solidarity at Oakland Asian Cultural Center the past two years in 2022 and 2023 for their Lunar New Year and Black History Month celebrations. It highlighted the significance of that conference and also brought to light what was happening in the United States from the 1960s to present time that were creating and building solidarity between Black and Asian communities. The exhibition highlighted a number of pins, posters, and newspapers from the Black Liberation Movement and Asian American movement, as well as the broader Third World movement. The Black Panthers were important points of inspiration in Oakland, in the Bay Area in getting Asian and Pacific Islanders in the diaspora, and in their homelands organized.  [00:15:07] We had the adoption of the Black Panthers 10-point program to help shape revolutionary demands and principles for people's own communities like the Red Guard in San Francisco's Chinatown, IWK in New York's Chinatown and even the Polynesian Panthers in New Zealand. There were so many different organizations that came out of the Black Panther party right here in Oakland. And we honor that by having so many different 10-point programs up in our theater too. We have the Brown Berets, Red Guard Party, Black Panthers, of course, the American Indian Movement as well. So we're always thinking about that kind of organizing and movement building that has been tied here for many decades now.  [00:15:53] Elena: I heard that the term Third World came from the Bandung conference. [00:15:58] Aubrey: Yes, I believe that's true.  [00:16:01] Elena: I wanted to say particularly right now, the need for specifically Black Asian solidarity is just, there's so much misinformation around China coming up now, especially as China takes on a role of a superpower in the world. And it's really up to us to provide some background, some other information, some truth telling, so folks don't become susceptible to that kind of misinformation. And whatever happens when it comes from up high and we hate China, it reflects in Chinatown. And that's the kind of stereotyping that because we have been committed to Third World solidarity and truth telling for so long, that that's where we can step in and really, you know, make a difference, we hope. I think the main point is that we need to really listen to each other, know what folks are going through, know that we have more in common than we have separating us, especially in impacted Black, brown, Asian communities in Oakland. We have a lot to do.  [00:17:07] Aubrey: To keep in contact with Eastside Arts Alliance, you can find us at our website: eastside arts alliance.org, and our Instagrams at Eastside Cultural and at Bandung Books to stay connected with our bookstore and CArP, our archive, please come down to Eastside Arts Alliance and check out our many events coming up in the new year. We are always looking for donations and volunteers and just to meet new friends and family.  [00:17:36] Susanne: And with that, we're gonna go out with Jon Jang's “The Pledge of Black Asian Alliance,” produced in 2018.  [00:18:29] Emma: This was a round table discussion at the Eastside Arts Alliance Cultural Center with staff and guests: Elena, Suzanne and Aubrey.  Let's Talk Audio series is one of OACC'S Open Ears for Change projects and as part of the Stop the Hate Initiative with funds provided by the California Department of Social Services in consultation with the commission of Asian and Pacific Islander American Affairs to administer $110 million allocated over three years to community organizations. These organizations provide direct services to victims of hate and their families and offer prevention and intervention services to tackle hate in our communities. This episode is a production of the Oakland Asian Cultural Center with engineering, editing, and sound design by Thick Skin Media.  [00:19:18] A special thanks to Jon Jang for permission to use his original music. And thank you for listening.  [00:19:32] Music: Life is not what you alone make it. Life is the input of everyone who touched your life and every experience that entered it. We are all part of one another. Don't become too narrow, live fully, meet all kinds of people. You'll learn something from everyone. Follow what you feel in your heart. OACC Podcast [00:00:00] Emma: My name is Emma Grover, and I am the program and communications coordinator at the Oakland Asian Cultural Center, known also as OACC. Today we are sharing the eighth episode of our Let's Talk audio series. Let's talk as part of OACC's Open Ears for Change Initiative, which was established in 2020. With this series, our goals are to address anti-blackness in the APIA communities, discuss the effects of colorism and racism in a safe space, and highlight black and Asian solidarity and community efforts specifically in the Oakland Chinatown area.   [00:00:43] Today's guests are Elena Serrano and Suzanne Takahara, co-founders of Eastside Arts Alliance. Welcome Elena and Suzanne, thank you so much for joining today's episode. And so just to kick things off, wanna hear about how was Eastside Arts Alliance started?   [00:01:01] Susanne: Well, it was really Greg Morozumi who had a longstanding vision of creating a cultural center in East Oakland, raised in Oakland, an organizer in the Bay Area, LA, and then in New York City where he met Yuri Kochiyama, who became a lifelong mentor.   [00:01:17] Greg was planning with one of Yuri's daughters, Ichi Kochiyama to move her family to Oakland and help him open a cultural center here. I met Greg in the early nineties and got to know him during the January, 1993 “No Justice, No Peace” show at Pro Arts in Oakland. The first Bay Graffiti exhibition in the gallery. Greg organized what became a massive anti-police brutality graffiti installation created by the TDDK crew. Graffiti images and messages covered the walls and ceiling complete with police barricades. It was a response to the Rodney King protests. The power of street art busted indoors and blew apart the gallery with political messaging. After that, Greg recruited Mike Dream, Spy, and other TDK writers to help teach the free art classes for youth that Taller Sin Fronteras was running at the time.   [00:02:11] There were four artist groups that came together to start Eastside. Taller Sin Fronteras was an ad hoc group of printmakers and visual artists activists based in the East Bay. Their roots came out of the free community printmaking, actually poster making workshops that artists like Malaquias Montoya and David Bradford organized in Oakland in the early 70s and 80s.   [00:02:34] The Black Dot Collective of poets, writers, musicians, and visual artists started a popup version of the Black Dot Cafe. Marcel Diallo and Leticia Utafalo were instrumental and leaders of this project. 10 12 were young digital artists and activists led by Favianna Rodriguez and Jesus Barraza in Oakland. TDK is an Oakland based graffiti crew that includes Dream, Spie, Krash, Mute, Done Amend, Pak and many others evolving over time and still holding it down.   [00:03:07] Elena: That is a good history there. And I just wanted to say that me coming in and meeting Greg and knowing all those groups and coming into this particular neighborhood, the San Antonio district of Oakland, the third world aspect of who we all were and what communities we were all representing and being in this geographic location where those communities were all residing. So this neighborhood, San Antonio and East Oakland is very third world, Black, Asian, Latinx, indigenous, and it's one of those neighborhoods, like many neighborhoods of color that has been disinvested in for years. But rich, super rich in culture.   [00:03:50] So the idea of a cultural center was…let's draw on where our strengths are and all of those groups, TDKT, Taller Sin Fronters, Black artists, 10 – 12, these were all artists who were also very engaged in what was going on in the neighborhoods. So artists, organizers, activists, and how to use the arts as a way to lift up those stories tell them in different ways. Find some inspiration, ways to get out, ways to build solidarity between the groups, looking at our common struggles, our common victories, and building that strength in numbers.   [00:04:27] Emma: Thank you so much for sharing. Elena and Suzanne, what a rich and beautiful history for Eastside Arts Alliance.   [00:04:34] Were there any specific political and or artistic movements happening at that time that were integral to Eastside's start?   [00:04:41] Elena: You know, one of the movements that we took inspiration from, and this was not happening when Eastside got started, but for real was the Black Panther Party. So much so that the Panthers 10-point program was something that Greg xeroxed and made posters and put 'em up on the wall, showing how the 10-point program for the Panthers influenced that of the Young Lords and the Brown Berets and I Wor Kuen (IWK).   [00:05:07] So once again, it was that Third world solidarity. Looking at these different groups that were working towards similar things, it still hangs these four posters still hang in our cultural, in our theater space to show that we were all working on those same things. So even though we came in at the tail end of those movements, when we started Eastside, it was very much our inspiration and what we strove to still address; all of those points are still relevant right now.   [00:05:36] Susanne: So that was a time of Fight The Power, Kaos One and Public Enemy setting. The tone for public art murals, graphics, posters. So that was kind of the context for which art was being made and protests happened.   [00:05:54] Elena: There was a lot that needed to be done and still needs to be done. You know what? What the other thing we were coming on the tail end of and still having massive repercussions was crack. And crack came into East Oakland really hard, devastated generations, communities, everything, you know, so the arts were a way for some folks to still feel power and feel strong and feel like they have agency in the world, especially hip hop and, spray can, and being out there and having a voice and having a say, it was really important, especially in neighborhoods where things had just been so messed up for so long.   [00:06:31] Emma: I would love to know also what were the community needs Eastside was created to address, you know, in this environment where there's so many community needs, what was Eastside really honing in on at this time?   [00:06:41] Elena: It's interesting telling our story because we end up having to tell so many other stories before us, so things like the, Black Arts movement and the Chicano Arts Movement. Examples of artists like Amiri Baraka, Malaguias Montoya, Sonya Sanchez. Artists who had committed themselves to the struggles of their people and linking those two works. So we always wanted to have that. So the young people that we would have come into the studio and wanna be rappers, you know, it's like, what is your responsibility?   [00:07:15] You have a microphone, you amplify. What are some of the things you're saying? So it was on us. To provide that education and that backstory and where they came from and the footsteps we felt like they were in and that they needed to keep moving it forward. So a big part of the cultural center in the space are the archives and all of that information and history and context.   [00:07:37] Susanne: And we started the Malcolm X Jazz Arts Festival for that same reason coming out of the Bandung Conference. And then the Tri Continental, all of this is solidarity between people's movements.   [00:07:51] Emma: You've already talked about this a little bit, the role of the arts in Eastside's foundation and the work that you're doing, and I'd love to hear also maybe how the role of the arts continues to be important in the work that you're doing today as a cultural center.   [00:08:04] And so my next question to pose to you both is what is the role of the arts at Eastside?   [00:08:10] Elena: So a couple different things. One, I feel like, and I said a little bit of this before, but the arts can transmit messages so much more powerfully than other mediums. So if you see something acted out in a theater production or a song or a painting, you get that information transmitted in a different way.   [00:08:30] Then also this idea of the artists being able to tap into imagination and produce images and visions and dreams of the future. This kind of imagination I just recently read or heard because folks aren't reading anymore or hardly reading that they're losing their imagination. What happens when you cannot even imagine a way out of things?   [00:08:54] And then lastly, I just wanted to quote something that Favianna Rodriguez, one of our founders always says “cultural shift precedes political shift.” So if you're trying to shift things politically on any kind of policy, you know how much money goes to support the police or any of these issues. It's the cultural shift that needs to happen first. And that's where the cultural workers, the artists come in.   [00:09:22] Susanne: And another role of Eastside in supporting the arts to do just that is honoring the artists, providing a space where they can have affordable rehearsal space or space to create, or a place to come safely and just discuss things that's what we hope and have created for the Eastside Cultural Center and now the bookstore and the gallery. A place for them to see themselves and it's all um, LGBTA, BIPOC artists that we serve and honor in our cultural center. To that end, we, in the last, I don't know, 8, 9 years, we've worked with Jose Navarrete and Debbie Kajiyama of Naka Dance Theater to produce live arts and resistance, which gives a stage to emerging and experienced performance artists, mostly dancers, but also poets, writers, theater and actors and musicians.   [00:10:17] Emma: The last question I have for you both today is what is happening in the world that continues to call us to action as artists?   [00:10:27] Elena: Everything, everything is happening, you know, and I know things have always been happening, but it seems really particularly crazy right now on global issues to domestic issues. For a long time, Eastside was um, really focusing in on police stuff and immigration stuff because it was a way to bring Black and brown communities together because they were the same kind of police state force, different ways.   [00:10:54] Now we have it so many different ways, you know, and strategies need to be developed. Radical imagination needs to be deployed. Everyone needs to be on hand. A big part of our success and our strength is organizations that are not artistic organizations but are organizing around particular issues globally, locally come into our space and the artists get that information. The community gets that information. It's shared information, and it gives us all a way, hopefully, to navigate our way out of it.   [00:11:29] Susanne: The Cultural Center provides a venue for political education for our communities and our artists on Palestine, Haiti, Sudan, immigrant rights, prison abolition, police abolition, sex trafficking, and houselessness among other things.   [00:11:46] Elena: I wanted to say too, a big part of what's going on is this idea of public disinvestment. So housing, no such thing as public housing, hardly anymore. Healthcare, education, we're trying to say access to cultural centers. We're calling that the cultural infrastructure of neighborhoods. All of that must be continued to be supported and we can't have everything be privatized and run by corporations. So that idea of these are essential things in a neighborhood, schools, libraries, cultural spaces, and you know, and to make sure cultural spaces gets on those lists.   [00:12:26] Emma: I hear you. And you know, I think every category you brought up, actually just now I can think of one headline or one piece of news recently that is really showing how critically these are being challenged, these basic rights and needs of the community. And so thank you again for the work that you're doing and keeping people informed as well. I think sometimes with all the news, both globally and, and in our more local communities in the Bay Area or in Oakland. It can be so hard to know what actions to take, what tools are available. But again, that's the importance of having space for this type of education, for this type of activism. And so I am so grateful that Eastside exists and is continuing to serve our community in this way.   What is Eastside Arts Alliance up to today? Are there any ways we can support your collective, your organization, what's coming up?   [00:13:18] Elena: Well, this is our 25th anniversary. So the thing that got us really started by demonstrating to the community what a cultural center was, was the Malcolm X Jazz Arts Festival, and that this year will be our 25th anniversary festival happening on May 17th.   [00:13:34] It's always free. It's in San Antonio Park. It's an amazing day of organizing and art and music, multi-generational. It's beautiful. It's a beautiful day. Folks can find out. We have stuff going on every week. Every week at the cultural center on our website through our socials. Our website is Eastside Arts alliance.org, and all the socials are there and there's a lot of information from our archives that you can look up there. There's just just great information on our website, and we also send out a newsletter.   [00:14:07] Emma: Thank you both so much for sharing, and I love you bringing this idea, but I hear a lot of arts and activism organizations using this term radical imagination and how it's so needed for bringing forth the future that we want for ourselves and our future generations.   [00:14:24] And so I just think that's so beautiful that Eastside creates that space, cultivates a space where that radical imagination can take place through the arts, but also through community connections. Thank you so much Elena and Suzanne for joining us today.   [00:14:40] Susanne: Thank you for having us.   [00:15:32] Emma: Let's Talk Audio series is one of OACC'S Open Ears for Change projects and is part of the Stop the Hate Initiative with funds provided by the California Department of Social Services. In consultation with the commission of Asian and Pacific Islander American Affairs to administer $110 million allocated over three years to community organizations. These organizations provide direct services to victims of hate and their families, and offer prevention and intervention services to tackle hate in our communities.   This episode is a production of the Oakland Asian Cultural Center with engineering, editing, and sound design by Thick Skin Media. A special thanks to Jon Jang for permission to use his original music, and thank you for listening.   [00:16:34] Music: Life is not what you alone make it. Life is the input of everyone who touched your life and every experience that entered it. We are all part of one another. Don't become too narrow. Live fully, meet all kinds of people. You'll learn something from everyone. Follow what you feel in your heart. The post APEX Express – August 14, 2025 appeared first on KPFA.

