Podcasts about Asian Americans

**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! --------------------------------------If you could be the chief policy maker for your country right now, what would you change to make having children more attractive to women? Longer parental leaves? Childcare subsidies? Making corporate life entry/ exit/ part time jobs easier? Artificial wombs? Kidding (maybe not entirely)In this final episode of our series, we grapple with what things we wish were true at a macro level to make it easier to raise kids and also to make the choice to have kids more attractive. We also speculate as to why even countries with very generous support for parents (e.g., France) still have low and declining birth rates.

What does it take to shift from conventional TV news reporting to frontline advocacy? In this episode, Emmy Award–winning anchor and author Dion Lim joins Ken Fong to share how an anonymous video tip altered her career trajectory and thrust her into covering anti-Asian hate in the Bay Area and beyond. Dion opens up about breaking generational silence, pushing major media outlets for fair coverage, and the personal cost of speaking out. Together, they explore the role of journalism in building cross-racial solidarity and the story behind her book, Amplify!: My Fight for Asian American Visibility.

Los Angeles in the late nineteenth century was bustling with the rise of industrialization, but the growing labor force that propelled it, mostly consisting of Mexican and Chinese men, was met with exclusion policies and deportation campaigns. Nevertheless, Chinese and Mexican women, children, and men built vibrant residential and business districts—until they were all but eradicated in the 1930s. In her compelling and textured history, Urban Borderlands: Multiracial Histories and Gendered Borders in Los Angeles, Dr. Isabela Seong Leong Quintana unearths the entwined stories of Chinatown and Sonoratown through the everyday lives of their residents. In this conversation, we talk about the significance of comparative Latinx and Asian American Studies, the importance of spatial analysis in urban history, and the methodological challenges of locating Mexican and Chinese women and children in the archives. Dr. Quintana is an Associate Professor of Asian American Studies at the University of California, Irvine, with affiliations in Culture & Theory and Chicané/Latiné Studies. Her work explores the interconnected histories of Asian Americans and Chicanés/Latinés, centering women and children within U.S. borderlands and recovering unarchived voices. Quintana also co-directs The Five Chinatowns Project at the Chinese Historical Society of Southern California, a community-based research initiative documenting Chinese American Los Angeles through oral histories, archival creation, and youth mentorship. She is the author of Urban Borderlands: Multiracial Histories and Gendered Borders in Los Angeles (University of North Carolina Press, 2026). Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latino-studies Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Award winning poet and essayist Cathy Park Hong's work weaves together personal stories, historical context, and cultural criticism to ultimately create an emotional and impactful exploration of Asian American personhood. Her widely praised book of essays Minor Feelings explores her experiences as an Asian American woman and is an essential text for reframing our understanding of race in America. * In this episode Cathy and CIIS Chair of Clinical Psychology, Stephanie Chen discuss what it means to be a racialized other, and ways that depth-oriented therapy offers a space for exploring and understanding how these structural dynamics impact individuals and communities. * This episode was recorded during an in-person and live streamed event at California Institute of Integral Studies on May 7th 2026. You can also watch it on the CIIS Public Programs YouTube channel. A transcript is available at ciis.edu/podcast. To find out more about CIIS and public programs like this one, visit our website ciis.edu and connect with us on Instagram @ciispubprograms. connect with us on Instagram @ciispubprograms. * Some podcast apps may not display links from our show notes properly, so we have included a list of links below. * We hope that each episode of our podcast provides opportunities for growth, and that our listeners will use them as a starting point for further introspection. Many of the topics discussed on our podcast have the potential to bring up feelings and emotional responses. If you or someone you know is in need of mental health care and support, here are some resources to find immediate help and future healing: * -Visit 988lifeline.org or text, call, or chat with The National Suicide Prevention Lifeline by dialing 988 from anywhere in the U.S. to be connected immediately with a trained counselor. Please note that 988 staff are required to take all action necessary to secure the safety of a caller and initiate emergency response with or without the caller's consent if they are unwilling or unable to take action on their own behalf. * -Visit thrivelifeline.org or text “THRIVE” to begin a conversation with a THRIVE Lifeline crisis responder 24/7/365, from anywhere: +1.313.662.8209. This confidential text line is available for individuals 18+ and is staffed by people in STEMM with marginalized identities. * -Visit translifeline.org or call (877) 565-8860 in the U.S. or (877) 330-6366 in Canada to learn more and contact Trans Lifeline, who provides trans peer support divested from police. * -Visit ciis.edu/ciis-in-the-world/counseling-clinics to learn more and schedule counseling sessions at one of our centers. * -Find information about additional global helplines at befrienders.org. * LINKS * Podcast Transcripts: https://www.ciis.edu/podcast * California Institute of Integral Studies (CIIS) Website: https://www.ciis.edu/ * CIIS Public Programs YouTube Channel: https://www.youtube.com/c/ciispublicprograms * CIIS Public Programs Instagram: https://www.instagram.com/ciispubprograms/ * Mental Health Care and Support Resources: https://988lifeline.org/ https://thrivelifeline.org/ https://translifeline.org/ https://www.ciis.edu/ciis-in-the-world/counseling-clinics https://befrienders.org/

Send us Fan MailWhen John Okada published No-No Boy in 1957, it was met by the Japanese American community with silence, discomfort, and outright rejection. Okada passed away in 1971 believing his novel was a failure, unaware that it would later be rediscovered and hailed as a foundational classic of Asian American literature. In this episode, Koji and Michelle are joined by author, filmmaker, and historian Frank Abe—author of the biography John Okada: The Life and Rediscovered Work of the Author of No-No Boy and director of the PBS documentary Conscience and the Constitution. Frank shares what it was like to accidentally become the cover model for the iconic 1976 CARP edition, how Okada drew inspiration from real-life draft resister Jim Akutsu, the critical historical differences between "No-No Boys" and draft resisters, and the tragic story behind Okada's lost second novel. Plus, Frank discusses his current work adapting No-No Boy for the stage at the Seattle Repertory Theatre, followed by reflections on community trauma, healing, and post-war identity. About Frank AbeFrank Abe is a Sansei author, filmmaker, and journalist who has spent decades unearthing and preserving essential stories of Japanese American resistance and literary history. He wrote and directed the landmark PBS documentary Conscience and the Constitution, which chronicles the organized draft resistance at the Heart Mountain concentration camp. Abe is the co-editor of the anthology John Okada: The Life and Rediscovered Work of the Author of No-No Boy (University of Washington Press) and The Literature of Japanese American Incarceration (Penguin Classics), as well as co-author of the graphic novel We Hereby Refuse: Japanese American Resistance to Wartime Incarceration. An early member of the Asian American Theater Workshop and collaborator with CARP (Combined Asian American Resources Project) in San Francisco, Abe famously served as the cover model for the groundbreaking 1976 republication of No-No Boy. He is currently developing a 21st-century stage adaptation of No-No Boy in collaboration with the Seattle Repertory Theatre. To learn more about Frank's background, browse his published books, and screen his documentary work, visit resisters.com/frank-abe-bio.Follow & Support UsEnjoyed the episode! Don't forget to rate, review, and tell a friend!CREDITSThe music was created by Jalen BlankWritten by Koji Steven SakaiHosts: Michelle Malazaki and Koji Steven SakaiEdited by Koji Steven SakaiProduced by Koji Steven Sakai in conjunction with the Japanese American National MuseumSupport the show

We finally got the Producer Crossover Episode with Alex The Intern and Caroline on the show today. We talk about secret societies in Boston, championing Asian-American voices, and Alex's job at Urban Outfitters.  And as much as we dissected and critiqued, please join us as we watch through DANG! now streaming on Netflix. Let's run those views up!!!  Follow the IG: https://www.instagram.com/homeroom.show   Follow the TikTok: https://www.tiktok.com/@homeroomshow   Subscribe to our Substack: https://substack.com/@homeroomshow Guest: Alex The Intern: https://www.instagram.com/alexisonone/  Caroline: https://www.instagram.com/carolineyeji  Hosted by:  Jonnie Park: https://www.instagram.com/dumbfoundead https://www.tiktok.com/@dumbfoundead  Steffie Baik: https://www.instagram.com/steffiebaik https://www.tiktok.com/@steffiebaik  Podcast Producer: Caroline Y Choi  Audio: Johnny Chay Podcast Media Team: GGEZ Media Sponsor: Download Cash App today and make your money work for you. Visit our link in bio. Cash App is a financial services platform, not a bank. Banking services provided by Cash App's bank partner(s). Prepaid debit cards issued by Sutton Bank, Member FDIC. Cash App Visa® Debit Flex Cards issued by Sutton Bank, Member FDIC, and The Bancorp Bank, N.A., pursuant to a license from Visa U.S.A. Inc. See terms and conditions for the Sutton prepaid card, Sutton debit flex card, and Bancorp debit flex card. Cash App Green features, Savings, Direct deposit, Round ups, Overdraft coverage and Discounts provided by Cash App, a Block, Inc. brand. Visit cash.app/legal/podcast for full disclosures. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today we reminisce about life before COVID! We talk about how work culture and our social life looked before the pandemic, and dissect how the changes have impacted our daily lives even to this day. We chat about the transition from the end of the pandemic to our current day normal and evaluate if anything has gone to pre-COVID norms.This is a pretty lighthearted episode that focuses purely on our personal experiences and emotions during this time of our lives, but we'd like to acknowledge that COVID was a global pandemic that negatively impacted a lot of individuals and families and we by no means want to downplay that at all. Our heart goes out to those that were deeply affected by the pandemic.Support the showFollow us on social media @eatyourcrustpod

Dr. Stephanie J. Wong & David Mura discuss his new book, Exit, Miss Saigon, which explores the evolution of his understanding of his racial identity as a Japanese American man. Specifically, he has ended friendships with White artists due to their differing perspectives on the Miss Saigon casting. He also credits his friendships with BIPOC artists for helping him gain a different insight into racial identity. As an activist, David formed an Asian American arts organization.  ========================================== Full Bio:  David Mura is an award winning Japanese American author. His memoirs, poems, essays, plays and performances have won wide critical praise. The topics range from contemporary Japan to the legacy of the internment camps and the history of Japanese Americans in increasing American diversity. His work reflects deeply on the world's current events, which at times create spaces of division and unrest. His new book. Exit Miss Saigon, though not a memoir, is deeply autobiographical. It tells how David transformed from what could be termed a "banana"—yellow on the outside, white on the inside—into an Asian American writer. This transformation involved breaking up with white artist friends over the racism in Miss Saigon; it involved building a local Asian American arts organization and connecting with Asian American artists nationwide. 

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Ben Criddle talks BYU sports every weekday from 2 to 6 pm.Today's Host: Ben Criddle (@criddlebenjamin) and Co-Hosts: Ronald Weaver III (@ronthe3manweav), Brett Hammer (@bhammertimeshow), Caleb Lyons (@Caleb_Lyons7), Zach Robinson (@zach_robinson17) Subscribe to the Cougar Sports with Ben Criddle podcast: Apple Podcasts: https://itunes.apple.com/us/podcast/cougar-sports-with-ben-criddle/id99676

**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! --------------------------------------Oof, it's one thing to negotiate and navigate power and money issues in your own marriage - it can hit a different way when you think about how your own kids might have to deal with these issues with their romantic partners. What are you communicating (directly or indirectly) to your kids about how power and money work in a marriage? Is it different by your kids' gender? What would you hope for them in dealing with power and money issues in their future relationships? To what extent are you able to live out those hopes in your own relationship right now? ****Also, very important question- do you think you'll offer childcare as a grandma/ grandpa? Or are we crazy for even thinking that far ahead?

Send us Fan MailWe are unveiling the details of our 13th anniversary party and we hope to see you at the Rock Bar on October 11th! It's time to celebrate 13 years, nearly 1,000 episodes, and the community we've built along the way, while dancing to our favorite 80s cover band, Rewinder!In this episode we share the details of the upcoming Lupus Walk on October 18th, Ange's third encounter with Too $hort, the second meeting of the Bitch Talk Movie Club (watch Teenage Sex and Death at Camp Miasma!), and a hilarious and honest article about Bitch Talk in KQED! For more details on our 13th anniversary party, follow us on IG!Join Bitch Talk in fundraising for the Lupus Walk HERE!Support the showThanks for listening and for your support! We couldn't have won Best of the Bay Best Podcast in 2022 , 2023 , and 2024 without you!--Fight fascism. Shop small. Use cash. Fuck ice.--Support Bitch Talk here!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.comFollow us on Instagram, Threads, and SubstackListen every Monday at 7 am on BFF.FM