Today, Kaila Yu, author of the memoir Fetishized joins us to explore how Asian women are portrayed in the media. We discuss the impact of books like Memoirs of a Geisha and raunch culture from the 2000s, and talk about how much of the media we consume is internalized as women. We chat about how to ground ourselves in self-love instead of seeking validation externally.Find Kaila on Instagram @kailayu or on her website kailayu.com. Her book, Fetishized: A Reckoning with Yellow Fever, Feminism, and Beauty will be out in all stores on August 19th!Support the showFollow us on social media @eatyourcrustpod

Are you or someone you know curious about how to start a career in Hollywood? While working at the LA Times Ada Tseng and her co-author Jon Healey interviewed dozens of people from all parts of the entertainment industry. This book is a collection of chapters outlining most of the jobs involved with film and television production. As a TV and movie geek, I found it really interesting! Where was this book when I was a drama major in the 90s? Get Breaking Into New Hollywood wherever you get books. Follow Ada @adatseng88 on Instagram and listen to Ada's podcast about Asian American films, Saturday School, wherever you get your podcasts. She's part of the @podcastpotluck network! Write to us at: ⁠infatuasianpodcast@gmail.com⁠, and please follow us on Instagram @infatuasianpodcast  Our Theme: “Super Happy J-Pop Fun-Time” by Prismic Studios was arranged and performed by All Arms Around  Cover Art and Logo designed by Justin Chuan @w.a.h.w (We Are Half the World) #asianpodcast #asian #asianamerican #infatuasian #infatuasianpodcast #aapi #veryasian  #asianamericanpodcaster #representationmatters  

This podcast episode delves into the intricate interplay between Asian American perspectives and biblical interpretation, prominently featuring Dr. Janette Ok's insights from her contributions to "The New Testament in Color: A Multiethnic Bible Commentary." The discussion centers on how diverse ethnic backgrounds can enrich our understanding of Scripture, particularly in the context of First Peter's exhortation for believers to embody unity and humility amidst societal challenges. Dr. Ok articulates the significance of diaspora and identity, elucidating how these themes resonate with contemporary Asian American experiences of marginalization and belonging. Through this discourse, we aim to confront preconceived notions regarding scriptural interpretation, advocating for a broader inclusivity that acknowledges varied cultural lenses. Join us as we explore the transformative potential of recognizing and embracing our multifaceted identities within the Christian faith.The dialogue between Joshua Noel and TJ Blackwell with Dr. Janette Ok unveils a profound exploration of Asian American perspectives in biblical scholarship, particularly through the lens of her contributions to "The New Testament in Color: A Multiethnic Bible Commentary." Dr. Ok, an adept scholar with a rich background rooted in the Korean American church, articulates the significance of understanding the Bible through diverse cultural lenses. The conversation delves into the complexities surrounding the interpretation of Scripture, emphasizing that the experiences and identities of Asian Americans are not monolithic. Dr. Ok elucidates how factors such as migration, heritage, and racialization inform the Asian American reading of biblical texts, thus enriching the theological discourse. As the discussion progresses, the hosts and Dr. Ok navigate the dichotomy of traditional interpretation versus contemporary approaches that embrace plurality, highlighting the necessity of recognizing various cultural contexts when engaging with Scripture. This episode serves as a clarion call for inclusivity within theological discussions, urging listeners to appreciate and integrate diverse voices into their understanding of the Christian faith.Takeaways: Dr. Janette Ok emphasizes the importance of understanding diverse perspectives in biblical interpretation, especially from marginalized communities. The concept of diaspora in First Peter illustrates the Christian experience of alienation and the need for community among believers. Asian American biblical hermeneutics offers unique insights by connecting cultural identity with theological discourse and scripture interpretation. The New Testament in Color commentary aims to enrich biblical scholarship by incorporating multiethnic voices and perspectives that challenge traditional interpretations. Janette Ok discusses the significance of recognizing one's social location when engaging with biblical texts to foster humility and interdependence. The podcast advocates for a deeper engagement with scripture that acknowledges the complexities of race, identity, and community in the context of faith. .Check out all of the other shows in the Anazao Podcast Network:https://anazao-ministries.captivate.fm.Be sure to check out new merch on The Whole Church store:https://my-store-e8a57d.creator-spring.com.Check out "The New Testament in Color" on Amazon:https://a.co/d/hxVS5rB.Wanna meet our hosts? Get your tickets to Theology Beer Camp 2025 to meet Joshua & TJ in St Paul, MN, this fall!

What if a pool could clean a river—and a building could rewrite culture? Would you swim in the East River? What does “local” look like when it doesn't mimic the block around it?Architect Dong-Ping Wang (FOOD Architects)—who's collaborated with Kanye West and Virgil Abloh—breaks down architecture as a cultural engine, from hyperlocal listening to rapid, messy sketching that invites feedback fast. He shares a Barbados culinary design studio with Pierre Seurat (Ghetto Gastro), why WhatsApp-level intimacy with clients beats sterile presentations, and how a tiny 6–8 person team caps projects to stay deeply hands-on.We dive into PLUS POOL: the plus-shaped, river-filtering pool that turned a single rendering, a patent, and a site into a movement—and why the biggest risk isn't tech, it's convincing New Yorkers to jump in. DPW also opens up about shaping an Asian-American architectural language, rethinking practice as an “architectural production studio,” and the simplest way to read a space: look up at the ceiling.https://food-arch.com/https://www.instagram.com/dongpingwong/https://pluspool.com/https://www.instagram.com/foodmahjongclub/00:00 The Importance of Local Culture in Architecture02:02 Navigating Client Relationships and Intimacy05:27 Architecture as a Cultural Vehicle06:49 Fluidity in Architectural Practice09:09 Working with Creative Clients10:21 Scaling Intimacy in Architecture12:28 The Architectural Production Studio Model16:04 The Plus Pool Project: Origins and Development24:25 The Power of Packaging in Architecture27:40 Local Context and Cultural Identity30:34 Post-Occupancy Analysis and Success Metrics32:58 Exploring Scales of Architectural Practice37:02 Cultural Identity and Architectural Expression39:43 Lessons from Other Creative Fields45:36 Cultural Shifts and Future Perspectives

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

Send us a textKaila Yu is a Los Angeles–based luxury travel and culture journalist whose bylines include The Los Angeles Times, The New York Times, Rolling Stone, and more. Before her journalism career, she was an actress, an import model, the lead singer of the rock band Nylon Pink, and a student at UCLA. Each chapter of her life, as she shares in her upcoming memoir Fetishized: A Reckoning with Yellow Fever, Feminism, and Beauty (Crown, releasing August 19, 2025), was deeply marked by fetishization—often by others, but painfully, at times, by herself.In her memoir, Kaila traces how growing up in the late '90s and early 2000s with limited and hypersexualized Asian female representation shaped her identity. Without authentic role models in media, she learned early that being seen often meant being objectified. She leaned into visibility through modeling, music, and entertainment, but struggled with constant performance—writing overtly sexual lyrics, undergoing body-altering surgeries, and living through years of haze and internal disconnection.Fetishized boldly dismantles the narratives media, culture, and history have forced onto Asian American women. Kaila writes with raw honesty about coercion, trauma, and pain—including being manipulated by a pornographer and having the footage distributed without her consent. She weaves these personal stories with cultural critique, referencing everything from the War Bride Act of 1945 to the myth of the “submissive Asian woman,” and how tropes like these continue to impact real lives. Her writing is both personal and political—an act of truth-telling, resistance, and healing.Now, as she nears publication of her debut book, Kaila is stepping into long-form storytelling with courage and clarity. Her goal: to provide strength and education for others who have experienced similar objectification, and to invite everyone—especially Asian American women—into a deeper understanding of their worth. Through her journalism, her art, and her voice, Kaila Yu is fighting for a world where visibility isn't conditional on being fetishized.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Daniel Dae Kim became the first actor of Asian descent to be nominated for a Tony, for his performance in Yellow Face, in the role of a playwright trying to deal with Asian American representation. His new Amazon Prime Video spy series Butterfly premieres today. Kim spoke with Ann Marie Baldonado about his career, his big break with Lost, and filming his new series in his hometown in Korea. Book critic Maureen Corrigan reflects on Gentlemen Prefer Blondes for its 100th anniversary. Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Noel Massie is the former Vice President of U.S. Operations at UPS and author of the new book Congrats, You've Been Promoted. Over a decades-long career, Noel rose from part-time college employee to leading 200,000 people with a focus on values-based leadership. Today, he mentors rising leaders and serves on the boards of organizations like the Annenberg Foundation and the Los Angeles Urban League. We talked about leadership at scale, navigating promotions, and building a career that makes an impact—this week on the On Brand podcast. Noel Massie began working for UPS part-time during college and rose through the ranks to become vice president for UPS's US Delivery Operations. Before his retirement in 2019, he oversaw 200,000 employees who were led by 12,000 supervisors. In this role, Noel supported and guided the package delivery and logistic services in the United States. He continues to mentor young leaders and supervisors. Noel is currently a member of numerous boards: the Annenberg Foundation, which holds a $1.7 billion endowment and where Noel serves on their investment committee that guides the foundation's investment strategy; the Los Angeles Urban Leagues Executive Committee, where Noel served as chairman for nine years; Chapter ONE US, an organization that seeks to enhance elementary school literacy; and the Asian American and Pacific Islander Legal Center. Noel has received over a dozen awards, including the Peter Drucker School of Management Leadership Award, the Whitney M. Young Award, the Admiral Samuel L. Gravely Award, the Civic Leadership Award of Los Angeles, and the Civic Leadership Award of Chicago for serving for five years on the Chicago Workforce Board. He currently mentors young leaders and private organizations on values-based leadership principles. He and his family reside in Oak Park, Illinois, with a secondary residence in Southern California. Congrats, You've Been Promoted. That's the title of Noel's new book—and a perfect reminder that getting promoted is just the beginning, not the finish line. Noel shared why so many new leaders struggle after their big break and how values-based leadership can help them not just survive, but thrive in their new roles. What brand has made Noel smile recently? Noel pointed to McDonald's—admiring how the brand stays consistent and approachable while evolving with the times. For him, it's a lesson in balancing legacy with innovation, showing leadership isn't just about flashy moves but steady, reliable connection. Connect with Noel on LinkedIn and his book, Congrats, You've Been Promoted.  Listen and subscribe at  Apple Podcasts, Spotify, Amazon/Audible, Google Play, Stitcher, TuneIn, iHeart, YouTube, and RSS. Rate and review the show—If you like what you're hearing, be sure to head over to Apple Podcasts and click the 5-star button to rate the show. And, if you have a few extra seconds, write a couple of sentences and submit a review to help others find the show. Did you hear something you liked on this episode or another? Do you have a question you'd like our guests to answer? Let me know on Twitter using the hashtag #OnBrandPodcast and you may just hear your thoughts here on the show. On Brand is a part of the Marketing Podcast Network. Until next week, I'll see you on the Internet! 00:00 Intro and Noel's Background   02:00 Starting Out and Early Leadership Lessons   06:15 The Idea Behind Congrats You've Been Promoted   11:35 Core Values and Setting Leadership Terms   17:00 Handling Ethical Challenges and Uncomfortable Moments   19:30 The No Casual Moments Rule in Leadership   22:00 Value-Based Leadership at Scale   25:45 Lessons from Coaching and Leadership Models   27:00 A Brand Has Made Noel Smile and How to Connect   Learn more about your ad choices. Visit megaphone.fm/adchoices

This week episode is a special Book Club episode digging into the brand new book Breaking Into New Hollywood: A Career Guide to a Changing Industry with Co-Author Ada Tseng. Come listen as we highlight the special features in this book and what went into bringing it to life. I'm honored to be featured in the Costume Design section of this book (along with this very podcast!) and it was a blast to turn the tables on Ada who interviewed me — now I get to interview her!  --- If you want to support me and this podcast, please subscribe to the Patreon - we have tiers starting at just $3 and you will get access to extended cuts of every episode with more even more stories.  --- Breaking Into New Hollywood: A Career Guide to a Changing Industry Written by Ada Tseng & Jon Healy. Presented by the Los Angeles Times. --- Ada Tseng is the co-author of the upcoming book Breaking Into New Hollywood, with Jon Healey. She co-hosts the Asian American pop culture history podcast, Saturday School, with Brian Hu. A former editor at the Los Angeles Times, Ada covers culture, lifestyle, health, style and travel. Her bylines include National Geographic, Center of Asian American Media, Women's Wear Daily, HowStuffWorks, The Washington Post, Public Radio International, NBC, LA Weekly, Asia Pacific Arts, Audrey Magazine and more.   Headshot photo by Leo Wu @wugrapher   The Los Angeles Times Published since 1881, The Los Angeles Times is the sixth-largest newspaper by circulation in the United States, as well as the largest newspaper in the western United States.   Ada Tseng & Book Links: Simon & Schuster: Breaking into New Hollywood LA Times: Want to break into Hollywood? Read this book Instagram: @adatseng88 Saturday School Podcast Substack: Ada Tseng --- TFACD Links: Patreon: Tales From A Costume Designer Instagram: @talesfromacostumedesigner Twitter: @talesfromaCD TikTok: @talesfromaCD --- Whitney Anne Adams Links: Website: whitneyadams.com IMDb: Whitney Anne Adams Instagram: @WAACostumeDesign Twitter: @WhitneyAAdams TikTok: @waacostumedesign --- Union Links: Costume Designers Guild IG: @cdglocal892 United Scenic Artists Local 829 IG: @unitedscenicartists IATSE IG: @iatse ---