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight on APEX Express, Host Miko Lee is going Beneath the Surface — with two incredible artists, Margaret Cho and Masaki Fujihata. Both artists have been working in their fields for decades. Margaret Cho — stand-up comedy, sitcom, filmmaking, writing. Masaki Fujihata — a pioneer in new media art.And here's what they have in common: they've both shifted with the times… but never lost their own voice. Their vision has stayed singular, even as the world around them changed. Listen in to APEX Express   Check out: BeHere / 1942: A New Lens on the Japanese American Incarceration at the Oakland Museum from Friday, September 18, 2026—Sunday, December 27, 2026 Masaki Fujihata website Choligarchy at Berkeley Rep, September 15-19th, 2026  Margaret Cho website Interweaving: Indo-Persian Exchanges Interweaving: Indo-Persian Exchanges at Oakland Asian Cultural Center, September 11, 2026 7pm Artists featured: arjun-verma.com www.pezhham.com  MazdakAlipour.com emanhashimi.com   Show Transcripts [00:00:00] Opening: 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.   [00:00:34] Miko Lee: Tonight on Apex Express, I'm going beneath the surface with two incredible artists, Margaret Cho and Masaki Fujihata. I'm your host, Miko Lee.   [00:00:57] These are two artists who've been working in their fields for decades. Margaret Cho, stand-up comedy, sitcom, filmmaking, writing, and Masaki Fujihata, a pioneer in new media art. And here's what they have in common. They've both shifted with the times, but they never lost their own voice. Their vision has stayed singular, even as the world around them have changed. So stick with me. First up, my conversation with Margaret Cho   [00:01:29] Welcome Margaret Cho to Apex Express.    [00:01:32] Margaret Cho: Thank you.    [00:01:34] Miko Lee: I wanna start with my question I ask most of my guests, which is who are your people and what legacy do you carry with you?    [00:01:41] Margaret Cho: I think my people are Asian American, my people are queer, my people are all ages, my people are progressive, my people have hope for the future. That's what I'm hoping. I think that's it, and that's who I am too.    [00:01:56] Miko Lee: Thank you. You started stand-up so young in this very Bay Area, and I think you started at age 14. I'm wondering what's your earliest childhood memory of being a performer?    [00:02:08] Margaret Cho: My earliest childhood memory of being a performer was I was actually a singer. I was a singer in a band of children, and I was probably maybe five years old. We were on a show on KTVU. I believe it was called Asia Now, and it was filming in the studio and I wouldn't stop waving at my mother, who was just off camera. And after the performance the band leaders asked me not to come back. Aw. I remember that because I could not stop waving at my mother and so I kept breaking that fourth wall. That was my first memories of performance.   [00:02:47] Miko Lee: And what did that feel like to you?    [00:02:50] Margaret Cho: I didn't really get the idea. I didn't really understand television exactly quite. I didn't understand why we were performing. I didn't understand why I couldn't say hi to my mother while I was performing. I didn't have a real comprehension of like even like rejection of what that meant or even performance or what that meant or television. So all these things that I come to learn about very well, rejection, performance, and television is my whole life. But back then I didn't understand the importance of all those things.    [00:03:22] Miko Lee: But there must've been some kind of zhuzh for you that you said, “Ooh, I wanna keep doing this,” right?    [00:03:28] Margaret Cho: Yeah, I think so. Much later though, you know, I did perform as a pianist. I was a classical pianist. I was also a ballet dancer. So those things required performance, which actually would make me really, really nervous, I think because in piano you're playing a classical piece. You're playing Beethoven, you're playing Mozart. So if you make a mistake, everybody's gonna know. Also with ballet you're choreographed and you're in as a troupe. If you're doing choreography with a bunch of other people- If you make a mistake, everybody's gonna know. But with comedy, mistakes are a little bit more of, something you can gloss over a bit. There's a little more control there, a little more room for chaos, which I absolutely need, I think, as a performer.   [00:04:22] Miko Lee: Mm, this is interesting. You've already described some of the different types of performance that you do, and you've also done so many things in your life. But I'm wondering if there is a type of art form that still makes you nervous.    [00:04:34] Margaret Cho: Music. I think playing an instrument in front of people, I think because when I was a child and would perform these recitals, I would be so nervous. There were a couple of times in recitals where I had to start over, you know? When you're, like, eight or nine years old and you make a mistake and have to start over, and this audience is, like, hundreds of people, it's, like, really mortifying. I still carry that. I play m- numerous instruments, and I really dread playing them in public. What helped me a little bit is busking, which I did quite a lot of over, over the years because when you're playing out on the street, there's a… I don't know. It's like people are not really paying attention to you, and therefore you're kind of in this divide of I'm in performance, but I'm also kind of not. So that helped. In general, I refrain nowadays from when I do music, I don't usually play my instrument along with the band. I usually just focus on singing. Even that is quite nerve-wracking. Singing and doing music still, even though I've been doing it really my whole life, there is something about it that, that quite, um… because when you're singing, you're actually also the instrument. So there's a bit of more required. That's why I always prefer comedy. Your quality of voice doesn't matter because the music you're making doesn't have to sound pleasing.    [00:05:59] Miko Lee: And when you were busking, what instrument were you playing?   [00:06:02] Margaret Cho: Guitar. Ah. So I would play guitar, sometimes a six-string banjo, sometime, I'd play all manner of sort of guitar-necked instruments, which can go from, guitar to mandolin to a cello that's, it has a guitar neck, so I can play- Ah that as well. So all those things, I cheat at everything 'cause I have a guitar neck.    [00:06:21] Miko Lee: I love that. The improv just comes out of you in all different ways, I guess.    [00:06:27] Margaret Cho: Yeah.   [00:06:27] Miko Lee: So you have been a path maker, rule breaker in so many aspects of your life, from comedy obviously, and producing and starring in the first Asian American TV show, actor, fashion maven, author, rapper, podcast host, and out and proud queer role model. I'm wondering, what's a career dream that you aspire to?    [00:06:46] Margaret Cho: Ooh, well, I wanna be an old lady crime show, like Murder She Wrote. I wanna just solve crimes. I love, like, a British crime show, like an old lady solving crime. Like a Prime Suspect, like a Helen Mirren. I love that kind of genre of television, and so I would love to mature in that 'cause, like, it's so interesting and also so rich and, I feel really drawn to it. So that's something that I haven't… I'm a participant in a lot of those types of shows. I'm on a show called Bull Trent, which is very much that, which is really cool. And then I've been on Law & Order, which is the ultimate, SVU is the ultimate sort of crime show. So I would love to engage in that genre more.   [00:07:31] Miko Lee: Ooh, are you developing that on your own?    [00:07:34] Margaret Cho: I'm not, but I am participating in lots of other people's versions of it. They're not out yet, so they will be coming, forthcoming.    [00:07:44] Miko Lee: Coming soon, and then your own version starring you. Yes. The- Yeah … modern Murder She Wrote. I would love it. In what town would this be? In San Francisco or in-    [00:07:53] Margaret Cho: Oh, San Francisco would be great. Yeah. San Francisco or, like, Marin.    [00:07:56] Miko Lee: Oh, God. That would be really funny.    [00:07:58] Margaret Cho: Sausalito. Sausalito would be so fun. You know, Napa Valley. You know, something, like, very, like, th- this community that looks very, like Saint Helena, like Calistoga, s- community that's very quaint and peaceful and, like, kind of like foodie oriented and, like, very, you, you know, you think very upscale, but actually there's a lot of dirty dealings going on underneath the surface.   [00:08:20] Miko Lee: The wine country Murder She Wrote.    [00:08:23] Margaret Cho: Yes, I love it.    [00:08:24] Miko Lee: I would watch that. That's fun. So you also have expressed your art in so many ways. Your body is filled with so many tattoos. I think you have over 70. Which of your tattoos evokes the strongest emotion for you?    [00:08:38] Margaret Cho: Well, right now I'm in this, like, trend only getting art from Korean artists, and these are guys. People from Korea who are tattooing now are really the best in the world. They are the state of the art. Like, their eye and their talent is just so innovative. There it's semi-illegal, so they do it under duress, you know, and they have to sort of do all these different things to do it. But their ability to just visualize things that are just, that seemed impossible, you know, these miracles on skin that they can do. The art now I'm really resonating with. There's an artist now that works exclusively in Dancheong, which is a kind of the color scheme of Korean temple art. And so all of his tattooing reflects that. And so I'm working on a very, very large piece on my leg that is, all Dancheong, which you know, for me, like having had lots of different kinds of tattoo, like I had sort of Japanese traditional and a lot of American traditional, and a lot of just kind of different kinds of art. Now to just really delve into the art of my ancestors is quite powerful, and by being done by very young, very skilled tattoo artists from Korea. You know, so I get to speak in Korean to them. We communicate in a language that is shared, that's ours, which is very different from the way that I've communicated with all of the other artists that I've had over my time as a tattooed person. So, um, yeah, tattooing for me, it's, it's all about Korea right now.    [00:10:21] Miko Lee: And what inspired your first tattoo?    [00:10:25] Margaret Cho: My first tattoo was done by Don Ed Hardy, who is a legendary Bay Area tattooer, also, an amazing guy and he was a friend of the employees of my father, who, my father owned Paperback Traffic, which is his gay bookstore just going in the 1970s. And so a lot of people were getting tattooed by Don Ed Hardy. They were getting full body suits in the '70s and '80s, and the, the, um, images, like, so on our refrigerator as a… When I was a child, my father would put up, um, the full body tattoos of these guys that worked for him. So that's what I would see every day. Instead of, like, our graded papers or, like, stuff that you usually have on a refrigerator, it was photographs of completely tattooed people. Um, and that really stayed with me. And so when I was ready to be tattooed, and this is, like, 2002, um, my father's employees and all of our, like, old friends took me down to see Don Ed Hardy, who was doing these body suits, and, he gave me my very, very first very large Japanese-inspired piece on my stomach and back. And that kind of started it off. I got the most painful, most difficult place in your body tattooed first, which is, like, basically your stomach, and your sternum, your chest. All those areas are really, like, those are the worst, and I got that over with. And so I realized, oh, I could actually keep on doing this. And I always knew that I would be heavily tattooed because of that.   [00:11:59] Miko Lee: So your first one you chose really big, not just like a small something. You got a really big one.    [00:12:03] Margaret Cho: Yeah.    [00:12:04] Miko Lee: Wow. Yeah. Just jump in, girl. Just jump in.    [00:12:07] Margaret Cho: Well, I just knew that was right, and I knew also this was probably, like, the only time that I would be able to get a very large piece from Don Ed Hardy, you know? Yeah. People know him, of course, from the clothing line- That's right … and the sort of Y2K influence. But he is so much more than that. His influence on tattooing is really significant. That was towards the end of his tattooing career. He didn't have many years where he kept doing it after, 'cause he explained to me that he absorbs the pain of people. Wow. And so he realized, like, that probably wasn't so good for him physically as he aged, I was really lucky to get what I got from him, which is a very, very large piece and a very important piece.   [00:12:51] Miko Lee: Amazing. And as you're talking about your childhood and growing up in the bookstore, it just makes me reflect on how your childhood was so unique and so interesting. Mm-hmm. And I'm wondering if today you were to make a television show about your childhood, how very different… With, with more artistic freedom. It would be so fun. It would be so fascinating. There's so many more streaming options than just the three networks that we grew up with. Yeah. So, what would that be like for you to do a TV show on your childhood now?    [00:13:23] Margaret Cho: I would love it. I mean, I would love to create that world, recreate that world, because, you know, we had the influence of, like, people who were doing a lot of very early body modification, meaning these full, full body tattoos, and, like, body piercing, which was such a different thing. I mean, in the 1970s we had the rise of Harvey Milk you know, and his assassination.    [00:13:44] Miko Lee: Mm-hmm.    [00:13:44] Margaret Cho: We also had the devastation of the People's Temple, which was all San Francisco people.    [00:13:50] Miko Lee: Yep, yep.    [00:13:51] Margaret Cho: It happened in Guyana, people don't realize this originated in San Francisco and came from there. All the people who died were San Franciscans, and Oakland, Bay Area people. This is our people. My parents actually rented the recently vacated People's Temple for my grandparents' 50th wedding anniversary. Wow. Like, crossing the police tape. To go in and have a Korean party, and then my mother's, “Lot of ghosts.” She saw all the ghosts.   [00:14:19] Miko Lee: Yeah, I'm sure.   [00:14:21] Margaret Cho: “Ghosts, ghosts, lot of ghosts. Well, ghosts don't really do anything. They just make food get cold very fast.” You know, like that kind of a thing. So it would be a great TV show, I think.    [00:14:32] Miko Lee: Ugh, I would watch that too. We're talking about your new show, Choligarchy, which is gonna be at Berkeley Rep, and I read that you said it brings you back to your roots as a political comedian. Can you share more about this?    [00:14:44] Margaret Cho: Well, I had the luxury of the Obama administration where I didn't feel like I had to fight so hard to be heard and seen as a queer Asian American woman, 'cause I worked on the Obama campaign, I worked on, getting people registered to vote in 2008 in Philadelphia. I worked on all these different things with Cal Penn in 2008 to assure a kind of future where we are gonna have something different, and then we did. And then so I got to spend about eight years where I could do dance, I could do music, I could kinda like drift into these other arenas of work that I hadn't been able to do because, before, had been, like, so much about fighting the Bush administration, so much about fighting what was going on. So now to be able to return to a thing that I'm very used to, like political commentary, where I'm really focused on using my voice to affect change and to create change, and it's really profound, you know? I love doing this show. It's got me thousands and thousands of death threats, which is also really terrifying and bizarre. I've always had a kind of very confrontational relationship with conservatives, but now it's escalated to the point of, like, oh, I actually do fear for my safety. But I think that it's worth it. The message is worth it, and I'm proud to do this show, and I'm very, very excited to bring it to very progressive Berkeley, which they're gonna hear it better than anyone. I do think Berkeley is even more progressive than San Francisco. So it's exciting.    [00:16:27] Miko Lee: Well, San Francisco is filled with tech bros now, so it's a very- Yeah … different vibe than when we were-   [00:16:32] Margaret Cho: That's right.   [00:16:32] Miko Lee: growing up. I'm wondering, I heard you say about how different it was during the Bush regime, which is actually relatively tame in retrospect compared to the fascistic times we're living in now. I'm wondering how different, now that you're going back to the kind of political roots, how different is it from that Bush time in your approach to your comedy?    [00:16:51] Margaret Cho: Well, Bush never descended into a cult. Bush never had the sort of magnetism as a person, to demand the cult-like sort of atmosphere that sort of exists now, where we have a leader who will gladly let all of his followers be on a decoy plane while he rushes away in a catering van. We think the decoy plane, that's really America. Like, the decoy– we are all, as a nation, on the decoy plane. He's happily content to let us all die to ensure his safety. It's like they're, and they're still gonna follow him after that. So that's a cult, you know? This is a different beast than we're dealing with just sort of patriotism or the idea of like xenophobia or the idea of wanting this kind of America that Bush wanted. Bush couldn't create that because he was not a cult leader, whereas now we have a bona fide cult and cult leader on a path to destruction.    [00:17:57] Miko Lee: So given this time that we're living in and how complicated it is, I'm wondering, especially as you're going on tour with this show, what brings you comfort and makes you feel connected to home when you're on tour or when you're away?   [00:18:10] Margaret Cho: Well, my dog is with me all the time, so that's really special. She'll be there at Berkeley. She's really, really amazing. I'm a big fan of social media. It's connecting with people on there, and people are encouraging me through there. There's a lot of points where I carry home with me. I'm also, at home on the road, because I've been traveling and performing for over 40 years, so it's a place that I feel a great deal of comfort in.    [00:18:35] Miko Lee: Because you mentioned social media, I'm just wondering, isn't that where the death threats are coming from, though, is social media? Or are you getting them in—   [00:18:42] Margaret Cho: Yes. But I'm also get, I get them on my phone. I get them, like they—   [00:18:45] Miko Lee: Oh, you, they- Yeah … find your cellphone and contact you—   [00:18:47] Margaret Cho: Yeah.   [00:18:48] Miko Lee: directly? Wow.    [00:18:49] Margaret Cho: Yeah, I get them, like, you know… I'm also concerned about, I've been doxxed, you know, they threatened to kill my dog, and I'm like, “She's white. She's one of you. Why would you kill her?” It's kind of funny.   [00:19:01] Miko Lee: But you don't respond to any of these folks, right?    [00:19:04] Margaret Cho: No, you can't, because you just don't know what… I always think about, like, Melissa Hortman. They killed her dog. I don't wanna be another example of, like, MAGA lunacy. When you speak out and you are a symbol of what they don't want. They don't want women, they don't want people of color talking. When you are that you're really in the line of fire. That's why traveling works for me, I get to be very, very stealth and hidden. Um, and that's kinda also why I travel so much, is to be stealth. Mm. I get so much encouragement from social media. I don't wanna cut myself off from it. But yeah, you have to be careful.    [00:19:42] Miko Lee: So you feel like that balance outweighs it?    [00:19:45] Margaret Cho: Yeah, for sure.   [00:19:45] Miko Lee: And I'm wondering if you think there's something that's misunderstood about you?    [00:19:49] Margaret Cho: When I'm talking and people don't like what I'm saying, they will say, “Oh, look at this has-been talking again.” And I'm like, “I'm not talking because I think I'm a celebrity. I'm talking because I am alive, and everybody who is alive has the right to speak.” I think this is really important. I don't talk because I feel like I have a responsibility to talk because I represent anything. No, I talk because we should all be talking. We should all have a voice. I don't have a sense of importance about myself or who I am or what I do. I think that everybody should be talking, and now we should all be talking because now we are all on that decoy plane, and he will leave us to die. So I'm going to say something about it. People have a myth about celebrity that somehow it involves our ego, and that's why we feel compelled to have a voice. But I think we should all have a voice no matter who we are.    [00:20:41] Miko Lee: I've heard you call yourself the patron saint of outsiders. Can you talk about what that means to you?    [00:20:47] Margaret Cho: I think for me it means to be able to have, my queerness front loaded, my Asianness front loaded, my gender front loaded, all these things that I want to be able to talk to those who feel like they don't feel represented by mainstream culture, by white supremacy. If you have felt rejected or even just not included by society at large, I wanna hear your voice. I wanna hear your opinion, and I wanna know you.    [00:21:15] Miko Lee: And last question, why should folks go and see Oligarchy at Berkeley Rep?    [00:21:20] Margaret Cho: Oh, it's Choligarchy.   [00:21:20] Miko Lee: Choligarchy.   [00:21:22] Margaret Cho: It's my nation. It's my dictatorship. In my dictatorship, we have universal healthcare. In my dictatorship, we have a universal living wage. If we actually made the billionaires pay their share, if we actually stopped supporting Israel and Argentina, other countries which I don't know why we give them so much money, but we do, if we stop doing that, we stop supporting the billionaires, if we stop giving corporations handouts, we could actually have a universal living wage where everybody in this nation would just be able to just live. We could just live because we are American. We could just live. And then your work could be what you really wanna do. That would be such an important change to the way that we exist as Americans. And we could do that if we actually stopped giving b- bailouts to corporations, actually made billionaires pay their share, and stopped giving money to countries that are not ours. That's what my platform is. That's what I run on, and that's what I plan to do.    [00:22:35] Miko Lee: And folk can find out more by going to see the show at Berkeley Rep, and we'll put a link in our show notes. Thank you so much, Margaret Cho, for joining us on Apex Express.    [00:22:45] Margaret Cho: Thank you.    [00:22:46] Miko Lee: Next up, get a preview of an upcoming unique performance at Oakland Asian Culture Center. Listen to Sawaal Jawaab    MUSIC   [00:24:01] Miko Lee: That was Sawal Jawab with Arjun Verma, Eman Hashimi, and Pezhham Akhavass in Interweaving: Indo-Persian Exchanges, a one-night-only performance on Friday, September 11th at the Oakland Asian Culture Center. The concert's a rare opportunity for Bay Area audiences to experience the interplay of some of Asia's richest classical music traditions from India, Iran, and Afghanistan. Next up, we hear from two voices, multimedia artist Masaki Fujihata and Carin Adams, senior curator at the Oakland Museum. Masaki Fujihata is a world-renowned sound, installation, interactive, and new media artist. He's also a professor at Keio University. His work has been shown all around the world, and now it's coming to the Oakland Museum, opening September 18th and running through the end of December. The piece is called BeHere / 1942, A New Lens on the Japanese American Incarceration, and it's a new augmented reality work. So tune in to my interview with Masaki and Carin Welcome to Apex Express, multimedia artist Masaki Fujihata and Carin Adams, senior curator at Oakland Museum.    [00:25:13] I'm so happy to have you both with me, and we're talking about the new exhibit BeHere / 1942: A New Lens on the Japanese American Incarceration, which opens at the Oakland Museum from Friday, September 18th to Sunday, December 27th. So thank you so much for joining me. I wanna start with a question I ask all of my guests. I'm gonna start first with you, Carin, and then I'll go to Masaki, and the question is, who are your people, and what legacy do you carry with you?    [00:25:53] Carin Adams: Oh, wow. I think there are lots of different facets of my family and who I think of as my people. Um, I think in, in this work in particular, I'm really, um, thinking a lot about my grandparents, my, my mother's parents, and, um, my mom, who's turning 91 in, um, October, and, um, her and her siblings' experience, um, being incarcerated in Tule Lake. So- Mm … that, I think has, has a lot to do with wh- why I'm here, and thank you so much for having me.    [00:26:36] Miko Lee: Mm-hmm. Thank you so much. And Masaki, what about you? Who are your people, and what legacy do you carry with you?    [00:26:43] Masaki Fujihata: Yeah, in my case, my, career started with the computer graphics long time ago in the '80s, so I came in, uh, Bay Area and, uh, West Coast quite frequently to join a big, uh, conference and so on. But then in '90s, I was very many times to be invited to be in Europe, so-called media art, i- is so dominant. So my curiosity is about the visual arts plus computer technology. Then nearly 10 years ago, I started to play with augmented reality. I recognized AR is a very good technology to put the history in actual moment. So the title Be Here 1942 means, I try to call the people in the past in the present. After one of my friend, the professor at UCLA invite me to be in Los Angeles, then we started to focus onto the Japanese Americans' history. That was the first, a kind of coincidence, but it was, very interesting to me because, I was born in Tokyo and grew up here in Tokyo, so usually I didn't think about who is a Japanese. [00:28:10] Along with this production, I studied a lot, not only the racial problems, but also the identity, , not only the personal identity, but also identity of Japanese and also American. It's really difficult to understand what's is the identity in the America because so many different people are living together and of course there are several conflicts. This is very good study for me, through the new media technology and, through the meeting with the people. Some of them really had, severe experience inside the camp. I never had a chance to think about these opportunities. Then I really want to recreate what had happened in the 1942. That was my point of view for this project.    [00:29:08] Miko Lee: I'm wondering when you were growing up in Japan, did you learn about the Japanese American incarceration?    [00:29:15] Masaki Fujihata: Maybe, maybe, but a tiny. Most of the young students just thought, oh, this is the history, not mine    [00:29:27] Miko Lee: And did you… Were there kibei that were there? Cause I know there were a lot of Japanese Americans that had been pushed out and repatriated to Japan. Did you grow up knowing any of those people?    [00:29:39] Masaki Fujihata: Mm, not, not really. Not really. Um, how can I say? Mm, maybe this is the education, the Japanese education. They didn't talk much about the history. The first part is an ancient moment, is very, very, you know, impressive. But, at the end of the term, so the modern age usually passing very, very fast.    [00:30:10] Miko Lee: Oh, interesting.    [00:30:11] Masaki Fujihata: Yeah, so n- not only about, history between America and Japan, but also China and Japan.   [00:30:18] Miko Lee: Mm-hmm.    [00:30:19] Masaki Fujihata: We have very few knowledge in, on the context of, uh, history education. I mean—   [00:30:24] Miko Lee: So sort of World War II- I mean- and forward? From World War II—   [00:30:27] Masaki Fujihata: Yeah, yeah …   [00:30:28] Miko Lee: You didn't really learn about it?   [00:30:28] Masaki Fujihata: Yeah, modern age. Modern age. I believe this is very big problem in the education.    [00:30:35] Miko Lee: That's so interesting. So the first that you really learned about the Japanese American incarceration was during, when you started this project at UCLA? Is that right?    [00:30:44] Masaki Fujihata: Yeah, yeah. I know something about the history in the US, but when I started to do research, there are many details, and every people's history is very, very different. So the textbook of the history is just the surface- So that's why I wanted to show more the detail through a new media technology.    [00:31:16] Miko Lee: I read a quote from you that said, “My aim was to peer deeply into photographs to derive from them more than was visible on the surface.” Can you talk a little bit more about what that means to you?   [00:31:29] Masaki Fujihata: Yes, because, I started to think about to focus on the moment when they ride the bus. So then, of course, I did some research to read some oral history, but, most of them didn't tell about the moment because I think this was just one hour or two hours for waiting. I suppose they usually don't want to remember, and also they thought that this is not important day, then they forgot.   [00:32:04] Miko Lee: What was it about the bus that you were curious about?    [00:32:08] Masaki Fujihata: We planned to realize our project, to think about the beginning. What is the beginning? There, there are quite many novels and writings about the life in the camp because of, of course, this is so heavy. Four years in the camp is unbelievable. According to my research, some people said they thought the war will ends in three months. But in there they spend in the camp, over four years. So of course, this is a heavy story and also while in the inside the camp. There are some conflict between the first generation, second generation or American side or Japanese side. The beginning is, of course, the Pearl Harbor raid, but, the bus, suddenly one day the bus came into your town and you were asked to ride the bus, and before riding they didn't tell them where they are going. So so if it happened now, how can we behave? So this is my question. This is the beginning, and they didn't know what will happen in the future. And then in parallel, I did some research to see the photographs because, there are many documentary photographs were in the archive, in National Archive, and also Library Congress. I tried to, see the photography, but as I said, when see the picture, you know, the detail is telling a different story, against the comment. The comment is just they are lining up for riding a bus or something, or Japanese American families get together and waiting. Of course they have some name card. At last I found through one of small girl's eye, there is a reflection of the photographer. But, not only the photographer, there are two, three, or four more people standing with the cameraman. Then, of course I understand they are all Caucasians. They are not Japanese American people. So for the little lady, for the little girl, when she was surrounded by, white officer, perhaps military police, she has nothing to do. But on the surface of the photography, she's smiling. So this contrast is the beginning. So this is a problem about media, visual media. So then I really want to share this experience with the other audiences through the exhibition. That was my intention.   [00:35:18] Miko Lee: And had you seen the photographs from Dorothea Lange and Russell Lee prior to working on this project?   [00:35:25] Masaki Fujihata: Of course, I know these names because they are very famous,, documentary photographer, the magazine Life started to publish from the year 1933, it was hit, so popular. I was really surprised because they did the job to make a document for Japanese Americans, and there is over 4,000 pictures left in the archive. I saw all of these so many times, so I can tell each picture. I can tell what is the difference, between the Dorothea and Russell Lee. So each photographer has, different characteristics. But I really surprised because, Dorothea Lange's photography is very different from others. And—   [00:36:18] Miko Lee: And the government didn't like them. They locked them away for years because they were too real.    [00:36:25] Masaki Fujihata: Yeah, and because, Dorothea's photography is always associated with the object inside the photography. She tried to understand who is she, who, who is—-    [00:36:38] Miko Lee: Mm-hmm …    [00:36:39] Masaki Fujihata: and try to have a good relationship with the object. Most of the photographer, like a press cameraman, it's just go there, “Hey, smile,” and shot is their, you know, way of business. But Dorothea's way is very different, so sometimes, I can tell she is always calculating the distance from her to the object. I enjoyed very much to have a chance to see all of these details. Of course, another luckiness because all of these photograph were shot by the government, then all of these are now public domain. Even me from Tokyo, I can see so many photographs with high resolution. I think those are made after year 2000 because of the technology came in. Then now they are supplying 3,000 by 4,000 pixels. That's why I could enlarge and to see the reflection on the girl's eye. It's a coincidence, but also it's the evolution of computer technology from analog photography. So this is also interesting part to share with the audience.   [00:38:01] Miko Lee: Thank you. Carin, I wonder if you could talk about what an audience will see when they come in to see the exhibit.    [00:38:08] Carin Adams: The exhibition is going to happen inside and outside the gallery. So if people are visiting the museum coming up through our entrance on Oak Street, they will have an opportunity to enter the augmented reality application that Masaki has designed where they're, standing there grounded in, the architecture of the Oakland Museum. But they're also seeing people, dressed as if they were in 1942, waiting with their belongings and their family members. They'll be able to see the buses that lined up on Oak Street in '42. There was a civil control station that was across the street, and Dorothea Lange took some very famous photographs of people waiting with their belongings in front of their houses that, on the museum side of the street. Masaki has adapted the augmented reality that he first developed for Los Angeles for Oakland. So people on entrance onto our campus will have that experience, and then if they come into the gallery, then they'll really be entering into the gaze of these eyes. They'll be surrounded by very high resolution images that Masaki has blown up, to mural size. You're forced to encounter the people that were reflected in the eyes of the subjects that Lange photographed.    [00:39:45] Miko Lee: Thank you, and I know that in the collection, you've had these Dorothea photos for a long time, right, in the Oakland Museum's—   [00:39:53] Carin Adams: Yeah. The Oakland Museum is the holder of the Dorothea Lange archive, including some of her images of the incarceration. The Bancroft Library also has extensive holdings of her work and material , related to this history. And of course, Masaki did lots of research in the National Archive and Library of Congress.   [00:40:16] Miko Lee: Masaki, I know this is the second version of the show since you have opened it first at JAMM and at UC, with UCLA. Yeah. What was it like for you to recreate it for the Oakland Museum? How has that experience been?   [00:40:30] Masaki Fujihata: I'm very, very lucky to find OMCA. Mm-hmm. We started to think about the production in OMCA. I made a research through, of course Dorothy Lang's photography. Then there is a number of the street, 1117 Oak Street is the place where people apply their address and family name. The Civil Control Station is that address. I was very surprised because this is a street in front of the museum, and actually the other side of the street was the Civil Control Station where the bus came in. So this is exact place I really wanted to put my augmented reality models. So I was very shocked because I never think about the museum is a real place.   [00:41:24] Miko Lee: So it's truly a place-based piece of art because that is the history coming alive in that very spot.    [00:41:31] Masaki Fujihata: Yes. Yeah. So, all the projects start from the realization of augmented reality.    [00:41:39] Miko Lee: Mm-hmm.    [00:41:40] Masaki Fujihata: So augmented reality is a kind of tech term, but augmentation is adding some information rather than the first wa- surface or rather than the display. In this case, we are putting the happenings in the 1942 in present, and then try to make a contrast between now and the past. The exhibition inside the gallery is showing a kind of process of the research to make this augmented reality piece because for making the 3D model data, we invite many volunteers into a special studio. I have to direct them. I have to prepare some scenario for them. In some cases, you are the university students. Coincidentally, you met the professor, while waiting for the bus. This is a fiction I made. When I need to make a scenario, I really need a research what is possible, what is not possible. So then the photography help me a lot to make a small scenario.    [00:43:01] Miko Lee: How many volunteers worked with you on this?    [00:43:04] Masaki Fujihata: I think totally 64 volunteers.    [00:43:08] Miko Lee: Wow. That is amazing.    [00:43:10] Masaki Fujihata: Each one was asked to walking towards the point where the bus would come, and then the second part is waiting, and then the third part is just lining up for the bus. So there is three different scenario. Then each person appears three times. Then totally you will see nearly 200 people.    [00:43:37] Miko Lee: Wow. And I understand that you use, in order to utilize the AR, you use cameras that kind of replicate those used during the incarceration, and I'm wondering what made you decide to choose that?   [00:43:53] Masaki Fujihata: So I try to know the core idea of each technology, because the technology is usually used for capitalism. My manifest is liberate technology from capitalism. So technology has another dimension, not only for serving for the capitalism to make money for your life more rational, but the technology also can give you a chance, who are you? What is life? What is the world? So I really want to use the technology another dimension of the technology usually used by the companies, and capitalism. In this case, this project is really good because very nice photography was left in the archive. But imagine in the 1942, photography was a high technology. Very few technicians or rich people could have the camera. Now so popular everybody has a camera inside their mobile phone, but it was high tech. And now augmented reality is somehow popular technology, but no one didn't use the AR technology to think about what we are doing as an art. So I wanted to use augmented reality to, to think about what is our life    [00:45:32] Miko Lee: Ooh, that is so interesting. I really appreciate that. And I'm wondering because you've seen audiences go through the first exhibit, I'm wondering if anything surprised you by audiences that have seen it and what, what you'd like people to walk away with after going to your installation.    [00:45:51] Masaki Fujihata: I was really surprised because this was my first case the audience had a tear. So after they saw the augmented reality, some of the person said, “Masaki,” I suppose, she suppose that, “Perhaps my grandfather was here.” Could feel the same impression or imagine, she could imagine what had happened on her grandfather So it's a bit like a cinema, but there is no written story, so each person can explore the images through a tablet. But, uh, maybe five minutes later, uh, the user will feel inside the scene. So In another words, I can say you are going to feel you are inside a cinema studio. You will be captured by the camera. And also another, okay, another interesting aspect because, I could develop this project because the photographs were left made by Dorothy and other people, uh, professional documentary photographer made these photography. So photography was left. And then, um, while you are using iPad in the entrance plaza of, Oakland Museum, you will see many Japanese people wearing the costume and, waiting for the bus. But now you are the cameraman. You believe you are seeing what had happened through the display, but, imagine for them inside the image were looked by you. So this is the viewer you are going to see, but also from them, from the object, you are the cameraman.   [00:48:04] Miko Lee: So you want people to feel both sides, both being the watcher but also in it—   [00:48:09] Masaki Fujihata: Yeah.   [00:48:10] Miko Lee: Immersed in the experience.    [00:48:11] Masaki Fujihata: Yeah, hunter.    [00:48:13] Miko Lee: Mm.    [00:48:13] Masaki Fujihata: Image hunter, yeah.    [00:48:15] Miko Lee: Image hunter, mm. I, I feel like you're saying utilizing technology as a tool for your emotions as opposed to a capitalistic gain. I'm wondering if you're working with AI at all, and your thoughts about it. Because you've really been on the forefront of so much multimedia since the '80s and I'm just wondering now people are just talking about AI and the impact of artists  and I wonder what your thoughts are about that.   [00:48:39] Masaki Fujihata: I, I think, uh, it's too early to, uh, work with AI as an artist because, uh, e- even the developer of, uh, AI didn't know what happened inside, so it's a black- totally black box. So that's interesting part of AI. Uh, maybe you know some, some story about this. Very recently, uh, the AI ju- just hack the connection, then they escape from the inside the laboratory to go outside the internet. So this could happen. Uh, that's why, because a human couldn't imagine. So the AI doing something different, and it's really a black box. Then, uh, that's interesting point. If I can be inside the development company as an artist, I can make something interesting hacking software, but it's a huge business, and, uh, I think this is not the moment for the artist. And also, as you know, all the data inside the AI is, uh, happenings in the past.    [00:50:02] Miko Lee: Right.    [00:50:04] Masaki Fujihata: And then, right, the present is important for the humans. What is the role of the artist? There is some, uh, sentence, artist is the person who is creating something new which has not exist before. so, uh, we are not AI, so w-we have to know who, what we should do in contrast to AI is the important moment    [00:50:37] Miko Lee: Thank you so much. I wonder if you would want to just reflect briefly on how this, this piece that you're presenting at Oakland Museum is very resonant right now in America because of the current politics of incarceration of peoples and you know, we're at the same, at the exact same concentration camps where Japanese Americans were held. Immigrants are being detained and put there right now. I'm wondering how this piece speaks to the moment that we're living in in the United States right now.   [00:51:13] Masaki Fujihata: Um, please do not make more mistakes that American government did before in 1942. So Our project can be a kind of reference what the American government did after the Pearl Harbor.    [00:51:39] Carin Adams: Masaki, would you wanna talk a little bit about the new piece that you're making?    [00:51:45] Masaki Fujihata: Oh, I see, I see. I think- That's a good idea. I, I totally forgot. Yeah. Thank you, Carin. Because I proposed to Carin and museum about to make a new piece. The idea is about, uh, the poster. The, that they… So the, in Okura case, maybe, uh, to l- late April in 1942, the poster paste on anywhere, everywhere inside the town, and talking about the, at the certain day, you cannot be stay here. You will be criminal. So, so this is the s- starting point. Then they need to come to the civil control station to sign up, and then one week later, the bus came in, then they need to go to the camp. Then the poster is now very famous, but, uh, usually, people didn't read it Then I, I asked to, collect volunteers to ask read this text on the poster, uh, several different locations inside the Oakland. So when you see the final result, the view of the people reading the text aloud is very peaceful, very bright, California sunshine and there is a lake behind and sometimes, you know, the buses came and stop and go there. So this is very peaceful, but the content is very strong- strongly contrast- co- contrasted. So it's a command from the government. I really wanted to, to make this contrast through this new production. So you, you will see three vertical monitors, and, 25 different group of people. I think there was nearly 45 people helped me to realize this   [00:54:02] Miko Lee: What is it you hope to evoke by adding this new piece of the relocation poster?   [00:54:08] Masaki Fujihata: I really wanted to involve some of the young generation and family and also, known Japanese American people. So all of these people, of course, have some fear against the, this moment, and then try to, uh, send messages. So they helped me to realize this.   [00:54:39] Carin Adams: The video is really going to provide the soundtrack for the exhibition. There is no sound in any of the other film elements or in the AR other than what visitors bring in conversation into the space. But they'll be able to hear the local volunteers that Masaki assembled reading the exclusion order text and we're expecting that to be very profound- impactful. And yes, some of the people who volunteered for this new video element were incarcerated themselves, others are descendants, and then there are just people who are representing different immigrant experiences who wanted to participate. So it's a very local production, and it really cites us in the present moment with this really chilling text from the past.    [00:55:33] Miko Lee: Thank you so much for joining me and chatting with me about the exhibit BeHere / 1942. I'm really excited to check it out, and I hope our audience gets a chance to go and see it all the way through the end of December at Oakland Museum.   [00:55:48] Carin Adams: Thank you so much for having us.    [00:55:50] Miko Lee: Please check out our website, kpfa.org/program/apexexpress to find out more about our show and our guests tonight. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preti Mangala-Shekar and Swati Rayasam. Tonight's show was produced by me Miko Lee, and edited by Ayame Keane-Lee. Have a great night.   The post APEX Express – 9.3.26 – Beneath the Surface with Margaret Cho & Masaki Fujihata appeared first on KPFA.

Episode Summary: In this week's episode of your favorite Korean Adoptee podcast, the Janchi Boys sit down with Stacy Vaughn and talk about being a first-wave Korean adoptee, coming out of the fog later in life, experiencing KAAN and raising DoKADs (descendents of Korean adoptees).Meet Stacy:On LinkedIn: Stacy K Vaughn---// Support the Show!Online at janchishow.com / @janchishowSupport the show at janchishow.com/supportWatch our Youtube VideosWrite us a note: janchishow@gmail.comThe Janchi Show Quick BioThe Janchi Show focuses on exploring intersectional identities and current events through the lens of adoption, race, lived experience and more. Sometimes we have guests, and sometimes it's just the three of us. Either way, it's always a janchi!// Meet the Janchi Boys!Nathan NowackNathan (he/him) is a transracial Korean American adoptee who was born in Seoul in the 1970s. He was adopted at the age of 5 months old and raised in a small town in Oklahoma along with a non-biological Korean adopted sister.  After going to college in Colorado he later moved to Los Angeles to pursue a digital media career and eventually started 2 photography companies.  He loves spending time with his wife and 3 kids, playing golf, and collecting Lego. He is in reunion with his biological family as the youngest of 7 and has been in contact since 2015.  He currently serves on the Advisory Council for KAAN and helps with the planning of their annual adoptee conference.  In 2021, Nathan and his family moved back to Colorado to be closer to family and start a new chapter in their lives.  Connect with Nathan!Website: http://www.coverve.comInstagram: http://instagram.com/nnowackPatrick ArmstrongPatrick Armstrong (he/him) is a transracial Korean American adoptee, podcaster, speaker, and community facilitator. He is one of the hosts of the Janchi Show, a podcast that explores and celebrates the experiences and stories of Korean adoptees everywhere. He also is host of Conversation Piece with Patrick Armstrong, a podcast where he discusses the missing pieces of the conversations we're already having. He is a cofounder of the Asian Adoptees of Indiana, a group dedicated to creating a safe, engaging community for all Asian adoptees who need it. He is currently based in Indianapolis with his wife and cat. Connect with Patrick!Website: http://patrickintheworld.meLinkedIn: http://linkedin/in/patrickintheworldInstagram: http://instagram.com/patrickintheworldK.J. Roelke (@kjroelke)KJ (he/him) was adopted from Daegu and raised in Dallas, Texas with his two biological, older siblings and his younger sister, adopted from Russia. After spending a decade in the Midwest for college and career, he and his wife are back in Dallas and living large! He has been on his journey of discovery since 2015 and spends his days as a web developer for the Choctaw Nation of Oklahoma.Connect with K.J.!Website: https://kjroelke.online/LinkedIn: https://linkedin/in/kjroelkeInstagram: https://instagram.com/kjroelke// Listen to/Watch The Janchi Show on all major platforms:Apple: http://janchishow.com/appleSpotify: http://janchishow.com/spotifyYoutube: http://janchishow.com/youtubeGratitude & CreditsMichelle Nam for our logo and brandingJerry Won for bring us togetherThis show is created and produced by Patrick, Nathan and KJ and is the sole property of the Janchi Show, LLC.

This week we had the pleasure of hearing from an Asian American girl group that made their debut in November 2025. FiveALIVE is an independent five-member Asian-American girl group based in Orange County, California. The group consists of Jia, Ellie, Nini, Ciara, and Bay. It was so much fun hearing from them and getting to know them a little better! I'm a fan of them, and I hope you become one too! You can stream their songs wherever you get music. If you're near Southern California, go hear them live on September 18th at the Constellation Room (tickets available at Ticketmaster). You can follow them on social media @fivealiveoffical  Thank you to my cohost Juna for joining me this week! You can hear this episode and over 200 other episodes over on Spotify, Apple Podcasts, or wherever you get podcasts. You can write to us at: ⁠infatuasianpodcast@gmail.com⁠ or use our website https://infatuasian.com. Please follow us on Instagram and Facebook @infatuasianpodcast  Songs in this episode are: Queendom, Umami, and Honey (by fiveALIVE, Legend Recordings Inc. 2025) 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 #asianamerican #infatuasian #representationmatters  

Rev's in retreat all of September so we're flipping our usual format: Enjoy this 30 minute meditation and come back for an excerpt from the Dharma Talk which goes with it: "Spoon Buddha."Meditations in this series are from the last period each night. As such, they can range from guided meditations to readings (often, with comments) to inspired or dharmettes to round out that day's instructional or teaching points.This begins Season 5 of Opening Dharma Access!REV. LIÊN SHUTT (she/they) is a recognized leader in the movement that breaks through the wall of American white-centered convert Buddhism to welcome people of all backgrounds into a contemporary, engaged Buddhism. As an ordained Zen priest, licensed social worker, and longtime educator/teacher of Buddhism, Shutt represents new leadership at the nexus of spirituality and social justice, offering a special warm welcome to Asian Americans, all BIPOC, LGBTQIA2S+, immigrants, and those seeking a home in the midst of North American society's reckoning around racism, sexism, homophobia, and xenophobia. Shutt is a founder & Guiding Teacher of Access to Zen. You can learn more about her work and book, Home is Here: Practicing Antiracism with the Engaged Eightfold Pathat AccessToZen.org EVENTS

Welcome to Episode 77 of the Princeton Podcast, sponsored by the Municipality of Princeton - encouraging civic participation and amplifying the voices that shape our community.In this episode, Mayor Mark Freda sits down with David Wu, founder of the Princeton Active Circle. This non-profit organization is dedicated to improving community wellness through fitness training, outdoor activities, social gatherings, and enrichment workshops.David describes the group's fitness and wellness initiatives, which ibclude their annual Princeton 5K Run and Walk.Mark and David also discuss Princeton Active Circle's enrichment and social programs. These are designed to support Princeton's Asian American residents through educational seminars, financial and lifestyle workshops, and local gatherings.So without any further introduction let's join our host, Mark Freda, and his guest, David Wu, for Episode 77 of the Princeton Podcast.Thank you for joining us for the 77th episode of the Princeton Podcast, produced by the podcast production team at HG Media, and sponsored by the Municipality of Princeton. If you enjoyed this episode of the Princeton Podcast, please share it with your friends, visit our website at PrincetonPodcast.com, and be sure to subscribe to us on Apple Podcasts, Spotify, Audible or wherever you listen to podcasts.

Our guest this week is Bin Feng of Queens, NY who is a support engineer at the Bank of New York, a staff member of Parent to Parent New York State, and the father of two children including one who is autistic and has ADHD. Bin and his wife, Jenny, have been married for 28 years and are the proud parents of two children: Frances (24) and Vincent (26) who is autistic. By occupation, Bin works at Bank of New York and is on staff at Parent To Parent New York State, where he is a per diem Fathers Support Coordinator and Chinese Speaking Families Support Coordinator. As a Chinese immigrant raising a child with Autism and ADHD, Bin and his family have faced various challenges from language barriers, social isolation and cultural stigma.We also learn about Project READY, a 501(c)(3) non-profit organization dedicated to support individuals with developmental disabilities and their families, especially Asian American immigrant families.  They promote education, advocacy, training and community inclusion to support transition and employment.It's an uplifting story about a father's commitment to family and dedication to the welfare of other families all on this episode of the SFN Dad to Dad Podcast.Show Notes - Phone – (342) 944-8808Email – bfeng@parenttoparentnys.orgParent To Parent NY State – https://www.ptopnys.org/Project Ready - https://projectready.org/For the record, this episode was recordred at the offices of Parent to Parent NY State in Schenectady, NY, on June 15, 2026 on day #26 and stop #53 of the SFN U.S. Tour, a 30-day, 50-state, 60-plus stop tour to strengthen the SFN and distribute 1,000 complimentary copies of the new book: Dads Raising Children with Special Needs & Disabilities: A Guide For 21st Century Dads. Special thanks to all those who supported the SFN U.S. Tour that took place from May 21 to June 21, 2026: Special Fathers Network –SFN is a dad to dad mentoring program for fathers raising children with special needs. Many of the 900+ SFN Mentor Fathers, who are raising kids with special needs, have said: “I wish there was something like this when we first received our child's diagnosis. I felt so isolated.  There was no one within my family, at work, at church or within my friend group who understood or could relate to what I was going through.”SFN Mentor Fathers share their experiences with younger dads closer to the beginning of their journey raising a child with the same or similar special needs. The SFN Mentor Fathers do NOT offer legal or medical advice, that is what lawyers and doctors do. They simply share their experiences and how they have made the most of challenging situations.Check out the 21CD YouTube Channel with dozens of videos on topics relevant to dads raising children with special needs - https://www.youtube.com/channel/UCzDFCvQimWNEb158ll6Q4cA/videosPlease support the SFN. Click here to donate: https://21stcenturydads.org/donate/Special Fathers Network: https://21stcenturydads.org/  

In this podcast episode, 2026 WiR Intisar Khanani interviews Diana Ma. Diana is a Chinese American author who writes young adult and middle grade books that feature Asian American heroes.