It wasn't long ago that finding an Asian American novelist in a local bookstore felt like finding a rare flower. Today, the options overflow. Viet Thanh Nguyen was on the leading edge of that wave. His first novel, The Sympathizer, won the Pulitzer Prize in 2016. Since then he has written a sequel, a collection of short stories, books for children,  and a book about the Vietnam War. He's also become an important public intellectual, promoting the work of immigrant and minority writers, and advocating for Palestinian rights. Today on Say More, editor Jim Dao is joined by Viet Thanh Nguyen for a discussion about his recent works and the role of the writer in times of political turmoil. 

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

TAKEAWAYSThe particular cultural bent in society today elevates conformityThe alternative to conformity is cancellation, or shamingParents need to understand the grace dynamic that helps people unlock a desire for the GospelMany high school graduates who attend college never return to church

Dan (Yang) and Dan (Harumi) stop by the show to talk about the ultimate hot take.C O M E S E E H A C K C I T Y C O M E D Y TicketsF O L L O W U Shttps://www.instagram.com/asiannotasianpodhttps://www.instagram.com/nicepantsbrohttps://www.instagram.com/jennyarimoto/P A T R E O Nhttps://www.patreon.com/asiannotasianpod P A R T N E R S -Check out friend of the pod John's cabin on Airbnb! https://www.airbnb.com/slink/penXRFgl - Helix Sleep Mattress: visit helixsleep.com/asian - Nutrafol: www.nutrafol.com (Promo code: Asian) This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/ASIAN and get on your way to being your best self.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Kainalu Moya is an Asian American actor hailing from Kaneohe, Oahu. Kainalu, also known as “Kai”, is best known for his roles on Power Rangers Dino/Cosmic Fury and the Villains of Valley View. He is a competitive Taekwondo fighter and frequently competes at Taekwondo tournaments across the nation.  Kainalu just won gold at the 2025 USA Taekwondo National Championships in the red belt division, 68kg. He aims to pursue more acting roles in the action realm, showcasing his real-life Taekwondo experience. 

Democrats long assumed they could count on voters of color to support their candidates and causes, and for many years they did. But last year's presidential election was a wake up call for Democrats as Donald Trump gained significant support from Black, Latino and Asian American voters, especially men. In studying the racially and ethnically diverse voter coalition that brought Barack Obama to power, Yale professor Daniel Martinez HoSang, has found discontent and collapsing support for Democrats. This shift comes at a critical time for the left as they scramble to make headway before the 2026 midterms. We'll talk to HoSang and Republican political strategist Mike Madrid about how the left lost these voters and whether it's too late to regain their support. Guests: Daniel Martinez HoSang, professor of American Studies, Yale University Mike Madrid, political strategist; co-founder, The Lincoln Project; author, "The Latino Century: How America's Largest Minority is Transforming Democracy" Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textIn this episode, I chat with Lucy Yu, founder and owner of Yu & Me Books. Trained as a chemical engineer, her life took an unexpected turn during the pandemic when grief from losing a close friend led to deep reflection about her purpose. "I'm here on earth to do art and foster love," she realized, and from this epiphany, You and Me Books was born—the first female Asian American-owned bookstore in New York City's historic Manhattan Chinatown.  Yu's vision of creating a genuine community space resonated deeply in a time when people were starved for connection. The bookstore became more than just a place to buy books—it transformed into a sanctuary where diverse voices are celebrated and where customers feel so at home they comfortably take naps in the chairs.  The journey hasn't been without heartbreak. In July 2023, a devastating fire ravaged the bookstore, forcing Yu to watch helplessly as her dream literally went up in smoke. But what followed was nothing short of miraculous. A GoFundMe campaign raised over $360,000 from 6,000 individual donors, fellow bookstore owners offered their spaces, and community members rallied with practical and emotional support. This outpouring of love affirmed Yu's belief that "chasing love and art will never let you down."  You and Me Books stands today as a testament to resilience, the power of community, and the vital role that independent bookstores play as third spaces where people can gather, connect, and belong. Lucy's story reminds us that books aren't just products—they're vessels for connection that show us we're never alone in our experiences.Yu & Me BooksScattered Minds: The Origins and Healing of Attention Deficit Disorder, Gabor MatéTranscending Trauma: Healing Complex Ptsd with Internal Family Systems, Frank Anderson Asymmetry, A Novel, Lisa Halliday Grief Is the Thing with Feathers, Max Porter Freedom Season: How 1963 Transformed America's Civil Rights Revolution, Peniel E. Joseph  Support the showThe Bookshop PodcastMandy Jackson-BeverlySocial Media Links

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

In this episode of Busy Gallivanting, I'm opening up about my mental health journey in my 30s—sharing what it was like to get diagnosed with bipolar disorder, start mood stabilizers, and shift my healing practices to prioritize boundaries, rest, and self-worth. On my 32nd birthday, I'm reflecting on what it really means to be busy being—not performing, not hustling, but just existing, gently and fully.As an Asian-American woman, this diagnosis felt especially heavy—but also freeing. I talk about unlearning cultural stigma, navigating therapy and psychiatry, and creating daily rituals that feel like true care. Whether you're in your 20s or 30s, if you've ever felt like healing is a solo journey, I hope this feels like a call-in, not a call-out.

Jeff and Phil welcome back pop cultural pals Rebecca Sun and Dino-Ray Ramos to discuss recent superhero movies like Superman and Fantastic Four: First Steps. (But really, a good excuse for friends to hang out and gab, because it's been a minute.) They talk about the so-called "woke" Superman, where the heck Shang-Chi has been, watching these movies in a world of real-life supervillains, and the significance of superhero narratives in the context of Asian American identity, history and culture.

**Special note to our listeners** Love the show? Help us keep the conversation going! Become a paid subscriber through our ⁠⁠⁠⁠⁠⁠Substack. ⁠⁠⁠⁠⁠⁠Your contributions help us continue to make content on issues related to the Asian-American, immigrant, modern parent experience.THANK YOU to our super awesome listeners who have already signed up!**********************************When you're a high-achieving 22 year old coming out of college, you have all kinds of assumptions about your future work life that you don't even know. You think you will follow your passions (because, of course you know what they are). You will make tons of money (because that just automatically happens to everyone who goes to a great school). You will always be able to devote yourself to your work (because you know, kids don't need any of your time, energy and attention). You and your partner will always agree on how income-earning responsibilities, family responsibilities, and your personal preferences should balance out (because there's a simple equation for that - didn't you know?) In this 2-part episode, we unpack our reflections about our work life at 40, what we did, why we think we did what we did, what we regret, what surprised us, what we learned and how we are looking forward.