To close out our 10th anniversary micro-series, we flip the format: Yulee interviews Daniel about his own journey to founding the Asian American Center at Fuller Seminary. It's a more personal episode than usual, tracing the family history, faith formation, and institutional battles that shaped both Daniel and the Center itself. Daniel's upbringing in a Korean American church in Northern Virginia, and how growing up alongside non-Korean Asian American friends—while navigating an abusive father—shaped his early pull toward a broader Asian American identity His campus ministry years as “Grace Man,” and the pushback he got for it Going to Princeton to study Karl Barth and, for a time, trying to leave Asian American ministry behind entirely in pursuit of becoming “a legitimate theologian” The unraveling of that plan: unresolved family patterns, disillusionment with Tim Keller's Redeemer model, and a friend's blunt observation—”all you do is talk about Asian American stuff”—that brought him back Arriving at Fuller, starting the Asian American Theological Fellowship as a lone ThM student, and the years of institutional confusion that followed (mistaken-identity emails, “what language will you teach it in?”) The financial and political cost of building the Center—years on food stamps, a breakdown in an empty office, HR complaints, and resistance from unexpected places, including fellow Asian Americans The founding commitment to a truly pan-Asian American Center—not a “wink-wink” Korean or East Asian program—built around Asian heritage, migration experience, American culture, and racialization Where the Center is headed next: the Filipino American Ministry Initiative, the Korean American Ministry Initiative, South Asian American work, and the shift from research toward resourcing This one's a little different—less history lecture, more origin story. Thanks for listening, and thanks for walking this whole micro-series with us. We'll see you at the 10th anniversary celebration this October. Sign up to receive more updates from the AAC: aac.fuller.edu/newsletter/ If you appreciate the work we do at the Asian American Center at Fuller Seminary, please consider supporting us! Your monetary support sustains our vital work and expands Asian American research, leadership development, and pastoral formation for the Church in the year ahead. Donate here: fuller.edu/giveaac. For information about our 10th anniversary gala, visit tinyurl.com/10yearsaac

On our August 2026 edition of "Do We Want This," Good Pop's monthly Asian American entertainment news roundup, we take a look at some upcoming Asian American shows and films on Netflix, some sad cancellation news, and Dave Bautista's next role as a sad dad who kills gods.What's Popping? - Dolly Parton, Tim Curry, Peter Cullen, Restory: Chill Electronic RepaitsFollow our hosts:Marvin Yueh - @marvinyuehJess Ju - @jessjutweetsHanh Nguyen - @hanhonymousFollow the show and engage with us at @goodpopclubPart of the Potluck Podcast CollectiveProduced by HappyEcstatic Media

Chang-Rae Lee's new novel is filled with some of his own memories, like worrying about being picked last for dodgeball and sizing up his fellow Asian American classmates to determine who was most “foreign.” Lee says, unlike some of his other novels, these autobiographical elements populate A Tender Age. In today's episode, the author speaks with Here & Now's Scott Tong about growing up Korean American in suburban New York in the 1970s, attending church camp in the Hudson Valley and the fragility of being a pre-teen.Support public media with NPR+ and enjoy perks for over 25 podcasts like this one. This show's perks include sponsor-free listening. Learn more at plus.npr.org.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

In this urgent presentation, strategist and democracy defender Scot Nakagawa, co-founder of the 22nd Century Initiative, makes the case that artistic freedom is not a cultural amenity but democratic infrastructure. It is the most sensitive indicator we have of the health of a free society. Drawing on the historical record from Nazi Germany to contemporary Hungary, and on the latest research on nonviolent civil resistance, Nakagawa argues that the assault on arts funding, public media, and free expression we are witnessing right now is not a culture war. It is an infrastructure attack. And artists are already on the front lines, whether they know it or not. For artists and cultural workers who have been watching mass mobilizations and asking themselves, what is my role in this?, this talk offers some answers. Nakagawa reframes the question entirely: you are not watching the resistance from the outside. You are making the resistance possible. From documenting reality against the falsification of history, to humanizing the people authoritarians want to erase, to building communities that no government authorized, the work artists do every day is the cultural foundation that democratic movements depend on. The conversation ends with a specific ask: a commitment never to self-censor, and an invitation to understand the arts community as what it has always been—a river made of springs, each distinct, all moving in the same direction. Scot Nakagawa has been an organizer and social justice advocate since 1979. Since 1988, Scot's main focus has been on the rise and mainstreaming of authoritarian movements, and of political violence in the name of ethnic and racial nationalism. He has worked with organizations such as the Coalition for Human Dignity, the National Anti-Klan Network, the National LGBTQ Task Force, the Highlander Research and Education Center, and numerous political campaigns to limit the power and influence of racist, antisemitic, patriarchal, and religious fundamentalist leaders and groups. Scot is also the co-founder and past Senior Partner of ChangeLab, an Asian American think/act laboratory addressing issues of social justice and Asian American leadership, work for which he was recognized by the Association of Asian American Studies, Community Leader Award. He is a past Open Society Foundations fellow, and Senior Fellow on Nationalism, Authoritarianism, and Race of Race Forward: The Center for Racial Justice Innovation. He is a writer whose essays on authoritarianism and resistance can be found online in The Anti-Authoritarian Playbook on Substack, and co-host of the Anti-Authoritarian Podcast.