Why are non-white voters moving towards Trump? Yale professor and author Daniel Martinez HoSang sits down with Jon to examine how Democrats' multiracial coalition fell apart during and after Obama's presidency, what minorities see in Trump (and why they have no remorse about voting for him) and what the left can do to win them back. But first! Max is back to hash out the news of the week: Trump has announced his AI Action Plan and signed executive orders attacking "woke AI”—no word yet on chatbots that call themselves MechaHitler and act like Nazis, which happened recently with Elon Musk's Grok AI. Speaking of Nazis, both the Department of Homeland Security and…Sydney Sweeney? have been accused of playing into white nationalist tropes online, and the Tea app has been hacked, exposing thousands of women's personal information to the delight of 4chan incels.

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

Today we put our friend caps on and think about what we would do in sticky situations with our friends. We talk about how we would react if our friend confessed they were cheating, or if a good friend started hanging out with our opp, and other tough situations!Support the showFollow us on social media @eatyourcrustpod

Send us a textRax King's book, Sloppy, Or: Doing It All Wrong, is her newest collection of hilarious and heartfelt personal essays that explore everything from sobriety, begrudging self-improvement, and the bad habits we cling to with clenched fists. She joins us to discuss being an asshole, how having addicts as parents probably saved her life, and the interesting trait that she thinks makes her a good friend.Click here to purchase Sloppy, Or: Doing It All WrongFollow Rax King on IGSupport the showThanks for listening and for your support! We couldn't have won Best of the Bay Best Podcast in 2022 , 2023 , and 2024 without you! -- Fight fascism. Shop small. Use cash. -- Subscribe to our channel on YouTube for behind the scenes footage! Rate and review us wherever you listen to podcasts! Visit our website! www.bitchtalkpodcast.com Follow us on Instagram & Facebook Listen every Tuesday at 9 - 10 am on BFF.FM

Note: This is a re-upload of episode 321 since we had the wrong audio file uploaded last week, apologies for any confusion!On our mid-month check in for July 2025, we highlight some of the latest Asian American publishing announcements, and catch up on the latest book news!Upcoming books mentioned in our publishing news:Break Room by Miye Lee; translated by Sandy Jooson LeeGods & Comics by Kat Cho Yuki's Special Delivery by Chloe Ito Ward; illust. by Jiangshan LyuThe Pain Chasers by Bora Chung; translated by Anton HurMonkey Dragon Rabbit! A Wild Lunar New Year Stampede by MeiLin Chan; illust. by Kristen ChowFriends Furever by Sylvia LiuBooks & Boba is a podcast dedicated to reading and featuring books by Asian and Asian American authorsSupport the Books & Boba Podcast by:Joining our Patreon to receive exclusive perksPurchasing books at our bookshopRocking our Books & Boba merchFollow our hosts:Reera Yoo (@reeraboo)Marvin Yueh (@marvinyueh)Follow us:InstagramTwitterGoodreadsFacebookThe Books & Boba July 2025 pick is Bingsu for Two by Sujin WitherspoonThis podcast is part of Potluck: An Asian American Podcast Collective

Send us a textChinatown Cha-Cha is a documentary that follows 92 year-old previous nightclub owner/dancer Coby Yee as she decides to perform again and go on tour with the senior dance troupe Grant Avenue Follies. Ange is joined by director Luka Yuanyuan Yang and Cynthia Yee, one of the dancers/subjects of the film, to discuss how Chinese women were at the core of the Chinatown nightlife and burlesque scene in the 1950s, the powerful bond of sisterhood, and how starting a senior dance troupe gave some women finally a chance to feel free.This film is set in the heart of Chinatown, San Francisco, and was a part of the CAAMFest (Center for Asian American Media) Film Festival. Due to the elimination of funding for the Corporation for Public Broadcasting, CAAM stands to lose 40% of their annual budget. For more information, and to see how you can help, click hereTo see the Grant Avenue Follies perform live, click hereFollow Chinatown Cha-Cha on IGFollow the Grant Avenue Follies on IGFollow director Luka Yuanyuan Yang on IGSupport the showThanks for listening and for your support! We couldn't have won Best of the Bay Best Podcast in 2022 , 2023 , and 2024 without you! -- Fight fascism. Shop small. Use cash. -- Subscribe to our channel on YouTube for behind the scenes footage! Rate and review us wherever you listen to podcasts! Visit our website! www.bitchtalkpodcast.com Follow us on Instagram & Facebook Listen every Tuesday at 9 - 10 am on BFF.FM

What does it mean to be a philanthropist in a community that historically hasn't seen itself that way? What if associations not only advocated for their members, but also mobilized them to give, together?In this episode of Associations Thrive, host Joanna Pineda interviews Kyung Yoon, President and CEO of the Korean American Community Foundation (KACF). Kyung discusses:How KACF was born out of a dinner conversation among Korean American professionals who wanted to give back to their community.The impact of the “model minority” myth on Korean and Asian American communities, and how it can obscure real needs.How KACF started with a grassroots “Dollar a Day” campaign to fund grants to Korean American nonprofits.Why KACF chose to become a community foundation and what that means for how they raise and distribute funds.How KACF has distributed over $17 million in grants since its founding in 2002, including over $3 million last year alone.The broad range of issues KACF funds to build economic security, from food insecurity to housing, health, and domestic violence.KACF's commitment to systemic change, not just direct service, funding advocacy, and policy change efforts.How the Giving Summit engages the Korean American community in thoughtful, intentional philanthropy.How receiving a grant from MacKenzie Scott validated KACF's work and expanded its impact.Kyung's vision for a future where Korean Americans see themselves as funders and philanthropists with the power to uplift their own communities.References:KACF WebsiteMusic from #Uppbeat (free for Creators!):https://uppbeat.io/t/zoo/clarityLicense code: RQWZMZXYSBVT16ZW

Bianca is an award-winning sociologist, speaker, and author of Unassimilable. She is completing her PhD at Rice University, where she researches the intersections of race, religion, and politics. She is published in top academic journals and has been featured in major media outlets.    Over the last decade, Bianca has served Asian American community organizations and taught Asian American Studies. Through her work in academia and the community, Bianca is committed to the praxis of solidarity and collective liberation.    Welcome to 차 with Laura and Leah! Cha is a podcast and video series featuring conversations with our friends over tea. We are two diasporic Korean women who were inspired by Nina Simone's quote, “An artist's duty is to reflect the times.” Cha is our offering to the collective and we hope our conversations inspire you to start having meaningful dialogues and reflections with your own communities. So make sure to brew a pot of cha and join our conversations about art, spirituality, culture, and liberation.  Please consider becoming a paid subscriber so we can continue creating this work together. For a one-time donation, you can Venmo Laura. For monthly support, you can join our Patreon. Thank you!   Bianca Website Bianca Instagram Laura Instagram Laura Website Laura YouTube Leah Instagram Leah Substack Leah YouTube Cha Patreon   차 logo designed by grimeninja

Bianca is an award-winning sociologist, speaker, and author of Unassimilable. She is completing her PhD at Rice University, where she researches the intersections of race, religion, and politics. She is published in top academic journals and has been featured in major media outlets. Over the last decade, Bianca has served Asian American community organizations and taught Asian American Studies. Through her work in academia and the community, Bianca is committed to the praxis of solidarity and collective liberation.Welcome to 차 with Laura and Leah! Cha is a podcast and video series featuring conversations with our friends over tea. We are two diasporic Korean women who were inspired by Nina Simone's quote, “An artist's duty is to reflect the times.” Cha is our offering to the collective and we hope our conversations inspire you to start having meaningful dialogues and reflections with your own communities. So make sure to brew a pot of cha and join our conversations about art, spirituality, culture, and liberation. Please consider becoming a paid subscriber so we can continue creating this work together. For a one-time donation, you can Venmo Laura. For monthly support, you can join our Patreon. Thank you!⁠Bianca Website⁠⁠Bianca Instagram⁠Laura InstagramLaura WebsiteLaura YouTubeLeah InstagramLeah SubstackLeah YouTubeCha Patreon차 logo designed by grimeninja

Three dudes from the Mekong Delta walk into a podcast booth...C O M E S E E H A C K C I T Y C O M E D Y TicketsF O L L O W U Shttps://www.instagram.com/asiannotasianpodhttps://www.instagram.com/nicepantsbrohttps://www.instagram.com/jennyarimoto/P A T R E O Nhttps://www.patreon.com/asiannotasianpod P A R T N E R S -Check out friend of the pod John's cabin on Airbnb! https://www.airbnb.com/slink/penXRFgl - Helix Sleep Mattress: visit helixsleep.com/asian - Nutrafol: www.nutrafol.com (Promo code: Asian) This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/ASIAN and get on your way to being your best self.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On our mid-month check in for July 2025, we highlight some of the latest Asian American publishing announcements, and catch up on the latest book news!Upcoming books mentioned in our publishing news:Break Room by Miye Lee; translated by Sandy Jooson LeeGods & Comics by Kat Cho Yuki's Special Delivery by Chloe Ito Ward; illust. by Jiangshan LyuThe Pain Chasers by Bora Chung; translated by Anton HurMonkey Dragon Rabbit! A Wild Lunar New Year Stampede by MeiLin Chan; illust. by Kristen ChowFriends Furever by Sylvia LiuBooks & Boba is a podcast dedicated to reading and featuring books by Asian and Asian American authorsSupport the Books & Boba Podcast by:Joining our Patreon to receive exclusive perksPurchasing books at our bookshopRocking our Books & Boba merchFollow our hosts:Reera Yoo (@reeraboo)Marvin Yueh (@marvinyueh)Follow us:InstagramTwitterGoodreadsFacebookThe Books & Boba July 2025 pick is Bingsu for Two by Sujin WitherspoonThis podcast is part of Potluck: An Asian American Podcast Collective

Our two new books... STORY QUESTIONS is currently 10% off! - https://payhip.com/b/ZTvq9 and 17 Steps To Writing A Great Main Character - https://payhip.com/b/kCZGd 0:00 - If Movies Last Forever Why Is Hollywood Dying? 14:00 - Real Advice For Anyone Who Wants To Make A Movie 24:55 - Why I Made A Tubi Movie 37:02 - Why I Can't Make Short Films 48:03 - If You Are Feeling No Progress With Your Art, This Is What Worked For Me 58:09 - Why Don't More Storytellers Break The Rules 1:07:39 - Hollywood Is Sitting On A Goldmine... And They Aren't Doing Anything About It Jason Park is an accomplished Director, Producer, Writer, Actor, and Cinematographer. Living in Atlanta, GA with a background in both acting and narrative filmmaking. Jason was raised on the Big Island of Hawai'i. After finishing high school, he moved to Los Angeles California, where he found his passion for videography, acting, and filmmaking. He began booking commercials and print work for companies like Apple, Samsung, McDonald's, Subway, and the list goes on. He's been in films with actors such as Brittany Snow (Pitch Perfect), Ross Butler (Shazam) Christian Serratos (Selena), David Oyelowo (Gringo), and Evan Ross (The Hunger Games). After appearing in films, commercials, and print campaigns. The actor decided to passionately work on breaking barriers for Asian-American actors, directors, writers, and creators in American Cinema. Leading him to create films with Asian leads in non Asian stereotypical roles. CONNECT WITH JASON PARK https://hypatude.com https://www.imdb.com/name/nm2949515 CONNECT WITH FILM COURAGE http://www.FilmCourage.com http://twitter.com/#!/FilmCourage https://www.facebook.com/filmcourage https://www.instagram.com/filmcourage http://filmcourage.tumblr.com http://pinterest.com/filmcourage SUBSCRIBE TO THE FILM COURAGE YOUTUBE CHANNEL http://bit.ly/18DPN37 PERSONALLY SPONSOR FILM COURAGE https://ko-fi.com/filmcourage SUPPORT FILM COURAGE BY BECOMING A MEMBER https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg/join SUPPORT FILM COURAGE BY BECOMING A PATRON https://www.patreon.com/filmcourage LISTEN TO THE FILM COURAGE PODCAST https://soundcloud.com/filmcourage-com (Affiliates) SCRIVENER FREE TRIAL https://tinyurl.com/43uuumc6 ►WE USE THIS CAMERA (B&H) – https://buff.ly/3rWqrra ►WE USE THIS SOUND RECORDER (AMAZON) – http://amzn.to/2tbFlM9 Stuff we use: LENS - Most people ask us what camera we use, no one ever asks about the lens which filmmakers always tell us is more important. This lens was a big investment for us and one we wish we could have made sooner. Started using this lens at the end of 2013 - http://amzn.to/2tbtmOq AUDIO Rode VideoMic Pro - The Rode mic helps us capture our backup audio. It also helps us sync up our audio in post https://amzn.to/425k5rG Audio Recorder - If we had to do it all over again, this is probably the first item we would have bought - https://amzn.to/3WEuz0k LIGHTS - Although we like to use as much natural light as we can, we often enhance the lighting with this small portable light. We have two of them and they have saved us a number of times - http://amzn.to/2u5UnHv *Disclaimer: This video and description contains affiliate links, which means that if you click on one of the product links, we'll receive a small commission. This helps support the channel and allows us to continue to make videos like this. Thank you for your support!

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

Where do you go to find community when you’re older?    That’s a question OPB’s Winston Szeto wanted to answer, specifically for senior communities of color.    The Yat Sing Music Club was founded in 1942 by Chinese immigrants in Portland, Oregon. The club was started to raise funds for China’s defense against Japan during World War II.    Over 80 years later, Yat Sing preserves Cantonese opera through ongoing rehearsals and community outreach. The club is particularly important for the older generation. This is a space where they can be themselves and celebrate their culture.    There’s a similar experience at Ikoi no Kai, a senior meal program in Portland that opened in 1979. It offers a space for local Japanese Americans coming together over food and connection.    In Oregon, the need for social connection is more important than ever. The latest census data says the state ranks among the highest in the country for residents who report feeling lonely.    OPB’s Winston Szeto researched this topic by looking into these two groups — and why it's important to focus on those rarely covered in the media: seniors.    Check out OPB’s Oregon Experience documentary on the Yat Sing Music Club and story on Ikoi no Kai.    For more Evergreen episodes and to share your voice with us, visit our showpage. Follow OPB on Instagram, and follow host Jenn Chávez too. You can sign up for OPB’s newsletters to get what you need in your inbox regularly.   Don’t forget to check out our many podcasts, which can be found on any of your favorite podcast apps: Hush  Timber Wars Season 2: Salmon Wars Politics Now Think Out Loud And many more! Check out our full show list here.