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. Join Host Miko Lee as she introduces Dr. Robynn Rodriquez's show “Spitting Fire.” Dr. Robynn speaks about Filipinx and colorism with Dr. Joanne Rondilla.   LINKS Dr. Robynn, The People's Professor   SHOW TRANSCRIPT [00:00:00] Opening: 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.   [00:00:35] Miko Lee: Welcome to Apex Express. I'm your host, Miko Lee, and tonight we get to hear the podcast from Dr. Robin Rodriguez called Spitting Fire, and I'm so excited for you to listen to it. Check it out, and if you wanna hear more, we're gonna link in the show notes an earlier interview I did with Dr. Robin Rodriguez. So please listen to Spitting Fire with Dr. Robin   [00:01:01] Dr. Robyn Rodriguez: I can't actually remember a specific episode when my parents or my Lola, who helped raise me, explicitly said, “Don't stay out in the sun.” But I always knew growing up that staying out in the sun was something I shouldn't do because being dark was something to be avoided. I remember being embarrassed by my mom who would bust out an umbrella on a bright and shiny day. “Mom, it's not even raining outside,” I remember complaining. I hated the big hats she would wear or insist I wear, or the comments of, “You're getting darker,” also in a disapproving tone. I remember, too, the high praises anyone with lighter skin was heaped, even when I didn't think they were that particularly attractive. Or how if my relatives knew someone was going to be marrying an American, basically a white person, they would exclaim, “Oh, they're going to have beautiful children.” When I brought home a hapa, a dude who was Filipino and white, I was told that if we got married, I would be improving the race. I've always known, whether I can remember being told, “Don't stay out in the sun,” that if there was a skin hue to aspire to, it was to be light.   [00:02:49] To be called mestiza was to receive one of the best compliments. To be a mestiza is always already to be beautiful. Of course, if anyone said I was mestiza, it was always qualified as mestizang morena. That is, someone who exhibits certain types of physical traits that are associated with a mestiza, like having a more pointed nose or being slightly taller than the average Pinay, but not the lighter skin of a genuine mestiza. So that's why I was sometimes called mestizang morena. Still meant as a compliment. After all, I could still enjoy the privilege of being associated with mestizaje, but only partially So many Filipinas in the diaspora, especially those of us who live in white settler colonial societies like what we now know as the United States as well as Canada, so many of us share experiences similar to the ones I've experienced.   [00:03:58] My dear friend and colleague, a fellow sociologist, Dr. Connolly De Leon, who currently teaches at Ryerson University in Canada, made this shared experience a topic of study in her book chapter, “Mas Maputi Ako Sa'yo,” I'm Lighter Than You: The Spatial Politics of Intraracial Colorism Among Filipina-Filipino Youth in the Greater Toronto Area. It was a chapter that was part of the very historic anthology, Filipinos in Canada: Disturbing Invisibility, edited by Roland Coloma, Bonnie McElvaney, Ellen Ethel Dongohan, John Paul Katungol, and Lisa M. Davidson, and it was published in 2012. Now, I've taught, uh, Dr. De Leon's chapter, Connolly's chapter, in my Filipino American experience courses in the past, and it's always, always deeply resonated with my Filipina students. In Dr. De Leon's chapter, she starts off with a quote that so many of us are familiar with in some way. She writes, quote, “You're so dark. Yuck.' My cousin would say to me in disgust as she would place her forearm beside mine to compare her light skin to my dark skin.” End quote. Dr. De Leon continues, quote, “As early as the age of four, as early as the age of four, I was taught to feel ashamed of my complexion. I did not understand what was so shameful about being the particular shade of brown that I was.” End quote. The shaming that Dr. De Leon and so many of us experience comes from colorism, which scholars define as the discriminatory treatment of individuals falling within the same racial group on the basis of skin color.   [00:06:01] On this episode of Spitting Fire, Dr.- Doctora Robyn Speaks, you'll actually hear less from me and more from yet another friend and colleague, Dr. Joanne Rondilia, who I recently hosted as part of a lecture series jointly sponsored by the Bolosan Center for Filipinx Studies, of which I serve as the founding faculty director, and the School for Liberating Education, my platform for offering Filipinx or Filipinos and ethnic studies courses that are often only available to those who happen to be able to get accepted into the four-year, often elite institutions where they are taught. It's where I get to teach all of these amazing courses that I think all of us should have to the broader community. Dr. Rondilia has researched on colorism in the Philippines and the diaspora for over a decade. It was a topic of her 2012 dissertation, which was entitled Colonial Faces: Beauty and Skin Color Hierarchy in the Philippines and the United States. In her 2007 book, co-edited with Paul Spickard, entitled Is Lighter Better? Skin Tone Discrimination Among Asian Americans, she explores colorism as a phenomenon that no- not only plagues Filipinos, but Asian Americans actually more broadly. So now I'm gonna turn to Dr. Rondilia and her lecture entitled Don't Stay Out in the Sun: Understanding Filipinx and Colorism. Go ahead, Joanne. Take it away. So happy you're here.    [00:07:44] Dr. Joanne Rondilla: All right. Thank you so much, Robyn. It's, uh… Do you mind if I call you Robyn? Shall I call you Dr. Robyn?    [00:07:50] Dr. Robyn Rodriguez: Oh my God. You only know me as Robyn. Okay.    [00:07:56] Dr. Joanne Rondilla: I will call you Robyn, but everybody else, you, you are required to call her Dr. Robyn- … Queen Robyn. You know, that's, that's how. But it's, it's such a, a joy to be here. Um, you know, before we opened the doors, uh, Robyn and I were talking about, um, you know, what it is to be an academic and the type of language and, and spaces in which we share our research. And I think one of the things that's really hard, especially for the soul of a lot of, uh, academics, is that we… it's so rare for us to really share our research, uh, with the community, right? ‘Cause I don't think of myself as a researcher. I think of myself more as a, a storyteller Right? And I think that that's really, uh, when students- when I have students who refuse to, like, engage in research, I try to remind them, like, research is not… I don't think of research as, uh, sort of like the white person's, uh, uh, game. I think of research as something that is connected to us, um, and it's our birthright. It's our ancestral birthright, right? Because storytelling is our ancestral birthright, and that's the lens in which I come into, uh, to exploring this issue of colorism.   [00:09:15] So show of hands, for those of you in the room, I'm curious to know how many of you were told, uh, were, were told this: “Don't stay out in the sun or you're- or, or else you'll get too dark.” How many of you were raised with that sort of mantra? Yes. Right. I, I almost feel like these words, uh, are so quintessential to the Filipino experience or the Filipinx experience. Like, “Don't stay out in the sun or else you'll get too dark.” And I'm someone who, I was born and raised on Guam, um, and so everybody on Guam is dark because we are always out in the sun, right? And my mother is very light-skinned. Uh, she came from a middle-class family from San Pablo City in the Philippines. My father's from Lucena, and he ca- he grew up poor, uh, and rai- was raised by a single mother. And so m- there was this definite class difference between my parents, uh, but there's also a, a skin tone difference between my parents. Like, my dad was someone who was very, very kuripot. He was very cheap, but he had this great love for my mother. Um, you know, and I think part of that was he saw her as like, you know, this, this wonderful, like, prize almost, you know. Because she came from a well-to-do family, and, you know, when they got married, her family did not want them to get married because, uh, he was not wealthy. But he was someone who, because he works on Guam as an engineer for the government of Guam, uh, and, and the US military, like that sort of… and, and he had, uh, I think in total like 13 deeds to his name. That's sort of what eased my, my mother's family into, you know, being supportive of their marriage. But there was… And, and on my mother's side of the family, this is a family, and mind you, I love them very much, but this is a family that, um, values beauty a lot, right? My mom and my aunties were all some form of provincial, uh, beauty queen And so this is why me and my brother and my sister were always told, “Don't stay out in the sun or you'll get too dark.” Because the idea was you had to preserve whatever, whatever it was our mother gave us, right? Even though, um, you know, like, uh, you know, even though, like, members of her family say didn't, didn't necessarily find us attractive , you know, the idea was, like, you know, as children of this, this woman or as chil- as, as, you know, members of this particular family, you had to, um, you had to sort of preserve yourself.   [00:12:18] So as a young kid growing up on Guam, I always wanted to go swimming, uh, 'cause my, my neighbors across the street, actually one of them, uh, represented the island of Guam, uh, during the 1988 Olympics in, in Seoul, right? So I always wanted to go swimming. I wanted to learn swimming, but my mother wouldn't let me because I would get too dark And so that, you know, like, there, there was so much of our lives that were limited because of this need to preserve beauty. And this is how I entered the research, uh, the exploration of colorism. So very quickly, for those of you who do not know what colorism is, simply put, colorism is a looks-based or, you know, um, you know, physical look, a looks-based system of discrimination where light skin and Eurocentric features are favored over darker skin and non-Eurocentric features.   [00:13:13] These discriminations typically occur within the same racial or ethnic community. Uh, the term colorism was coined by, um, the writer Alice Walker. And when she first started writing about colorism, she was talking about, she was talking about colorism in a very intimate way. She was talking about the way in which lighter-skinned Black women evoked pain, right, uh, onto darker-skinned Black women. And so this is where she comes up with this term called colorism. Colorism is intimate. It happens within the same racial or ethnic group, typically. And the reason why I say typically is because, um, in our society, we live in a very colorist society. So I'm sure some of you, and you can throw up reactions, some of you know people, may be related to people who say, “I'm not a racist. I don't have a racist bone in my body, in my body. I love Black people. I listen to Beyoncé. Halle Berry's my favorite actress.” Like, you know, they'll go on and on and on about how they're not racist. But when you look at the patterns of what they deem is attractive or, um, sort of civilized among, uh, the Black or African American community, they always resort to people who tend to be, like, lighter skinned, right? And that's also a way that, um, colorism manifests itself. It starts in the intimate space, but it manifests itself in a much larger, um, you know, in a much larger sphere. So for, um, the Filipinx community, when we look at popular culture, right? And, um, I don't know if any of you have heard of the show or are watching a show called, uh, The Cleaning Lady It's a new show that was, uh, it just premiered last week through Fox. And The Cleaning Lady, the reason why this is really big for, uh, the Filipinx community is because the… It, it's supposed… It originally was supposed to be a Filipino storyline, right? And it was a way to sort of introduce, uh, you know, Filipinx characters in the public sphere. But what happened was S- Shannon Sossamon, the actress Shannon Sossamon, uh, was originally slated to play the main character, who is an undocumented, uh, Filipina maid, right? But something happened during the initial table read, so they end up casting Elodie Yung, who's, uh, French Cambodian. So they changed the character a little bit, but when you look at the setting, it's set in Los Angeles. It's really a Filipino family. And my argument when I look at popular media and colorism is that oftentimes in popular media when they're trying to introduce Filipino, Filipinx characters, it's done through the mixed race body. It's done through a mixed race person, right? So for those of you who may be familiar with Shannon Sossamon, she's mixed race. She's a mixed race Filipina, but she's very white-passing, and it's usually mixed race white-passing or mixed race white-pleasing, what I call white-pleasing, uh, Filipinos that popular culture suddenly becomes interested in us, right?   [00:16:45] And that's what we see in a show like The Cleaning Lady. In the next few months, I think Jo Koy, uh, is going to have a movie called, um, I think it's called Easter Sunday. And again, Jo Koy, very Filipino, right? It, it's ingrained in his comedy. But what makes, what allows his fame to happen in the United States is that he's very white-passing and white-pleasing, very different from someone like a Rex Navarette, whose career is much longer, right, than someone like a Jo Koy, right? So there's definitely colorism at play, right? But when we're looking at the intimate spaces, the way colorism plays out in the Filipinx community, it's the lighter skinned Filipino discriminating against the darker skinned Filipino. In the Asian American community, it's the Chinese person discriminating against the, the Cambodian person, right? So there, there's these different levels of, of colorism at play. Colorism, um… It's important to know that colorism is the discriminatory system that makes anti-Black and anti-Indigenous racism exist. It actually maintains anti-Black and anti-Indigenous racism. And the reason why this is important is, one, when we look at anti-Black racism, and you, you're hearing this a lot, you know, um, either in academic circles or even in, uh, sort of, um, more popular conversations. I feel that it's important to talk about anti-Black racism in conjunction with anti-Indigenous racism because they happen hand in hand. And when we look at the founding of the United States, for example, the founding of this country happens through the genocide of Indigenous peoples as well as the enslavement of African peoples. So they're not separate. They come together. And so when we're looking at colorism, the system of colorism, right? Colorism is what, is what allows anti-Black and anti-Indigenous racism to exist Um, what makes, um… And, and, and we see this through the different, uh, colonial periods of the Philippines. There's something very distinct about colorism in the Filipinx community, and it really has to do with our, um, our, our colonial history.   [00:19:25] And so on the worksheet, there's just a very sort of like quick and dirty kind of list of like these three major periods of colonization in the Philippines. What I really wanna ta- uh, point to is the role of the Chinese throughout these historical periods in the Philippines. Because, um, typically when you talk about colorism, uh, colorism is most prevalent in, um, the African American community and the Black diaspora. But there's something very distinct about Filipinx colorism, and it's that our notion of lightness is defined by Eurocentric standards of beauty, right? And this is because of Spanish colonization. But it's also defined by Chinese standards of beauty or East Asian standards of beauty, and this is because of the positioning of the Chinese throughout these colonial periods. Because the Chinese, um, historically were the, um, were the merchant class, they were often elevated above indigenous Filipinos, right? And so that's why today in the Philippines when you see people who are in power and you look at the mixed race or mestizo, you know, uh, the mixed race people who are in power in the Philippines, they're often, uh, mixed race Chinese, right? And that's because of the, the legacy and the presence of Chinese in the Philippines. And so it's, um, it's, it's the history of the Chinese in the Philippines, th- these notions of Chinese lightness that really make colorism in the Philippines and among Filipinx very distinct. Uh, it's a very distinct conversation.   [00:21:14] Um, uh, I wanted to pause and say if you have any questions or if I'm going too quickly, feel free to, you know, put this in the chat, and I will try to address it, um, as I go along. Um, in– At the beginning of the talk, I asked how many of you were told, “Don't stay out in the sun.” And for those of you who said that you were told this, by show of hands, how many of you heard this in the context of family? How many of you were told this in the context of friends or any other intimate, uh, setting? ‘Cause oftentimes these messages are circulated among the family. And so When w- uh, and again, like colorism, you know, relative to racism, colorism has a very… There is this intimate aspect because oftentimes how we understand our own value and our own self-worth has to do with the messages that are articulated in the family, right? So, uh, one of the interviews that I had conducted, uh, was this, with this woman who when I conducted the interview, this was in the Philippines, and she worked in the entertainment industry in the Philippines. And she, um She, uh, had talked about how her lola would address her and her cousins. So the woman I interviewed, very light skin, light eyes, light hair, and that's why she's an entertainer in the Philippines.   [00:22:47] She's a model, and at the time she was hosting a television show. And she said that growing up, her lola always called her Miss Universe, right? And it was because of the way that she looked. Her lola would call her cousin, who was, um, like Spanish mestiza, sh- so, uh, this person who I called Tyler, Tyler was Miss Universe. Her cousin was Miss Philippines 'cause she was mestiza, and then Tyler's sister was Miss Cebu. So here, you know, like… And this is very blatant, and I'm not saying that all families are like this, but here you have this very explicit example of, a lola articulating the differences between these three young girls. Queen of the universe, queen of the Philippines, queen of the province. And in her interview, Tyler had said, “Yeah, it was very clear that Lola had her favorites, and it was in the way that she designated you in this spectrum of, like, these sort of beauty queen titles,” right? In another interview that I had, uh, conducted there, and this was an interview here in, um, the United States, uh, I- in the research I called her Milen. Milen talked about how whenever there was a dance or prom or something like that, there was this whole process of, you know, her and her brothers having to go to Lola's house so that Lola could see, you know, what everyone was wearing and that there could be pictures. But what was very clear was, um, Milen's youngest brother was clear…   [00:24:29] You know, her words were, “He was clearly not a favorite,” and this was largely because he was darker. He was often omitted from the photos. Um, Lola didn't really care about what he was wearing and things like that. She always put attention to Milen, who was very light-skinned, uh, and her two brothers who are also very light-skinned. So there's a very central role in which the family plays in how we understand, um, colorism and how we understand personal value And so as I was, uh, exploring this, uh, in sociology there's a term called the beauty cue, and the beauty cue is a system of classification. It's a societal system of classification that classifies women from lightest to dark to, you know, from most valuable to least valuable. And so what I did using this theory that Margaret Hunter had wr- uh, she wrote about, I added to this conversation by talking about the intimate beauty cue, because the beauty cue itself is about a societal, uh, a societal structure, but the intimate beauty cue is how we understand our value, how our notions of beauty are created in the most intimate spaces.   [00:25:47] And the reason why this is important to look at is because I think each and every one of us can, um, we can look at the TV and we can look at societal messages and say, “Yes, that's how society understands beauty, but that's not me because I'm my own person.” But in the intimate space among family and friends, when you're getting the messages that you're not beautiful or you're not valuable and it's coming from an unconditional love space such as the family, therein lies the problem and why colorism is such an intimate issue, because these are messages that are articulated by people, usually by people that you love or by people that you're closest to.   [00:26:35] There is a gendered aspect to colorism. Women in families are often seen as being more responsible for, um, you know, for beauty or engaging in beauty practices over men. However, men do… You know, like, there is some pressure for men Uh, when we look at colorism in popular media, again, in the US sphere, the few chances we get to see Filipinos or Filipinx in popular media, they are oftentimes light-skinned, mixed-race people, such as, and again, the example of, um, The Cleaning Lady. We have the example of Jo Koy and his future projects. It's not until we get into the independent sphere that we can see more variation. But when major institutions such as, uh, a Fox network or Netflix is trying to introduce a public to the Filipinx community, they're gonna go with what they feel is safe, and it's usually someone who's light-skinned, someone who is white passing, someone who's white pleasing, right? You know, there is something about, uh, the way in which popular media uses the mixed-race person or the mixed-race body. When you look at skin-lightening advertisements, oftentimes it's a mixed-race person that is being used to model such products. Uh, this is over t- I think it's over 10 years ago now. Um, there is a company in the Philippines called Glutamax, and when they launched their line, they used a mixed-race, um, Black Filipina model named Jinkee Oda.   [00:28:27] And what they did was they showed the sort of before and after, and one of the taglines in the advertisement in Tagalog, it said, “You could be white like me,” because it showed this progression of her being dark-skinned and then being light-skinned. And again, like, here for this particular, um, product, you're seeing the usage of, um, you know, that, that progression. It harks to very old, uh, beauty advertisements that, um, sold products specifically to Black women, um, you know, especially skin-lightening products to Black women. So there's, there's a way in which the mixed-race person is often used to sell beauty, to sell product, to sell, to sell us our notions of, um, lightness Having said that, I'm not trying to demonize the mixed race person. I, you know, I, I don't think it's fair to, um, I do not think it's fair to, for example, um, boycott Jo- Jo Koy because he's so fair, right?   [00:29:35] Or, um, yes, I love that comment, how we lift up Olivia Rodrigo, but our love for her or Saweetie is very, is, it's fairly limited. Exactly. You know, um, you know, like, I, I don't want to attack the person, but if you're light, you cannot… You, you have to recognize the amount of privilege that you have, right? Um, and then when we're looking at skin lightening products, again, like this is a global, um, this is a, you know, a multi-billion dollar global industry. Um, in 2018 it was valued at 8.3 billion. 2022, those numbers have gone, have gone up. Um, and as of late there has been a lot of talk about, uh, skin lightening products for various reasons. Globally it's because that market is so high, but here in the United States this has become an issue because skin lightening products and the usage and sale of skin lightening products has actually reached our policies.   [00:30:41] So for example, uh, the CARES Act. Um, because of the work of… Excuse me Because of the work of Ilhan Omar in the CARES Act, what, um, what was able to happen was the enforcement of the usage of a particular ingredient called hydroquinone. So this ingredient, uh, it's a derivative of mercury, which is very harmful to the skin. Um, this is a very popular ingredient that is used by a lot of, uh, skincare professionals. Now there's an enforcement about how you can buy or have access to this particular, uh, ingredient. So skin-lightening products and the, the conversation about skin-lightening products has been a huge issue as of late. Um, I wanna end with two thoughts, and it's this. I want you to, to reflect, and I know this was a lot of me talking. I want you to reflect on the way in which we articulate ideas of colorism on a daily basis. I want you to think about, you know, just, uh, a few weeks ago, for those of you who may have gathered with family, what are the ways in which you've heard these, you know, certain ideas about colorism articulated? It's often, “Oh, this, uh, this person is so beautiful.” Sometimes there's a comparison of children. Sometimes when you're greeted by the people you love, there's comments about, oh, how dark or light you've gotten. Um, included in the conversations about colorism is body size, how much weight you have or have not lost. You know, um, the, this is all part of the c- colorism conversation. There's a daily… There's a way in which we articulate ideas of colorism on a daily basis. I want you to reflect on, um, the beauty practices that we engage in, you know? If we… You know, like, if I dye my hair blonde or if I wear, you know, green contacts, what is my reason behind it?   [00:32:50] Is it because I want to engage in a sense of play? Or is it because I'm trying to escape a part of my identity, right? These are, these are important questions for us to ask because these are the daily, everyday ways that we, um, sort of, we contribute to these ideas of colorism. Um, and that, um, I believe is connected to the everyday practice of anti-racism, right? Um, you know, it's important to understand that, like, there's no end because, you know, with respect to colorism, this is a systemic issue. And so what we have to do is tackle it piece by piece. Sometimes it's about the practices that we engage in, uh, individually, but it's also about the way in which we engage with the people around us. With respect to colorism, because it's so intimate, right, it's about having the hard conversations, um, with the people that we love the most, right? Our friends and family    [00:33:55] Dr. Robyn Rodriguez: Thank you so much. Thank you so much, Dr. Randilia. You know, I actually have a, a question. I'm wondering, Jo-Ann, do you feel, especially with increasingly more, um, kind of mixed race, uh, especially kind of Black and Filipinx, um, figures, um, you know, uh, in popular culture, is your sense that there is a shifting around colorism, um, or not?   [00:34:28] Dr. Joanne Rondilla: I think that there's small shifts, right? So I think of, uh, for… And I'm looking at the com- the comment, the Magandang Morenx, and then also, you know, we, we do have like, um, you know, the, the Black and Filipinx sort of mixed race entertainers like her and Saweetie. Um, also, uh, there's some no- notable athletes that are Black and, um, Filipinx. Like, I think of, I think of their popularity as moments as opposed to actual, like, movements, right? And the reason being is because white supremacy is so prevalent, it's going to take so much to dismantle that system, right? The magnitude of, of white supremacy is, is beyond anything that we can, you know, like, we can quantify, right? And so, um, I, you know, like, so I, I think of, uh, I, I think of something like the Magandang Morenx movement, I think that they're important. I, I think of them more as moments because… And it's not because, uh, they're not powerful. It's because white supremacy is just so prevalent, right? Um, and so, and I, I don't mean to be the pessimist in, in that, you know.   [00:35:50] Um, I think the way that we, the way we move forward is to do the heart and soul work, right? To do the anti-racist work, to recognize the ways in which, um, we contribute to anti-Black and anti-Indigenous racism, but to make the conscious decision that this is gonna, like, I, I'm going to work towards eradicating it e- while knowing that eradication may not happen in your lifetime. And I'd hate to be the pessimist. It's not gonna happen in our lifetimes. But our jobs right now is to plant the seeds towards that vision, right? It's to plant the seeds to make these moments the actual movement, to make it so overwhelming to white supremist systems that white supremist systems have no choice but to go away. But it takes so much, um, so much seed planting. Um-    [00:36:49] Dr. Robyn Rodriguez: So Joanna, it looks like there's two questions that are sort of interrelated, and both, I think you probably saw them, um, kind of connect with concretely, you know, some ideas around or strategies around addressing, um, both colorism and anti-Blackness in the intimate space of the family or among friends, et cetera.   [00:37:10] Dr. Joanne Rondilla: Okay. Think that is an excellent, uh, question and something that I have grappled with and, you know, is very close to my heart. The first thing I'll say is there's no easy way to bring this up with family and friends, right? Especially, you know, um, in our families, especially in our respective families. Um, how… I mean, you know your moms and dads, you know your lolas. You, you know them, and you know they're hella stubborn, right? Like… And so the advice that I have is this: It's impossible to change someone's mind. What you can do is model certain behavior, right? What you can do is model certain language, right? And that alone will speak volumes- Yeah because you are not gonna change, you know, maybe you're not gonna change, like, your lolo or lola's mind. But the people around you are listening. And so here, here's an example, right? Um- W- uh, for me, e- especially in, like, having these conversations with my mom, because she's very much the driving force, uh, for a lot of the research that I do, you know, um, I know my mom, and I know that if I make her feel like crap, like if I make her feel stupid or if I make her feel like, um, what she's saying is old and antiquated, I, I know that I'm not gonna get through to her.   [00:38:36] So what I had to do with my mom was event- was create a love language of understanding, right? Because by creating a love language of understanding the ways in which, like, some of her comments have hurt me, when I started to actually honestly articulate my pain, it's not that my mom let go of some of these ideas, but she started to create an understanding of the impact of her words. And what that did was it changed the way she would… Like, she wouldn't say the things she would say. She wouldn't tell me how dark I was. She wouldn't make comments about, like, me being fat or whatever, right? Because she understood, she understood the impact of that. And as I started to, to realize, like, okay, we may not come to an agreement, but there's a love language that we can speak to, that's how I started seeing changes in, in the way that we interact, right?   [00:39:33] Um, and so you can't change someone's ideas, but what you can do is plant seeds and sort of, and really stand your ground in terms of how you feel about certain ideas, right? But you have to do that in a love language 'cause Filipinos, the language we speak is love, right? So that, I, I think that's, that's what's important. It- You have to understand that you may not change someone's mind, but you're also making it so that the people around are listening. ‘Cause I see the way that, like, my niece, you know, my nieces and nephews, they had just… They have such a better way of dealing with my mom when she would say terrible racist things, right? They had a better way of communicating with her and articulating their, their frustration and their anger, and it would change. It may not have always changed my mother's ideas, but it definitely changed her behavior, and it changed her consciousness, and I think that that's all we can really do, um, is develop that love language.   [00:40:39] Dr. Robyn Rodriguez: And if I may, if, uh, if I can just also add, you know, I, I, I think what you said is absolutely spot on and really resonates, um, Joanne. And, and I would add also, I think that there's something, um, really important about how these broader social movements can also-    [00:40:55] Dr. Joanne Rondilla: Mm-hmm …    [00:40:56] Dr. Robyn Rodriguez: become so important. I mean, so just in my own family, you know, my eldest was, uh, biracial, Black Filipino. And, um, of course, having a biracial, uh, grandson didn't necessarily mean that my mother could also grapple with her own deep anti-Blackness. Um, and it was always a struggle. And, and I agree with Joanne. Sometimes, you know, it is really understanding the particularities of the, of your own dynamic with, with specific intimates in your circle and understanding that certain kinds of lo-lov-love languages open up possibilities for conversation whi- whereas other approaches close off. But I do have to say, you know My mother, you know, is going to be 79. It really took, it took all the movements that happened- Mm-hmm … in response to the George Floyd murder, it took all of the movements around anti-Asian hate for my mother for the very first time, and this is some- You know, I'm her daughter. I've been teaching around race and talking about race. I, you know, I, I produced a biracial grandson for her, right? Um, and it– we could never have real frank conversations about white supremacy, could not really touch it, you know? There was a way that my mother didn't want to, to name white supremacy as something that actually shaped her life. And, you know, those are really com- there may be complicated reasons for that, but being able to name that was always really, really hard. Talking about anti-Blackness was hard. But all of those movements did something for her, and it shifted things in ways that I thought w-were going to be impossible at, by the time- Yeah you know, in her period of life. And not only did she– was she able to have some real kind of honest conversations, but she actually became a kind of advocate, and then used her own platforms to start conversations about white supremacy, um, and kind of race in our community. So I guess that's to say that it's not entirely hopeless, you know?   [00:42:57] I think- Yeah … it is true change can be slow. It can be incremental. It comes in these gentle kinds of ways, um, over time that require a lot of love and patience. And couple that with, I think, also kind of these movements that are also equally invi- uh, important to grow, um, that together that you can see change is, is really absolutely possible. Um, so, you know, just to kind of share that. But it, it is. You know, it's so hard 'cause even within a family where there are biracial, uh, family members, right? It– that isn't itself even going to necessarily change even when they have, right, a loved one, um, that ought to be- Yeah … challenging that for them.   [00:43:44] Dr. Joanne Rondilla: Yeah, absolutely. And I think, too, um, you know, another thing that helped me, especially, you know, like with my mom… So when I did the research, I did spend some time in the Philippines, and my mom came with me, right? So seeing my mom's very light-skinned, um, you know, uh, Filipina navigate the Philippines. And so I just wanna say for the record, I know I look really light, and it's because we're in COVID, and your girl has not had some sun, okay? Like just, just so that… ‘Cause I'm looking at them like, “God, yeah,” like I know I look light. I swear, you know, I'll show you pictures. But, you know, um, I, I didn't– At the time when my mom came with me to the Philippines, I did not realize how important it was for me to observe her in the Philippines because I was able to get these glimpses of my mom before she was a mom, right? And I was able to understand, like, okay, like… So one of the sort of things that I learned was, like, all these hurtful things that, like, my mom would say to me about the way that I look and what have you, I learned that part of the reason why she leaned in so hard to, with me is because when we would travel, you know, like go around to, like, malls or whatever in the Philippines, people would always tell her, “Oh my gosh,” like, “your daughter looks just like you.”   [00:45:09] And, like, if my mom were sitting next to me, and you can see this in, like, uh, photos with the two of us, like she's very vanilla, and next to her I look like burnt caramel. And I think that there was something about the embodiment of my body size, 'cause I'm big, you know, and, and my, my darker skin tone. It's almost like I was the physical embodiment of everything that she had feared and everything that she was told you should not. And for her, it was confronting, like, I gave birth to this, to this person who's everything that I, you know, that I was told was wrong, right? And so I think I, I… You know, like just watching her navigate, I began to understand, like, the context in which she was raised. I, I started to understand the messaging that she, uh, was, was given. Because when I finished the dissertation, I, I felt like I finished the dissertation at a place where I could actually forgive my mother for all the things that she would say about me. I c- I could forgive her for, like, the comments that she would make because all those things that she imposed onto me was a product of her own pain, and I was able to have something that she did not have, which is a sense of healing. ‘Cause until her very last breath, she was so trapped by these notions of beauty. She was so trapped by needing to be beautiful because this was the constant messaging that she was given, right? And so What we can offer, you know, and the way that we, um, the way that we engage in our sense of healing, especially with the people that we love, really comes down to I know that when my mom left the world, I planted all the seeds that I needed to plant in her, right? I know… Sorry. I know that I have this healing, something that she could not have. I know that her grandchildren don't have to suffer the pain that she did. So I think understanding our family, right? Understanding, like, um, you know, uh, the people, our family and friends, understanding them in that respect, putting into context the reason why they do the painful things we do, choosing how w- choosing the way in which we heal from the things that they did to us, that's all we can really do, right? And all of this, I think, and I'd hate to sound so cheesy but all of this is encased in, like, this deep, profound sense of the love that we have for ourselves, the love that we have for each other. In the midst of confronting immense colonial legacies that time and time again tell us that we are not worth it, right? If we can find that light, and if we can find that value, and if we can share that value with the people around us, that's all we can really do.    [00:48:20] Dr. Robyn Rodriguez: Joanne.   [00:48:25] Thank you.    [00:48:26] Dr. Joanne Rondilla: Sorry about that.    [00:48:27] Dr. Robyn Rodriguez: You don't have to apologize. I think that's one thing about this space, Bulosan's space, the School for Liberating Education, is we all do this out of deep, deep, deep love, right? That that's the whole purpose- Yeah … of being able to host, um, share s- to create space like this, to share space like this. Um, we all know, um, people like you, me, uh, those of us who chose this path into academia, we didn't do this because we wanted to produce knowledge for an institution that wasn't built for and by us.    [00:49:00] Dr. Joanne Rondilla: Mm-hmm.    [00:49:00] Dr. Robyn Rodriguez: But it was precisely to produce knowledge that could heal and liberate our people. Yeah. And so, you know, so appropriate for you to feel all of those feelings, and that's why it was so important to have you here, because this is such, uh, for so many of us, a deeply, deeply hurtful kind of… We s- we struggle with this, and I think what I-    [00:49:25] Dr. Joanne Rondilla: Mm-hmm …    [00:49:26] Dr. Robyn Rodriguez: What's so valuable, what you bring to the table is it's so much more complicated than the colorism. There are all of the ways in which colorism intersects with class, intersects with body. I, I mean, you know, even the whole notion of, like, the magandang morenx. I mean, you know, that there are even these fine distinctions that exist in the Philippines about the morena mestiza. You know? Like, that was, like, the, the way that I would get, like, weirdly, like, sideways complimented. Like, “Oh, she's a morena mestiza, though,” you know? Mm-hmm. What does that mean? But, you know, our bodies, um, are subject to such scrutiny within at least that context, and even in this context, right? We're constantly dealing with… We're actually dealing with multiple contexts, right? Contexts, Filipinx folks in the diaspora, where our bodies are subject to examination and evaluation- Mm-hmm … every single day, and we subjected ourselves also, our bodies to- Yeah … these valuations all the time. And, you know, um, and we do this work because we're trying to find, you know, a way out, right?   [00:50:29] A way, um, to heal all those, um, bits of hurt and brokenness and, you know- I mean, thank you so much, uh, Joanne, for not just sharing your amazing research, but also your heart with us. And I think I can m- I can feel that, um, people came away with, uh, from today with just that much more, um, just healing. And, you know, that's the point. That is why we do what we do here. Yeah. Um, uh, that's why we created, uh, the Balosan Center and, um, why I launched the School for Liberating Education. Um, this is the whole, this is the reason why we do this. And so I, with that, I do wanna thank everybody for joining us, um, and, you know, really invite everyone to continue to follow, uh, the work, um, that we're doing at the Balosan Center, what we're doing at the School for Liberating Education.   [00:51:27] The next major thing actually is next week. So my next book is coming out, um, on Asian American activism. Uh, it's actually really cool to talk about coming full circle, Jo-Ann, because basically this is a collab between our professor, our old professor, um, when we were undergrads at UC Santa Barbara, Diane Fujino and I, um, ended up collaborating on a couple things, and this is the latest collab, which is a anthology on Asian American activism. And one of the things I'm doing is launching a mini course, um, on Asian American activism, uh, that's based on the book, but also stuff I've done, um, on activism. So next week, I guess on Thursday, we're officially launching, um, the, the new, uh, the registration for the new course. And so we're launching it with this conversation I have with, um, Art Nagin Concordia, who is the godfather of ethnic studies in the K through 12 system, basically the ninong of ethnic studies in K through 12. Uh, was one of the key authors for the ethnic studies model curriculum and does m- uh, ethnic studies work at Santa Barbara, actually, also with Diane. So anyway, um, that's coming up next week. But do keep following, um, you know, the, the work that we're doing. This is, uh, you know, such important work, um, supporting our scholars and our artists, our community historians. And again, thank you so much, Jo-Ann. Yeah, no. I really think we have our real, real conversation. ‘Cause one of the projects I always wanted to do is, uh –    [00:53:09] Dr. Joanne Rondilla: Yes.    [00:53:09] Dr. Robyn Rodriguez: No, thank you … a podcast that gets real, real, like real, real. Yes. Like, let's really talk about-    [00:53:13] Dr. Joanne Rondilla: Just so you know, you're- … those    [00:53:14] Dr. Robyn Rodriguez: real stories …    [00:53:15] Dr. Joanne Rondilla: you're looking at, like, 25 years- of friendship, so I know lots of, uh, Robyn's secrets. I have lots of pictures 'cause I- Yeah. Oh, my God … was very good at documenting these things.    [00:53:24] Dr. Robyn Rodriguez: You, you did that photo shoot of my… I think you did a before and after of my ja- my, my, my eyebrows.    [00:53:30] Dr. Joanne Rondilla: I have a photo of you, like, in a, in a, like, a face mask.    [00:53:34] Dr. Robyn Rodriguez: Yes. Yes, yes. You can- So- If, if, if I look this good coming on 50- … it's because Joanne taught me about makeup and skincare regimens.    [00:53:46] Dr. Joanne Rondilla: Well, I'm gonna, I'm gonna launch a course on my skincare regimen.    [00:53:51] Dr. Robyn Rodriguez: Oh my God.    [00:53:54] Dr. Joanne Rondilla: Skincare after your 30s, right?    [00:53:57] Dr. Robyn Rodriguez: No, seriously, I'm about to launch, I'm not, I'm not even joking. I'm totally launching a whole, uh, journey to 50, so y'all can come because I, I'm, I'm, I'm going. I'm getting there. As of next, or the week after next, it's T minus 365 days to 50. So join in the fun. Anyway, Joanne, it's so great to see you. I wish I could give you a big hug. Uh,   [00:54:21] Dr. Joanne Rondilla: well, we'll see each other soon hopefully.   [00:54:23] Dr. Robyn Rodriguez: I can't wait to, like, really break bread with you because- Yes … you know, I always know I eat well when I'm with you. Like, I r- I will still- I still dream about the ice cream, that homemade ice cream you make. Like, nothing compares ever again to the ice cream that I consumed that you make. So thanks again. Thanks everyone.    [00:54:43] Dr. Joanne Rondilla: Thank you so much everybody. Hope to see you. Thank you.    [00:54:58] Miko Lee: Please check out our website, kpfa.org/program/apexexpress to find out more about our show and our guests tonight. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preti Mangala-Shekar and Swati Rayasam. Tonight's show was produced by me Miko Lee, and edited by Ayame Keane-Lee. Have a great night.   The post APEX Express – 8.27.26. Dr. Robynn's Spitting Fire on Colorism appeared first on KPFA.

Recessions, trade wars, labor unrest — in moments of societal crisis in the United States, Asian-Americans have been perennially targeted, from the destruction of Chinatowns by white mobs, to the mass internment of Japanese-Americans during WW2, to attacks against Asians during Covid. Historian Scott Kurashige reflects on more than 175 years of anti-Asian violence and its connection to U.S. empire abroad and a divided working class at home. (Encore presentation.) Scott Kurashige, American Peril: The Violent History of Anti-Asian Racism UC Press, 2026 Photo by Jason Leung on Unsplash The post U.S. Capitalism, Empire, and Anti-Asian Violence appeared first on KPFA.

Stephen Nelson has been a part of the Dodgers broadcast team since 2023 when he became the first Asian American play-by-play announcer in MLB historySee omnystudio.com/listener for privacy information.

Today we talk about workplace drama! We dissect the different types of "drama" that happen in the workplace, and discuss how gossip in the office can enhance or detract from the work experience.Support the showFollow us on social media @eatyourcrustpod

Definitely another "pinch me I must be dreaming" episode. Being one of the only Asian American students in my college's theater department in the 90s was isolating. There were very few roles for me, so I leaned toward playwriting. David Henry Hwang was a guiding light for me. He had just won the Best Play Tony Award a few years earlier, proving Asian Americans deserved a seat at the table. He changed the face of American Theater forever, helping all of us see what was possible.  Joining me in a chat with David Henry Hwang is our former guest, Michelle Krusiec! Michelle is our stage and screen insider, and I'm so happy she introduced me to her friend David! Follow David Henry Hwang @thedavidhenryhwang, and Michelle @michellekrusiec Listen to all our episodes on Spotify, Apple Podcasts, or wherever you get your podcasts. You can write to us at: ⁠infatuasianpodcast@gmail.com⁠ or use our website https://infatuasian.com. 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 #asianamerican #infatuasian #representationmatters

Send us Fan MailThis interview was recorded this past spring during SFFilm Festival, and covers one of the most powerful documentaries we've seen this year year  — American Doctor . The film follows three American doctors  — Palestinian, Jewish, and Zoroastrian– as they enter Gaza to save lives, and ultimately risk everything to expose the truth. We sit down with director Poh Si Teng to discuss the urgency of this film, the importance of allyship, and why a film festival in Minnesota was her most powerful screening yet. To cap it all off, Poe drops the realest "This Bitch" ever.American Doctor is in theaters now! Find tickets HEREFollow American Doctor on IGFollow director Poh Si Teng on IGDonate to Dolly Parton's Imagination Library HERE. RIP to a true icon.

Stephen Nelson has been a part of the Dodgers broadcast team since 2023 when he became the first Asian American play-by-play announcer in MLB historySee omnystudio.com/listener for privacy information.

In this episode, I sit down with actor and filmmaker Gabriel Prevost-Takahashi, who recently brought Lieutenant Khettry to life in Season 2 of Netflix's Avatar: The Last Airbender. Gabriel and I get into the weeds on his approach to movement preparation, what music inspires him, and his deep respect for the stunt team—including his double, Alex Law—who helped make the Ba Sing Se action sequences so impactful. Beyond the choreography, we dive into our shared passion for history and representation. We discuss his upcoming project, Go For Broke, and the incredible, often-overlooked legacy of the 442nd Regimental Combat Team during WWII. I've been enjoying these conversations and hope you have too.  If you have, please rate my podcast on your platform of choice and share it with others!  If you would like to support with a donation to help keep this podcast going and support the work I do, you can become a patron of the show by visiting my website or Get more from Mimi Chan on Patreon. For comments or suggestions, reach out on social media @sifumimichan. Cydney Rose Photography About Actor Gabriel Prevost-Takahashi from FX’s Shōgun is currently promoting his role in the new season of Avatar:The Last Airbender which was recently released on Netflix. Alongside his acting work Gabriel is a filmmaker whose work explores complex characters and underrepresented histories. As a writer, Gabriel’s limited series Go For Broke, centered on the experiences of Asian American soldiers during World War II, earned third place in the Vancouver Asian Film Festival and Bell Media Series Development Program. Gabriel serves as co-founder and executive producer of Van-Asia Productions, with multiple projects slated for release in the coming months. Discussed in this episode: 442nd Infantry Alex Law – stunt double Hitler's Last Stand, National Geographic Make Us Visible Florida Make Us Visible https://youtu.be/7aFXWmo7-8I THE SIFU MIMI CHAN SHOW CREDITS Host: Mimi Chan Intro Music: Mike Relm Comment Rules: Be Cool. Critical is fine, but if you're rude, we'll delete your stuff. Please do not put your URL in the comment text and please use your PERSONAL name or initials and not your business name, as the latter comes off like spam. Have fun, and thanks for adding to the conversation! Disclaimer: I am not a writer. I do not claim to be.  Apologies for grammatical mistakes, long drawn-out run-on sentences, and anything else that drives you crazy. I promise it was not my intention.  Be lenient, please.The post 456. Gabriel Prevost-Takahashi on Avatar the Last Airbender first appeared on Sifu Mimi Chan.

Today I am delighted to talk with Professor Malini Johar Schueller about her new book, Teaching Solidarity: Critical Race Reading recently published by the University of California Press. We talk about the long history of anti-racist education and the attacks on it by the Right. In particular, we look at the onslaught of federal and state repression since the first Trump regime, and conservative incursions onto campuses take the form of surveillance of syllabi, classrooms, public events, and the establishing of conservative centers. We finish by talking about what Schuller calls critical race reading, a manner of presenting and discussing texts that develops an understanding of structural violence, and critical ways of engaging with literature that enables civil and political engagement. We press the point that these attacks, instrumentalizing the idea of student “discomfort,” severely underestimate students' hunger for knowledge and their ability to withstand so-called discomfort in the search for truth. Malini Johar Schueller is a professor in the Department of English at the University of Florida.  She is the faculty advisor for Students for Justice in Palestine and was the advisor for Jewish Voice for Peace and is a member of the organizing collective for the United States Campaign for the Academic and Cultural Boycott of Israel.  She is the author of several books including U.S. Orientalisms: Race, Nation, and Gender in Literature, 1790–1890 (1998), Locating Race: Global Sites of Post-Colonial Citizenship (2009), and Campaigns of Knowledge: U.S. Pedagogies of Colonialism and Occupation in the Philippines and Japan (2019).  She has co-edited Exceptional State: Contemporary US Culture and the New Imperialism (2007) and Dangerous Professors: Academic Freedom and the National Security Campus (2009). She is the director of an award-winning documentary, In His Own Home (2015) about police brutality and campus militarization, based on an incident at UF is available on amazon prime.  In 2019 she was selected to participate in a Faculty Development Seminar by the Palestinian American Research Council and traveled to the West Bank. Her latest book on activist pedagogy, Teaching Solidarity: Critical Race Reading was published by the University of California Press in April 2026.  Her essays have appeared in scholarly journals as well as in popular publications such as Counterpunch, The Orlando Sentinel, and the Sarasota Herald Tribune.  She teaches courses in comparative settler colonialism, including Palestine and courses in postcolonial theory, Asian American studies, and US imperialism. 

You're listening to American Ground Radio with Louis R. Avallone and Stephen Parr. This is the full show for Aguust 21, 2026. We open with a pointed examination of antisemitism and New York City Mayor Zoran Mamdani, arguing that his rhetoric and his choices—including naming zero Jewish lawyers to the judicial screening board despite roughly half of New York's lawyers being Jewish—amount to complicity rather than leadership, and we tie the discussion back to the unique historical and religious bond between the Jewish people and Israel. From there we hit the top three things you need to know: the Supreme Court allowing the Trump administration to continue East Wing ballroom and bunker construction, Aisha Wahab winning the special election to finish Eric Swalwell's term and becoming the first Afghan immigrant elected to Congress, and a Chinese national convicted of stealing his landlord's identity to illegally vote in Massachusetts during the 2024 election. We poke fun at Chicago's approach to violent crime, ridiculing the city's rollout of thousands of signs declaring that violence "will not be tolerated" as a substitute for real enforcement. Our American Mamas segment welcomes Teri Netterville to weigh in on sorority rush videos on TikTok, debating which style of content—natural, fun montages versus overly sexualized choreography—actually reflects well on the sisterhoods posting them. We Dig Deep into Bernie Sanders campaigning for Democratic Socialist Senate candidate Angie Nixon in Florida, arguing that a state built by anti-communist refugees from Cuba, Venezuela, and Nicaragua is uniquely hostile territory for that message. We also cover Seattle Times sports reporter Matt Calkins' resignation after his editors spiked his column defending the separation of women's sports from transgender athletes, using it as a case study in media cowardice. We touch on an Amherst College professor's book arguing Asian American success is tied to white supremacy, then run our Fake News Friday quiz covering stories on Natalie Harp, Alina Habba, Conor Kennedy's placement on a Russian most-wanted list, and more. We close discussing New York City's planned government-run grocery stores undercutting private businesses by 30% while simultaneously funding grants to keep those same businesses afloat, and a Moment of Whoa about Middleton, Idaho naming its new elementary school "Freedom Elementary." Listen now wherever you get your podcasts, visit AmericanGroundRadio.com, and join the conversation at 866-AGR-1776. See omnystudio.com/listener for privacy information.

Listen and subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, www.moneymakingconversations.com/subscribe/ or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Lorraine K. Lee. A LinkedIn Top Voice and author of Unforgettable Presence: Get Seen, Gain Influence, and Catapult Your Career. Hosted by Rushion McDonald, the conversation dives deep into the power of presence, personal branding, and workplace advancement in a digital-first world. Lorraine shares tactical strategies and career-transforming insights from her own corporate journey and bestselling book.

Listen and subscribe to Money Making Conversations on iHeartRadio, Apple Podcasts, Spotify, www.moneymakingconversations.com/subscribe/ or wherever you listen to podcasts. New Money Making Conversations episodes drop daily. I want to alert you, so you don’t miss out on expert analysis and insider perspectives from my guests who provide tips that can help you uplift the community, improve your financial planning, motivation, or advice on how to be a successful entrepreneur. Keep winning! Two-time Emmy and Three-time NAACP Image Award-winning, television Executive Producer Rushion McDonald interviewed Lorraine K. Lee. A LinkedIn Top Voice and author of Unforgettable Presence: Get Seen, Gain Influence, and Catapult Your Career. Hosted by Rushion McDonald, the conversation dives deep into the power of presence, personal branding, and workplace advancement in a digital-first world. Lorraine shares tactical strategies and career-transforming insights from her own corporate journey and bestselling book.

Today's guest is Joyce Tang, the founder and owner of Bake Sum, a beloved Bay Area bakery known for inventive pastries that blend French technique with flavors and ingredients rooted in Asian American culture. She's also the co-author of the upcoming book, “Bake Sum: Asian American Pastries, Breads, and Other Treats.”  Joyce joins host Jessie Sheehan to talk about growing up in an immigrant household, going on dim sum trips with her family, making soybean milk with her mom, and how those experiences helped shape her sense of identity and belonging. She also shares her path from tech to pastry and how her bakery went from wholesale business to pop-up to two brick-and-mortar locations. Then, Joyce walks Jessie through the Brown Butter Mochi Bites recipe from her book, explaining how deeply browned butter adds nutty flavor, why mochiko gives the bites their signature chew, and how a steel mini muffin tin helps create crispy edges and tender centers. Click here for Joyce's Brown Butter Mochi Bites recipe. Subscribe to our Substack for more baking news and recipes. Click here for more info on Jessie's book talk with Leah Koenig on 9/2 in Brooklyn.  Click here to order The Game Changers Issue of Cherry Bombe Magazine. Visit cherrybombe.com for magazine subscriptions, tickets to upcoming events, and more. More on Joyce: Instagram, Bake Sum, “Bake Sum” More on Jessie: Instagram, Substack, “Salty, Cheesy, Herby, Crispy Snackable Bakes”

What if the smartest thing you can do for your restaurant is refuse to rush it?Nick Wong spent twenty years in kitchens like Momofuku and UB Preserv while peers opened their own places at 28. He waited until 40, and his partner Lisa Lee left a tech career at companies like DoorDash and Facebook to build it with him. Together they opened Agnes and Sherman, an Asian American diner in Houston, on their own terms: two days off a week and staff benefits from day one.In this conversation, we get into why patience beats FOMO in a fear-driven industry, how they engineered product-market fit for a category of one, and why they invested in their team before profitability made it easy.If you're rushing to prove something, this one will make you slow down.That's Nick Wong and Lisa Lee. To learn more about Agnes and Sherman, visit agnesandsherman.com._________________________________________________________Free 5-Day Restaurant Marketing Masterclass – This is a live training where you'll learn the exact campaigns Josh has built and tested in real restaurants to attract new guests, increase visit frequency, and generate sales on demand. Save your spot at restaurantbusinessschool.com

Costume designer Vera Chow joins Voice of Costume for a fascinating conversation about Hulu's The Season—and how culture can completely change the meaning of what we wear. Growing up in Hong Kong before building a career across the U.S. and Asia gave Vera a unique understanding of the invisible rules behind clothing. She breaks down the difference between Hong Kong's British-influenced old money and flashier new money, why presentation carries different expectations there than in America, and how those cultural codes shaped the characters and visual world of The Season. Vera's explaning the difference between bullying in China vs the USA is worth the price of admission alone, much less the myriad of other cultural insights she shares about designing overseas and what a lot of other designers do not realize when they work there. Then Vera reveals one of the most unconventional design processes we've ever discussed on the show: instead of always building costumes from scratch, she often buys existing garments, cuts them apart, and rebuilds them into something completely new—a process she jokingly calls "Frankenstein." Cheap street-market finds, K-pop-inspired pieces, vintage Japanese fabrics and unexpected materials can all become costumes that look extraordinarily expensive on screen. She also shares how her experience on The Walking Dead led her to stunt training, why understanding local crews and resources matters when working internationally, and how costume design must balance beauty with movement, safety and story. This is a must-listen for fans of The Season, costume designers, filmmakers, fashion lovers, thrifters, Asian and Asian-American creatives, and anyone fascinated by how culture shapes the way we dress. It's one of the most unconventional approaches to costume design we've ever explored on Voice of Costume one every listener will be fascinated by.