Send us a textWe're celebrating Bitch Talk turning 12 years old with a new neighborhood series where we go on location and highlight our favorite places! We love any excuse to share what we love about our city, and the obvious place to start is the neighborhood where Erin and Ange first became friends: The Inner Richmond!The 540 Club is the scene of this Basic Bitch where you'll hear about our recent hangouts with W. Kamau Bell (and a surprise cameo by a member of the 1992 "Dream Team" Olympics basketball team), Ange's trip to Portland for the recording of Frankie Quinones' new comedy special (coming to Hulu in October!), and a tale of 2 doctor visits: USA vs. Mexico. And then of course we end things with our new favorite segment, This Bitch. For links to Inner Richmond businesses we mention in this episode:540 ClubGreen Apple BooksFleetwoodMandalayNew May Wah SupermarketJungle DogChloe Jackman PhotographyClement Street Farmers MarketSupport the showThanks for listening and for your support! We couldn't have won Best of the Bay Best Podcast in 2022 , 2023 , and 2024 without you! -- Fight fascism. Shop small. Use cash. -- Subscribe to our channel on YouTube for behind the scenes footage! Rate and review us wherever you listen to podcasts! Visit our website! www.bitchtalkpodcast.com Follow us on Instagram & Facebook Listen every Tuesday at 9 - 10 am on BFF.FM

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

We need to make “Much Ado About Keanu” Reeves. That's according to pop culture writer Sezín Devi Koehler's new book about the wildly popular – if sometimes underestimated – Hollywood star. Besides acting in eighty films over his 40-year career, from “Bill & Ted's Excellent Adventure” to “The Matrix,” Reeves' roles have challenged stereotypes of masculinity, provided representation of Asian American and native Hawaiian communities— and he's known for stepping aside to let his costars shine. We'll talk about what makes Reeves' career “most excellent.” What's your favorite Keanu role? Guests: Carly Severn, senior editor of audience news, KQED Sezín Devi Koehler, pop culture writer; author, "Much Ado About Keanu: A Critical Reeves Theory" Angelica Jade Bastién, critic covering film and pop culture, New York Magazine's Vulture Learn more about your ad choices. Visit megaphone.fm/adchoices

**Special note to our listeners** Love the show? Help us keep the conversation going! Become a paid subscriber through our ⁠⁠⁠⁠⁠Substack. ⁠⁠⁠⁠⁠Your contributions help us continue to make content on issues related to the Asian-American, immigrant, modern parent experience.THANK YOU to our super awesome listeners who have already signed up!**********************************When you're a high-achieving 22 year old coming out of college, you have all kinds of assumptions about your future work life that you don't even know. You think you will follow your passions (because, of course you know what they are). You will make tons of money (because that just automatically happens to everyone who goes to a great school). You will always be able to devote yourself to your work (because you know, kids don't need any of your time, energy and attention). You and your partner will always agree on how income-earning responsibilities, family responsibilities, and your personal preferences should balance out (because there's a simple equation for that - didn't you know?) In this 2-part episode, we unpack our reflections about our work life at 40, what we did, why we think we did what we did, what we regret, what surprised us, what we learned and how we are looking forward.

Marc Morial sits at the rare intersection of politics, activism, and business – a civil rights titan whose journey from transformative New Orleans mayor to National Urban League CEO offers profound lessons in leadership and community building. The foundation of Morial's remarkable career began in childhood, watching his parents' civil rights work from the sidelines. What began as "childcare" – tagging along to NAACP meetings and voter registration drives – became the classroom where he absorbed leadership from community giants. This early immersion shaped his lifelong commitment to economic justice and equality of opportunity. As New Orleans mayor, Morial tackled seemingly insurmountable challenges with innovative approaches. Faced with record crime rates, he refused to choose between enforcement and prevention, instead rebuilding the police department while simultaneously creating unprecedented youth programming – summer camps, job programs, and initiatives specifically for girls who had been overlooked by previous administrations. His "Gumbo Coalition" administration championed inclusivity, featuring record numbers of women and the first Asian American and LGBTQ cabinet members in city history. When Morial arrived at the National Urban League, he found an organization proud of its history but "operating in the past tense." Through visionary leadership, he's expanded the organization fivefold, broadening its portfolio to include workforce development, housing assistance, entrepreneurship programs, and strengthened advocacy work – all while building powerful coalitions with other civil rights organizations. Today, Morial warns of an unprecedented assault on civil rights progress and urges listeners not to succumb to complacency or despair. "In the short run, you hear noise but don't feel the damage. In the long run, the noise will subside, but the damage will be done," he cautions. His call to action is clear: defend fundamental American principles by getting involved, using your voice, and mentoring the next generation. Ready to be part of the solution? Visit NUL.org to join advocacy efforts or find a local affiliate in your community.  Connect & Discover Marc: Instagram: https://www.instagram.com/marcmorial/?hl=en X: https://x.com/marcmorial?lang=en LinkedIn: https://www.linkedin.com/in/marc-morial-59b05130/ Facebook: https://www.facebook.com/marcmorial/ FOLLOW MICK ON:Instagram: https://www.instagram.com/mickunplugged/Facebook: https://www.facebook.com/mickunplugged/YouTube: https://www.youtube.com/@MickUnpluggedPodcastLinkedIn: https://www.linkedin.com/in/mickhunt/Website:https://www.mickhuntofficial.com  Apple: https://podcasts.apple.com/us/podcast/mick-unplugged/

Today our friend Sunny joins us to talk about food in the household! We reminisce on what eating at home looked like in our childhood and any food-related habits our parents instilled into us. We explore how our families handled snacks, fast food, and sharing, as well as any phases our households went through in our eating habits. Support the showFollow us on social media @eatyourcrustpod

It's a car episode. Jenny talks about some recent friendship drama. Mic talks about some weird stuff on his feet. It's a car episode.It's a car episode. Jenny talks about some recent friendship drama. Mic talks about some weird stuff on his feet. It's a car episode.C O M E S E E H A C K C I T Y C O M E D Y TicketsF O L L O W U Shttps://www.instagram.com/asiannotasianpodhttps://www.instagram.com/nicepantsbrohttps://www.instagram.com/jennyarimoto/P A T R E O Nhttps://www.patreon.com/asiannotasianpod P A R T N E R S -Check out friend of the pod John's cabin on Airbnb! https://www.airbnb.com/slink/penXRFgl - Helix Sleep Mattress: visit helixsleep.com/asian - Nutrafol: www.nutrafol.com (Promo code: Asian) This episode is sponsored by BetterHelp. Give online therapy a try at betterhelp.com/ASIAN and get on your way to being your best self.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.