Explore APSC's My Family Audio Series A story-driven 3-part audio project about Cambodian, Hmong, Laotian, Vietnamese, and other Southeast Asian families doing everything possible to breathe with ease and live freely besides the people we love.  Created by the Asian Prisoner Support Committee and APEX Express, and hosted by writer and activist Michelle MiJung Kim, My Family seeks to answer many of the questions countless families in our communities are grappling with today. Mass deportation and family separation are fueled by isolation and silence. With My Family, we aim to dismantle both with stories full of heart, compassion, and an honest look at the tangled paths many of us take to reckon with the past, rebuild our lives, and make a new place home.  Our deep gratitude extends to all the community members who shared their stories with us, even while painful to recount. Their commitment to creating stronger, more informed communities is unparalleled.    My Family Ep. 1: How did we get here?  In our first episode, we talk to Roger Viet Chung to bring APSC's longstanding Restoring Our Original True Selves (ROOTS) program from inside San Quentin to listeners outside. Roger is faculty in the Department of Ethnic Studies at Laney College and a founder and faculty lead of Restoring our Communities (ROC), Laney College's program for formerly incarcerated students and justice involved juveniles. He previously served as the lead instructor and curriculum designers of ROOTS.  We also speak with NC, Pam, and T. NC was deported to Laos this past year. Pam was deported to Cambodia three years ago, and T was deported to Cambodia six years ago.  Music from episode 1, as well as related resources, can be found below in the show notes. If you are an impacted community member in California or have a family member who is directly impacted by detention and deportation, we encourage you to contact APSC at info@asianprisonersupport.com or our partners at New Light Wellness and the Center for Empowering Refugees and Immigrants.   Music: Somleng Tro Khmer by Satiya, a Cambodian Australia singer and songwriter Pka Kompong Thom by Satiya   Resources: My Family Episode 1 discussion guide  APSC Data Report on Incarcerated and Formerly Incarcerated Asians and Pacific Islanders Asian Law Caucus legal resources and video explainers for Southeast Asians facing deportation threats Eddy Zheng's story    Transcript Michelle MiJung Kim: [00:00:00] All across the United States, ICE, Immigration and Customs Enforcement, is terrorizing immigrant neighborhoods. Every time I scroll on social media, I see horrifying videos of children being ripped apart from their parents as they get shoved inside unmarked cars of ICE agents. You can hear the family's cries for help, children wailing, neighbors and protesters yelling at the abductors.   The scene is [00:01:00] pure chaos, swirling with desperation and fear. I notice I'm clenching my jaw as I imagine the trauma of the moment that will last a lifetime for these families. But the scene usually ends here, and not long after I scroll away, I'm met with another slew of videos of similar intensity. But what happens to the people after this painful moment?   What happens to the families after the protesters depart? What happens when their loved ones actually get detained, get deported? where do they go, and what happens to those who remain? I'm your host, Michelle MiJung Kim, and I'm partnering with the Asian Prisoner Support Committee and APEX Express to bring you stories from families who are grappling with the impossible choices amid the cruelty and horrors of mass detention and deportation, stories full of truth, understanding, and lived experiences that are too often hidden or silenced. [00:02:00]   Tony (pseudonym): Even though I don't have no family and I don't even have no family over there, and I don't even know nothing about Vietnam because I left the country when I was 10 years old.”   My dad raised all four of m- you know, me and my sibling all by himself. So just emotion and everything rush in, it's just like, you know, heartbreaking.   So every time, when my dad come to visit me, he always break down and cry because he just like, feel sad that his oldest son is gonna get shipped back to his country.   Pam (pseudonym): My son bought a car for me. He bought a car. He's like, “Mama, you're not getting deported. I got you a Honda Civic already. I got you a car. I got a place for you.” You know how, that affect me when your family member bought you stuff be thinking they'd be coming home?   Michelle MiJung Kim: [00:03:00] Every family threatened by ICE is different, with their unique traditions, memories, and inside jokes. But there are also fears and questions that every community being ripped apart shares, whether our families are Asian, Latino, Black, or Arab. For many Southeast Asians in the United States, there's one other thing in common.   Their families found refuge here in the '70s and '80s, fleeing unthinkable genocide and war in Vietnam, Cambodia, and Laos. Most have loved ones who didn't survive. The ones who made it out, around one point one million, are the largest refugee community ever resettled in the United States. Upon arriving here, families were forced into impoverished and under-resourced neighborhoods.   Parents who just lived through war and genocide never got the mental and physical healthcare they critically needed. To survive poverty and attacks in their neighborhoods and schools, some youth turned to gangs and [00:04:00] crimes. After serving their time, they've since grown up, transformed, and found their ways to heal.   They are now mentors, parents, small business owners, homeowners, just everyday neighbors who, like most of us, take their kids to school and pick up groceries and call this country home. And yet, around sixteen thousand of these Southeast Asian community members are facing imminent deportation based on convictions from years, if not decades ago, and despite the fact that they already served their sentence.   Today, California is home to the largest Southeast Asian American population, followed by Texas, Washington, and Minnesota. And these families are seeking answers. How did we get here? What can we do to keep our family safe and together? And their friends and neighbors are asking questions, too. How can this be?   What can we do? That's where these stories come [00:05:00] in. We're taking a closer look at what happens to families after the headlines pass and the blaring noise quiets down. You'll hear directly from people who are living on all sides of this nightmare, all trying to do what's best for their kids, their parents, their loved ones.   Welcome to My Family.   As some listeners may know, the Asian Prisoner Support Committee based in Oakland, California, was born out of the campaign to support the San Quentin 3, Eddy Zheng, Viet Mike Ngo, and Rico Riemedio. The San Quentin 3 advocated for ethnic studies in the California State Prison, and in retaliation, the prison administration sent them to solitary confinement.   Out of that struggle, they started the Restoring Our Original True Selves, or ROOTS program at San Quentin, which the Asian [00:06:00] Prisoner Support Committee continues today, teaching hundreds of people under the motto, ” No history, no self. Know history, know self.” Together in ROOTS, community members incarcerated in California Department of Corrections and Rehabilitation prisons, or CDCR, learn immigrant and refugee histories, address intergenerational and inherited trauma, and build lifelong leadership and community skills.   Many ROOTS alumni are now mentors and counselors in California, while others are working in reentry, violence prevention, faith, and other community organizations across the state.   To kick off our first episode, we'll start with some context from Roger Viet Chung. Roger is faculty in the Department of Ethnic Studies at Laney College in Oakland, and founder and faculty lead of Restoring Our Communities, Laney's program for formerly incarcerated students and justice-involved youth.   He has served as the lead instructor and curriculum developer of the ROOTS in San [00:07:00] Quentin.   A content warning for our listeners that in today's episode we'll be discussing war and genocide, inherited trauma and self-hatred, depression, and family separation. Here's Roger.   Roger Viet Chung: My name is Roger Viet Chung. Uh, I'm from Oakland, California, and I currently work for Laney College. At Laney College I instruct in the Department of Ethnic Studies, a range of classes that range from Southeast Asian studies all the way to courses like race, gender, and sports.   In 2013, um, I had the honor and privilege of, supporting and facilitating a course for Asian Americans and others in San Quentin State Prison, and which launched me on a, a journey of understanding more about incarceration, the prison industrial complex, abolition, the way pipelines form. And since 2013, I've been deeply involved in figuring out how to work reentry, how to support those in custody, how to help people come home, how to help people on parole tell their stories.   Um, [00:08:00] and so since 2013, uh, I've been working for a program called Restoring Our Communities, which is a reentry program at Laney College, where we support the reentry of folks coming home from prison, jail, juvenile hall and help them explore their post-secondary pathways and dreams. In addition to that, I also run our Laney College, a satellite campus inside the Alameda County Juvenile Justice Center, where, we work with, uh, young people who are interested in going to college, transferring to four-year universities, um, and, uh, reuniting with their families.   Uh, I'm a Vietnamese American. I was born in, uh, 1978 and, born in the United States, my proximity to incarceration and the entire carceral landscape you know, was pretty distant up until I went to graduate school. Uh, when I was in graduate school in, um, the early 2000s, I heard a story about a person named Eddy Zheng, who at that time was incarcerated in San Quentin State Prison.   We heard this story about how Eddy and two other folks were asking for ethnic studies programming at their [00:09:00] prison when there was a growing movement for education inside CDCR. Uh, we understood that, you know, that movement, um, you know, landed Eddy in solitary confinement, got him transferred, uh, to another prison.   And I think for me, that was my first moment where as an Asian American, I connected both with this idea that Asian Americans were doing time, but also you know, it intersected with my field of study, ethnic studies. And so, that was probably my first moment where I saw myself possibly in the work.   Michelle MiJung Kim: Before we come back to Roger, we had a chance to talk to Eddy Zheng about his fight for ethnic studies at San Quentin, the early days of APSC, and how he continues to support incarcerated and formerly incarcerated community members. Let's hear from Eddy   Eddy Zheng: Happy New Breath everyone. My name is Eddy Zheng.   The importance of ethnic studies, Asian American study, [00:10:00] is really focuses on the long tradition of the struggles, that many of the immigrants and refugees, the people who came to this country, uh, for multiple reasons, right? Some of them came voluntarily, and some of them came as refugee because the forced migration as a result of the United States' foreign policies, and then many of the push and pull challenges that came from other, uh, countries across the world.   The long tradition of, of that struggle really is a internal one, right? The internal struggle is finding a sense of belonging in a foreign country or in a country even though we may be born here sometimes, there's still this sense of being treated and being respected as an American versus a perpetual uh, foreigner.    And for many of the people who were impacted by the criminal legal system [00:11:00] and by this type of oppressive foreign policy and systemic racism oftentimes people don't necessarily get an opportunity to understand their culture and history that informs their identity. So therefore as even I was learning how to read and write and speak English and to eventually to become thinking critically I have experienced the power of when I was able to comprehend and articulate the connection that I have, right, with my ancestors and my culture and the history that informs my identity.   Immediately, I was able to, find confidence and find that sense of belonging that I was not alone, that there, there was a long lineage of the knowledge, The connected point to, not only who I am as an individual, but then who I am connected [00:12:00] to, the rest of the humanity, right?   I think when we talk about that lineage really ties back to the 1968 Third World Liberation Front, when students and people in the community, the activists that who stood up fighting for the opportunity to have curriculums and, or materials that really teaches a more well-rounded history around, the makeup of the United States of America, So the fight for the Asian American studies, women's studies, and global studies was very important, as it continue to 1969 in UC Berkeley, and then also later on in 1999, where students are also facing threats of having ethnic studies and Asian American studies eliminated, from the university curriculum, right?   So I have experienced all those lineage of struggles to fight for what the basic academic right, for people [00:13:00] to learn about each other's culture and history and how that historically has been continued to also trying to erase history. when I was in San Quentin State Prison, then once I was able to start to become a thinker, then I realized especially after September 11, the scapegoating of people of color, scapegoating of people that who came from other countries is perpetuated within the prison industrial complex, myself and three of my friends, we were advocating for, uh, the opportunity to be able to, uh, engage, in this process of, Asking to have Asian American studies or ethnic studies within the prison college program, And so that, that was when we signed a proposal, you know, advocating not only for the opportunity, to study, Asian American histories a- and cultures, but other people's culture and [00:14:00] histories at the same time, and then also honoring the prisoners' rights, right?   To choose, what we want to learn and how we participate in the decision-making process within the volunteer-ran college program in the San Quentin State Prison. The outcome was the three of my friends who signed the proposal you know, Mike Ngo Rico Riemedio we were, uh, put into solitary confinement uh, for signing that proposal.   And then my other friend that, who signed the proposal, Stephen Liebb, you know, even though he didn't go to solitary confinement, that he, but he was punished as a result of signing the proposal. That's when the forming of an unexpected Asian American movement, right, in the Bay Area, which is the Asian Prisoner Support Committee, where volunteers and activists that who have heard of the struggles, of the activism inside San Quentin advocas- in advocacy for Asian American studies, ethnic studies, and prisoners rights, that they [00:15:00] came together to support us, you know, inside the prison system.   And so it's very interesting in that, the dynamic, uh, between, we want you to, uh, learn and we wanna give you opportunity to learn, but then learning and applying what you learn comes at a price, that's where the importance of why ethnic studies of Asian Americans are important because it allow us to gain power, right? when we gain power of thinking, and critical thinking, then there's this fear from the, the people that, who have power and don't wanna share that power.   And so that's why it's very important. So fast-forward to post-incarceration after… first of all, I spent 11 months, uh, in solitary confinement as a result of that advocacy in San Quentin. And then later on, uh, when I was finally released after, uh, being incarcerated for 21 years, [00:16:00] I've never forgotten the importance of, creating more learning opportunities within the prison system for those that who are still incarcerated.   Around 2012, that's when we, you we meaning that, you know, that's when I me and members of the Asian Prisoner Support Committee, we started thinking about how do we go inside the prison and create Asian American studies and ethnic studies program inside, We were able to went under you know, as volunteers, we were able to go into San Quentin State Prison to participate, uh, in in this program called, TRUST. I believe the acronym is, uh, Teaching Responsibility Utilizing Sociological Training, uh, which is designed to transform incarcerated men, uh, from social liabilities into assets, right?   So, Uh, while we were participating, we were able to get an opportunity to engage The participants who are [00:17:00] AAPIs to ask them if they are interested into creating a program where we're able to, learn about our culture and history, And they all agreed that it's important.   After about, like, almost like a year or more of kind of like a collaboration, brainstorming, and advocacy from within the prison, finally in 2013, I think that's when, we started the first cohort of the ROOTS program. The ROOTS acronym is Restoring Our Original True Selves, uh, which is, really came about as a result of the brainstorming of the prisoners, a lo- of many of the lifetime prisoners who were inside.    Because they felt that along the way they have lost themselves, right, as they were trying to find a sense of belonging.   So the goal is to, uh, use that as a way to heal intergenerational trauma that many of the prisoners experience when they came to the United States, and that ended up, making poor choices and then, [00:18:00] uh, involved in the criminal legal system.   that's when the first ROOTS program was started in 20, uh, 13. And then what is interesting was that when it started, I wasn't allowed to go in to participate in the program that I co-founded with the people inside, it wasn't, uh- Until the graduation of the first cohort of ROOTS, uh, that they allow me to go in to do a keynote speech, right? Because the participants inside, advocated saying that, “Hey, we would like Eddy to come in to be our keynote speaker at our graduation.”   And so that's when I was able to go in and really, experience this fruition of all the advocacy. seeing many of those leaders and participants graduating from the first year of the ROOTS program really solidified why an Asian American study is so important, right? It really focuses on, uh, for the participant to [00:19:00] learn about the connection the, to the ancestors and the culture and, and the history.   I mean, That sense of belonging they had lost along the way or for many was not able to learn in traditional economic environment, and then part of this is also even though the curriculum focused Asian American studies, but then it also connects to other people's colors of histories and how the intersection of that of that experience domestically, internationally, are connected to the same systems of oppression in, in that space.   I think what, what is also important is that once they were able to learn about their own culture and history, they inform their identity. They're able to also learn about other people's history, other people's culture that inform their identities. So immediately there's opportunity to, humanize each other And so that's why this is so important that we must engage in the collective learning [00:20:00] process that allow us the opportunity for collective healing. And when the collective learning, collective healing is invested and engaged in racial solidarity, that's how we can embark on this journey of collective liberation.   The ROOTS program is the first ever Asian American studies ethnic studies program in the history of the penal system, and then this continues on to today, right? since 2013.   Michelle MiJung Kim: That was Eddy Zheng. In 2017, Eddy founded the New Breath Foundation to help underserved frontline groups empower, heal, and change the lives of Asian, Native Hawaiian, and Pacific Islander community members with a focus on the incarcerated, formerly incarcerated, and those who have been impacted by immigration and criminal legal [00:21:00] systems.   Let's return to Roger and what stood out to him when he first started working in San Quentin.   Roger Viet Chung: I think when I first went into San Quentin State Prison in 2013, um, again, I mentioned I was born in 1978, and, um, you know, I looked across the room to people who were around my age, um, none of whom were actually born in the United States. And so I think there's this really interesting question that needs to be pursued around Southeast Asians, Asian Americans that have immigrated at a young age, you know, largely through, the pathways of war that make that experience so much different than a, an experience like my own, right?   Born here in the United States, but also different than my parents, who immigrated to the United States as adults. And so the 1.5 generation as we will frame it today, we're gonna be talking about Asian Americans, Southeast Asians, refugees, immigrants that came to the United States at a, a young age, you know, all the way up until their adolescence. We're looking at a population that has had significant experience with [00:22:00] social institutions like schools, uh, elementary schools, middle schools, and high schools that their parents may not have.   This was a time in California where we began to see more prisons being built, more apparatuses designed to be able to figure out how to work with young people, mainly through the lens of punishment and deterrence.   And so I think the idea of coming into, a state like California during a political landscape where, punishment, prisons and tough on crime positions were being applied to both adults and young people is something to consider when we're thinking about the 1.5 generation, um, that has been incarcerated.   I think that as the 1.5 generation immigrated into the United States you know, through various refugee and immigration policies, you know, they're inheriting a context in California where they've already been criminalized and their pathways into, uh, juvenile halls, into county jails, and into state prisons are being mapped out, without them really even knowing.   In [00:23:00] ROOTS, um, which was an Asian Prisoner Support Committee sponsored program, everyone has an, a unique and individual story, but, you know, the more we learned about people's stories, there just seemed to be a lot of collective threads that, tied everyone together. so if we were to talk about the 1.5 generation, you know, like a common collective journey would be something like this, right?   You know, whether a person escaped from Vietnam, Cambodia or Laos a lot of the common stories were, young people were born in Southeast Asia during or at the tail end of the wars in Southeast Asia, and most of them were not part of the original refugee exodus, which mainly featured, the elite and the educated.   And so one of the collective stories has been that a lot of the 1.5 generation, who would have otherwise left at much younger ages or even been born in the United States were experiencing significant transitions in countries that, were returning from civil [00:24:00] war. a lot of that destruction and a lot of the, the trauma and those experiences, right, began right around there.   And when people began thinking about, exiting, these positions, whether it be for political or, or class-based reasons or both, one of the collective stories that we tended to hear very often was that young people were really able to visualize, remember, right, even today, a lot of violence, a lot of trauma, that, you know, really propelled their, either their escape or, their emigration Young people met, went to camps oftentimes.   If they left Vietnam, they were in the Philippines, Malaysia, Hong Kong or Thailand. And if, you left Cambodia or you left Laos, you ended up in a variety of different forms of camps in Thailand awaiting for United Nations sponsorship. I think this is an important part of understanding the journey, because a lot of the one point five generation that became incarcerated were exposed to a variety of different traumas at [00:25:00] young ages that they still had kind of these vivid memories of.   And so as they, they left camps, you know, many stayed in camps for months, some even years. They were resettled into the United States, often in places that didn't have a lot of Asian Americans. And so at the time, United States refugee policy really asked all the states to share, right, some sort of, right, burden in resettling refugees.   And so a lot of the one point five generation that we met inside San Quentin, you know, their story in the United States didn't actually originate in California. Many of them were in Wisconsin or Ohio or Florida or Arkansas as their first stop into the United States before their parents did a secondary migration into a place that had more support, had a stronger ethnic community, um, and in some cases, right, just had, more protection against racial discrimination.   And so as parents, moved into ethnic communities and, and sought spaces that could protect themselves from racial [00:26:00] discrimination, the young students, right, the one point five generation didn't have, those same protections. And so many of them were enrolled into public schools, oftentimes schools that were underfunded and oftentimes schools that, uh, were in districts that had young people of color competing for resources.   When it came to that, that 1.5 generation, that journey into United States schools, was, I think, the beginning of understanding how to survive in a place where, a unique form of racial discrimination, a unique form, right, of class identity had to be navigated as they began their journeys in education, a lot of them feeling a lot of pressure to be, strong students in order to, you know, deliver their parents out of poverty. A lot of themes came up. One of the approaches that we took in the ROOTS program was looking at trauma.   We're not the first program to look at this, but I, I do think that it's a very important and interesting way to think about, [00:27:00] understanding the stories of people who are incarcerated. You know, oftentimes the, the narrative of people who are incarcerated is that they have committed an act that has traumatized another person, and therefore, right, their own trauma is something that we often either don't allow, ignore, or outright say, right?   “You don't deserve your own trauma because of the things that landed you in custody.” And so I think one of the projects that we really wanted to look at was to help people kind of, like, name their trauma, explore it, and, right, heal from it. And so when we thought about, the activities and the curriculum design, you know, we had people kind of, share stories of immigration, share stories of how, their parents came to name them, stuff like that.   And, you know, one humongous theme that came out in the ROOTS program was this idea of self-hatred and how much being in, right, the United States and being in places where you experience discrimination and you experience poverty led to really, really low concepts of [00:28:00] self and, , really resulted in, people, literally writing, right, reflections, saying things like, “I hated myself.   I hated how I looked,” right? “I hated my name.” Those are some of the themes that kind of were fleshed out as we explored the ROOTS program. And we wanted to take a look at, How that trauma not only would h-help people kind of understand their own trajectories more, but how that trauma could also be translated into, right, a more institutional form of advocacy for themselves and understanding how to do things like describe and explain, right, and be introspective about the things in their youth that led to, right, their incarceration.   Because one of the things we also noticed was that people were struggling to tell stories about their families because they didn't wanna bring shame, they didn't want to blame their families. And so, a lot of our 1.5 generation folks struggled with being able to tell a story to a parole board that kind of held their freedom in their hands.   And so being [00:29:00] able to have people tell their stories, right, to engage, right, some of the things that they experienced as traumatic, help them heal from those things, but also name them, , through ethnic studies concepts, through, history and through culture, was in a lot of ways, very freeing.   I think I'd be remiss to not mention that, you know, when we did programming inside ROOTS, there was a very, very, I think collective agreed upon, workshop that people inside wanted to do, and it was a workshop about gangs. Not just the criminalization of gangs and how gangs have become criminalized into the '90s, into the 2000s, but I think, incarcerated people, were really advocating around things like gang prevention. And so a lot of stories came out around, like, why people join gangs in the first place and, , it's not a brand-new story at all, but it was something that they wanted to explore and they were really, I think, very adamant about exploring among themselves.   And, you know, I think if you talk to incarcerated people, one of the things that they're so passionate about is [00:30:00] making sure their stories reach young people, which has also inspired me to go into juvenile hall to do a lot of work. But, one of the things that they wanted to develop, I think conceptually, was the idea of the migration to school-to-gang pipeline.   And, you know, whether or not the gang itself, should be conceptualized as, right, a protective, mechanism against racism, against bullying, against harassment, against exploitation. I mean, those are all things that we know, young people are looking for, as they join gangs, especially those that are immigrating from Southeast Asia or even, right, Latin America.   I think the folks inside were really, really adamant about making that connection and understanding that, not only their participation in gangs, but the criminalization of the gangs through that participation was one of the pathways that led them to places like juvenile hall, the California Youth Authority, the Division of Juvenile Justice.   I think the folks inside would, um, say that they need to be accountable to you know, the decisions that [00:31:00] they made and they wish that they were stronger about not making decisions to do things like join, criminal-based organizations. But, I think that there is a reality that, you know, there are a lot of social forces that, drove, that type of youth behavior.   And so, when we were in San Quentin, I think a lot of the folks were like, we need to improve this idea by, you know, understanding that, part of our journey has been, as 1.5 generation young people is , our responses to our trauma, our responses to racism, our responses to, disconnects between us and our families, particularly our parents, right, led us through a path, that was laden with policies that were designed to punish us.   You know, I think something that's really important that that I would wanna mention is, you know, the apparatuses that were designed to control and to rehabilitate and to correct youth, those apparatuses have been abolished because they didn't work.   And so when I think about the 1.5 generation that immigrated to the United States during a time of [00:32:00] heavy, heavy juvenile punishment, had they immigrated today, right, and, these systems not existing, you know, would they have done a significant time in state prison? You know, I don't know.   Would they been criminally adjudicated as adults? I don't know. And so I think that when we think about, you know, Asian Americans and Southeast Asians and Pacific Islanders that are coming to the United States at a very specific time, specifically those guys we worked with in ROOTS, you know, history was just not on their side, and that's not something that individuals can control.   And so when we think about the situations that we're put in, I reflect on my own life about, you know, looking at people that look like me that were the same age as me and, just weren't born in the United States and had privileges like I did. You know, I think those are some of the things that, I would ask the community to reflect upon.   That, you know, we're looking at, such a traumatic and punished time in California and U.S. history to really kind of take, a broader approach and to be able to, you know, deconstruct some of the things that have happened to help understand the lives of people who, you know, are in ICE detention today   Michelle MiJung Kim: [00:33:00] That was Roger Viet Chung, faculty in Laney College's Department of Ethnic Studies and founder of Restoring Our Communities. This is APEX Express. We'll return after a short break. [00:34:00]   NC (pseudonym): We were refugees. It was because of the, the war, the secret war in Laos, I guess.   Michelle MiJung Kim: This is NC. He grew up in California after his parents' harrowing escape from war and persecution in Laos. He was incarcerated for 24 years as a result of a conviction when he was a young person. He earned parole last year in [00:35:00] 2025.   NC (pseudonym): You know, I don't know for sure, but I'm just going off what people say and what they tell me is because- we were refugees, and we were hunted, and, so we fled, and crossed the river into Thailand.   And from Thailand we were, um, we were sent to the US. That's it.   When my, when I came here, my dad says, ” Well, you gotta learn everything here, know the language and everything, because this is your country now.   You're gonna live here.” So that's, that's what he told me.   Things were tough because my parents don't know nothing about this country, so they don't, You know, it's help was very, I would say, I think the best word I can use is help was very narrow, because we had, like, an…   I had, like, an uncle who knew the language, and they would help my, dad and my mom. And then, um, my dad actually went to a vocational training school to learn how to do auto body, This was in when we were in, in Long Beach, but they [00:36:00] came over to, uh, Stockton to open up a, um, garage, you to fix cars and do auto body. Growing up it was just hard because, you know, we were, uh, always poor and we didn't know how to adjust to the c- you know, the community.   America is, like, totally different, 'cause we go to school and then we read, write, speak English, and then we don't, we don't do none of that inside the house. So there's kind of that culture clash where, you know, the parents wanna teach you something and then you go to school and you learn something else, and then you're s- you struggle with your, um, you know, everyday life because, those are two different things   I was basically working while I was in prison, taking a lot of self-help classes and, um, earning certifications and trying to better myself, um, learning job skills. So when I, parole, I can, become a productive member of society. So while I was in, also incarcerated, I was taking college courses, to try to, attain a [00:37:00] AA degree.   So I was doing a lot of that stuff while I was in prison programming. My plan was… when I got out, as far as for work I would just like any job will do, just as long as I got work, any job will do.   But the goal was to continue my education, get my, uh, degree in, um, sociology, try to to open up a, a place and to be, um, LCSW certified, a licensed clinical social worker so I can help people, just like how, um, when I was, um, incarcerated, I was talking to, um, an LCSW so they can like, help you when you get back from this environment to the streets to help you adjust. First of all, it's helping people, and a lot of people, when you come out and get out, there's really nothing, like nobody's… the way I see it is, like- I don't see a lot of help, you know?   I don't see a lot of help or any [00:38:00] help, in my community that I'm at. I figured that, you know what? More help or help is always good, and a lot of times people… While, while I was in, um, incarcerated, you know, incarceration does affect you, it, in a way, institutionalizes you and makes you think a certain way, act a certain way, be a certain way, and when you come out, you have to, like, try to adjust to, you know, the norms of, outside living.   When I was talking to my, um, social worker, she was giving me a lot of those pointers. So I was thinking, like, “Okay, you know what? This is something I could do.” I could help, you know, like, a youth who's been incarcerated or young people coming out or anybody of any ages from anywhere that has, um, cultural issues, You know, like, if they're coming from a different country and they're, they're coming to the US and they're having, like, cultural issues. it's just about transitioning from one place to another place.” when I paroled from prison and they told me that, I have a ICE hold, an immigration hold. And [00:39:00] then I wasn't sure, like, what that was, if it's happening or not. And then when they paroled me, uh, immigration came and picked me up and took me to a detention facility.    ICE came and picked me up at the prison and, um, I went to a detention facility in Bakersfield called Mesa Verde   Michelle MiJung Kim: We're gonna come back to NC and what he experienced at Mesa Verde on the next episode, and what happened after he was deported to Laos just four months ago. Right now, I want to introduce you to another community member, Pam. Pam also grew up in California. She was incarcerated for 16 years. Three years ago, she was detained by ICE and then deported to Cambodia   Pam (pseudonym): [00:40:00] So I'm gonna start it off when the day I find out that, um, I probably get deported in 2000… yeah, 2012. ICE came and see me, and they say, ” Well, we got you on record that, you know, you're on a list that you're gonna get deported when you parole.” So if I have any kind, like American citizen to prove that, you know, I can't parole, and this and that.   I was like, “Okay.” I really didn't pay attention. My mind was more like stuck. On that day, my mind was more like, “Wait, my attorney told me I'm not ever gonna get deported,” and it just, my mind is like wondering off, like, why is this happening now? So other than that, I started doing research. I just signed the paper.   I didn't even hear exactly what they told me because I, my mind's already like blow. So I just signed the paper. Didn't even know what I'm signing, so I just signed the paper like so they can leave me alone. I just [00:41:00] need to process something on my own.   When I finally process, I start doing research and…   But before I start doing research, I call my parent up and told them, “What's gonna happen?” And they, you know, and my parents tell me, “Just tell them you don't have a family over there. There's nobody over there that could support you, take care of you. You've been, uh, here in America all your life. There's nobody.   Nobody. So why they came and… why did someone send it to you, send you over there, and since you already did your time?” So it's some kinda- mixed feeling. It's a lot of mixed feeling as I can see there's a lot of hurt inside my family. I can see what they go through, and then I was like, “Okay, now just too much.”   So after I talk to my parent and then see how they feel about it, and I understand, and I do feel them, too.   And I do understand, and, um, ‘ cause I've never been really separate from my family that long until I got [00:42:00] locked up. So it's harder difficulty than anything. I don't even move away from my mom that far.   I live across the street. So it's hard for me to see that, I'm really, like, can't see my mom ever again. I started doing research for years and years and still, hoping that I could fight and why I'm in prison, but people keep on telling me, “You can't fight your case until you get through, um, the ICE detainer, and that's how you fight your case.”   And it's like, eh, I need to find a… You know, I started doing more research on the law library about ICE and, you know, about deportation, everything about the law. I did all that, but it's nothing that really helped me unless it's something against my life. So and I did more research about, like anything They say the only way you could get away from it is, like, something affects your life, something that danger you. It's like, it mean life or death. [00:43:00] But I even do research on that. They say if they stop the war in Cambodian… So it was hard. It was just a lot. It was just a lot of paperwork that I would have to go through and try to do the research and find out.   So I started talking to more about with my family about that, and then my dad say, “You know, I can see this is really stressing you out, and I can see that you're looking through a lot of stuff that don't help you to get out. But we still have hope that you're gonna come home to us.”   Michelle MiJung Kim:  Every person who shared their story with us talked about the family members and friends who supported them through these traumatic experiences, those who have stood with them in the darkest of times. Those relationships are what keeps people going, and it's no different for the person you're about to hear from, T.   T served his time in prison many years ago. After he got out of prison, he led a [00:44:00] full life. He got married, became a father, and grew in his career as a superintendent of a welding business, including jobs for the US Navy. And then one day, everything changed.   T (pseudonym): You know, I, I'd been reporting, uh, as scheduled, to the, you know, the ICE agent e- every, you know, I start out once a month, once every three months, once every six months, once every year.   And I, I, I've been reporting perfectly how they want. And then one day, you know, I, I came home and I went look at, check my mail and, there's a, a mail from them. So I opened the mail up and it tells me, the mail tells me they're gonna detain me. They give me a date to be there, and they say they're gonna detain me.   You know, I, and my, my heart just sank, you know. When I saw that letter- Mm … I'm like, “Oh my God.” And you know, I, I, it broke me down right there, standing over there by the mailbox. And then I told my wife and, , we [00:45:00] both, sat and, you know, did a little, a little crying.   And it's just like depressed knowing that they can, uh, detain me, that scheduled date that they gave me, yeah, it, it, it was tough. It's like a, a little… I think they gave us like a, a month or something. No, three weeks, half a month, something like that. it, it, it was tough 'cause I, I, me, me and my wife and my two daughter we, you know, we have family.   They, they okay, you know. yeah, I, I've checked in and, uh, they, they, they did detain me and, uh, of course my wife's all crying and, you know, my daughter, my, both my daughters young at that time. They're still young. They don't know what, what happened, you know. They asked my wife, “Hey, where's Dad?”   And you know, my, my wife didn't tell them what happened yet because they didn't, my wife didn't want them to, you know, worry. So my wife just told them, “Oh, you know, uh, your dad went to work. Maybe he'll be gone maybe a month or so.” She just don't want them to feel bad.   But yeah, my wife went through some stuff and trying to figure things out while I was in the detention center. and uh, [00:46:00] yeah, I got interview and got deported. and my wife, she was struggling at that time. She didn't work either because she's the, you know, she stayed home as a housewife, take the kids to school and stuff like that.   Michelle MiJung Kim: T's wife and daughter are now with him in Cambodia. He's currently serving as a staff member at New Light Wellness in Phnom Penh providing mental health and healing services to other people and families who are deported and separated   T (pseudonym): Yes. To me it's very important, to have someone to talk to 'cause when you're deported, uh, you, you already broken. you feel like you're a broken person, and, and sometime you don't know who to talk to because you're at a new, new place.   You don't really know no one, you know? And, uh, it, it, it's heartbreaking you trying to, uh, find someone to talk to. You, you feel like you're alone.   But at New Light, [00:47:00] we provide all that. You need someone to talk to, here. We, we, here you could pick one of our team here to talk to. You can go to the facility that we have over there and just talk to someone and just relax over there and just, you know, we, we have, always have someone there to help, talk about anything you want, to guide to bring closure, that, that's the thing, uh, about our team here.   We wanna make sure we have all that, everything Cause we understand, we understand, uh, being deported need someone to talk to, because that's what I, I did when, uh, the first couple years when I got deported here and I, I was so stressed out, and I don't know who to turn to, where to go.   Luckily, I found New Light, and I'm so glad, and I'm still with them now.   Deportation to me, I feel it is very cruel. It breaks families apart, and then it'll change the life and future of, your children. You know, it, it… Deportation, it, it's just a sad [00:48:00] word, it's just a sad word. It, it's just… It's like pain. It's a lot of pain, that word deportation.   It's a lot of pain. I mean, I, I… It, it's just… To me, it's just a lot of pain. It is just getting ripped off from your family, and affect everyone. It affect, you know, your brother and sister, your cousin, your niece, your nephew. You know, that's how, that's how I, I sees it,   Roger Viet Chung: Yeah, I think it's, um You know, I, I think it's important to, understand that, um, you know, deportation, isn't something that existed, since 1776, right?   Michelle MiJung Kim: That familiar voice is Roger, who you heard from earlier. Here's what he thinks about previously incarcerated people getting deported despite having already served their time.   Roger Viet Chung: And so I think when we kinda think about the logics of a [00:49:00] person who is serving a sentence and is being released by even authorities around in the carceral state and determining that they're not a threat to society, that they're no longer harmful to society, that they've done their rehabilitation in order to continue to contribute to, right, the nation and to their families and their communities, I think we have a very contradictory message where, you know, you actually have, a, a carceral apparatus naming a person as no longer a harm to society, but then, right, being deported.   And so when we think about these stories and, you know, I remember talking to a life term prisoner who has children who were born in the United States. And, he's going up to the parole board, and he has, an ICE hold. He has, you know, a mandatory deportation because of his conviction. He's asking the questions to himself, you know, “What do I do? do I fight to be released from prison? If that's the case, I might get taken to ICE custody right away and, [00:50:00] get my travel documents prepared to be deported. Or do I stay in prison so that my family can continue to see me in the United States, right?   And maybe, I don't do the types of things that are gonna win me my freedom in front of a parole board.” And I think those are the types of contradictions in the stories that I think illuminate the contradictions and, right, like, the problems with the way that we approach, deportation today.   There's, the idea of deportation, we often, I think because it's related to law, oftentimes, right, you know, our communities, see that as an objective or neutral phenomenon, that's always been that way. And so I think, when we try to get folks to kinda understand the ways that deportation and, you know, immigration policy, has been shaped, one of the things that I'll ask students, I remember being inside San Quentin, and I, I ask this of my Laney students all the time, you know, I ask them, “When was Immigration and Customs Enforcement founded?”, “What year was like the birth of what we understand now as ICE?” And, [00:51:00] students will guess, they'll guess, they'll guess, and maybe they'll look it up online, and they'll say, ” Oh, Roger, it's 2001.” Then I'll ask people, “Who's older, you or ICE?”   And most of the time, the people that I ask are older than ICE. And so I think one of the ways that we kind of approach this is, you know, by understanding that what's happening now is a, a very new and contemporary phenomenon immigration in its most brutal form, right? Or deportation in its most brutal form.   And I ask people, right, you know, “What was ICE called before it was called ICE?” There was an, a, an organization that existed before. And, you know, people will struggle a little bit, and then, you know, I'll say the initials, uh, INS. And then people will say, “What does that stand for?” INS stands for, uh, Immigration Naturalization Services.   And so you have this really significant institutional difference, just in the name itself around how a migrant is being treated and perceived. Right? On the one hand, right, you have enforcement through [00:52:00] ICE. But for the most part, right, immigration policy in the United States was not ICE. It was Naturalization Services, right?   It was about welcoming people to come to the United States, contribute, be taxpayers, right? And, become citizens, become naturalized. And so I think that's one of the ways that we begin thinking about how to deconstruct the idea that deportation is just a matter of law, it's a neutral idea, and that it's always existed in the form that it has.   And, you know, we know that the law that really is driving Asian American deportation or a- and other immigrant-based deportation today is a law that was designed in 1996. And so- The way that we see, right, immigration today is really kind of like a parcel, a very small piece of immigration history and deportation history for that matter in the United States.   And I think that's one way that I think helps people understand that you know, what we're seeing now is, a phenomenon that doesn't have to be what it is.   I'm lucky enough to be able to be [00:53:00] part of a post-secondary system that is, you know, one of the largest in the world and one of the most welcoming in the world.   I feel like part of my passion or my drive to keep going is I feel like there are some things that are still very much unexplored around this concept of re-entry. When I was in juvenile hall a couple of years ago, I met a young person who told me that he didn't have a good relationship with his dad.   His dad wasn't in his life. His dad has been in and out of prison and learned mostly about his dad through his sister, but began reconnecting with him a little bit. this young person had, a pretty significant conviction inside the juvenile hall which, like I mentioned earlier, which had it happened 10, 15 years ago, he would be in the California Youth Authority.   And, you know, he was telling me about his dad and, you know, there were so many things that felt like I knew him. He told me the job that his dad had, which was a very unique job [00:54:00] that is not very common. And I wrote who I thought his dad was on a piece of paper and I showed it to him and he said, “Yes, that's my dad.”   And so his dad, came to Laney College, um, joined the machining program after years in prison and got you know, a living wage job, in the steel industry, was able to buy a home and he was able to put his daughter through graduate school. but he never mentioned a son to me. And I left the hall that day and, I called him walking to my car and I said, “Hey, like, um, I think I met your son.   I didn't know you had one.” And he said, “Yeah, that's still a shameful part of my life that I'm, still trying to figure out.” And so I, I think that there's something that we're missing still. I think, you know, when in San Quentin we talked about, intergenerational trauma and the trauma that you can inherit from your parents and your parents' parents, and I think there's something here where, you know, we, we can engage both generations at [00:55:00] once to really kind of figure out some of this healing.   I feel like there's still something that, we as a team as a family and as a community are on the verge of understanding a little bit better and breaking those cycles.   Michelle MiJung Kim: I can't stop thinking about what T said about the word deportation. It's cruel. It's a painful word. It's a sad word that rips you off from your family. Many of our listeners are here because you believe a different world is possible, one that replaces isolation with kinship, trauma with repair, and loss with transformation.   You want a future full of families together and safe. That's the kind of future we at My Family want, too. Each story we share is not only a reminder about the violent systems that harm so many communities, but it's also a reminder of how much each of us is [00:56:00] needed in this fight for a more just and liberatory future.   There is so much pain and trauma in each person's story, there's also so much strength, resilience, and a steadfast belief in community and hope. I'm taking a deep breath as I reflect on these stories, and I invite you to do the same.   And if you're impacted by mass deportation and detention, there are organizations and advocates who can help you, from mental health and wellness to legal help and family support. In Northern California, where we are based, we encourage you to reach out to the Asian Prisoner Support Committee, the Center for Empowering Refugees and Immigrants, and New Light Wellness.   You'll [00:57:00] find links to these organizations in the show notes at kpfa.org/programs/APEX-express. The music in today's program is by Cambodian Australian singer and songwriter Satiya. We'll include links to his songs in the show notes, too.   We hope you'll join us for episodes two and three of My Family, where we'll deep dive into what happens when our family and neighbors are detained, and what happens when they are forced to move to a country they've never known. Thank you for joining, and we'll see you next time on My Family.   I'm your host, Michelle Mijung Kim, and this podcast is brought to you by APEX Express and the Asian Prisoner Support Committee. APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preeti Mangala Shekar and Swati Rayasam.   Have a great night.   [00:58:00]    The post APEX Express – 8.20.26 – My Family Ep. 1 appeared first on KPFA.

This episode is for you if you're trying to lose weight, but you're also the one everyone depends on. In this conversation, I sit down with May Yer, an executive in the nonprofit space, where the work doesn't stop, and the pressure is constant. She's leading, making decisions, showing up for her team and community, and at the same time, trying to take care of her own health after experiencing burnout. If you're in a similar position, you already know it's not just about “finding time” to workout or eat better. It's the mental load, the responsibility, the expectation to keep going no matter what that makes it easy for your own needs to fall to the bottom of the list. Today, we dive into redefining leadership as Asian women when we no longer attach self-abandonment with it and what it actually looks like to lose weight when your capacity is low, and your plate is already full. Here's what we get into: - What burnout actually looks like as an Asian American leader not just feeling “tired,” but how it shows up in your energy, eating habits, and ability to stay consistent - Why traditional weight loss approaches fall apart in high-responsibility seasons, even when you know what to do and have done it before - What starts to shift when you stop waiting for more time or less stress, and begin working with your capacity and the life you're actually living right now Grab your FREE CONSISTENCY BLUEPRINT! Take the free quiz here and build momentum right now to lose weight, get strong, and healthier in 2026: https://quiz.tryinteract.com/#/6887fab071bb7a0015b2461b Join the Forever Consistent Membership: A place where your workouts and meals will finally stick, even during busy, low-energy, and unpredictable weeks. This program is not another quick fix challenge that leaves you restarting again. Instead, you will be building the skill of consistency to trust yourself to show up for your body. https://offers.superlysam.com/offers/XUgdD62V/checkout Book a Consultation for 1:1 Coaching: Ready to lose 10-20 pounds while eating foods you love? Private coaching is designed to help busy women of color like you be the healthiest, strongest and the most consistent you've ever be been with a full schedule to keep the weight off for good. This is where we make it a lifestyle because every custom support is made with your capacity, your cultural foods, and lived experience as a first/second gen in mind. Choose between a 3-month (lose 10 pounds) or 6-month (lose 20+ pounds) program. Book here: https://calendly.com/superlysam/6-months-1-1-coaching-sales-call Stay Connected With Me: Join the consistency club weekly email series: https://superlysam.com/emails Learn more about me: https://superlysam.com/about Follow + connect with me on Instagram at: https://www.instagram.com/superlysam Follow + connect with me on Facebook: https://www.facebook.com/superlysam

This episode continues our 10th anniversary micro-series with a conversation featuring Dr. Ken Fong—longtime pastor of Evergreen Baptist Church of Los Angeles, former national Asian American ministry leader, and Daniel's predecessor as Executive Director of Fuller's Asian American Initiative. Ken and Daniel trace the decades-long, often invisible labor behind the Asian American Center's history, from Fuller's earliest Asian American ministries class to the founding of the Center itself. Ken's path to Fuller in 1978, and the wave of Japanese American and Chinese American students who shaped the seminary's Asian American presence in that era Why Japanese American churches—shaped by the incarceration camps and shifting generational leadership—became, in Ken's words, a reluctant "vanguard" of pan-Asian ministry Evergreen Baptist's decision to hire its first Chinese American associate pastor, and Ken's framing of the church as evolving from a "Japanese restaurant" to a fusion menu still cooked by Asian American chefs Ken's early clashes over "new wineskins" for American-born Chinese ministry, and the "30 years too soon" conversation that followed The founding and dissolution of Fuller's earlier Asian American Initiative—including the racism Ken and Daniel encountered while trying to institutionalize the program, and why Ken ultimately stepped down so the Center could be funded Ken and Daniel's reflections on the emotional toll of that transition, and what it meant to rebuild afterward Why Asian American women students were consistently among the strongest in Ken's classes—and how few went on into full-time ministry Ken's shift over time from megachurch ambitions to a more communal, formation-centered vision of Asian American church This one runs long on institutional history, but it's essential context for understanding what the Center stands on. Thanks for listening! Sign up to receive more updates from the AAC: https://aac.fuller.edu/newsletter/ If you appreciate the work we do at the Asian American Center at Fuller Seminary, please consider supporting us! Your monetary support sustains our vital work and expands Asian American research, leadership development, and pastoral formation for the Church in the year ahead. Donate here: fuller.edu/giveaac. For information about our 10th anniversary gala, visit tinyurl.com/10yearsaac

Welcome to Season 6, Episode 33! Our guest this episode is the award-winning broadcast journalist Carol Lin. Her career has placed her at the center of some of the most consequential moments in modern American history. Other than being a broadcast journalist Carol is also an author and educator, and her work has spanned more than two decades at the local, regional, and national levels of TV News.  A Los Angeles native and UCLA graduate, Carol began her career covering politics in Washington, D.C., before reporting and anchoring in Los Angeles and eventually joining the national ranks at ABC News and CNN. Throughout her career, Carol reported on many of the defining stories of the 1990s and early 2000s, covering everything from presidential politics and natural disasters to international conflicts and breaking news that shaped the nation.  Her memoir, When News Breaks: A Memoir of Love and War, offers an intimate look at the person behind the headlines, exploring not only the excitement of a remarkable journalism career but also the deeply personal experiences that shaped her life away from the camera. It's an honest and beautifully written memoir and it gives insight into how she overcame both personal and professional challenges to become one of the most recognized faces on TV. Along the way, her work earned some of journalism's highest honors, including a National Emmy Award, a George Foster Peabody Award, and the prestigious Alfred I. duPont–Columbia Award. She has also been recognized by the Los Angeles Press Club and became the first recipient of the Organization of Chinese Americans' National IMAGE Award for her contributions to journalism and the Asian American community. In our conversation, we talk about the differences between being a correspondent and an anchor, some of the difficulties that Asian American women faced in broadcast journalism, the challenges with breaking news like 9/11 when you're sometimes learning just before reporting, the beauty of living in Hawaii, and so much more. To learn more about Carol, you can visit her website carollinnow.com, follow her on instagram @carollinnow, buy her memoir When News Breaks, or follow her substack to read about stories of 9/11 whennewsbreaks.substack.com. 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.

Have you ever wondered why you still feel shame even though you believe in grace? In this episode, Barb talks with Toni Kim, the director of spiritual care at the National Association of Evangelicals and former pastor of over twenty years  to talk about her new book, Shame Redeemed: Learning to Live in Christ's Freedom. Toni unpacks the real difference between guilt and shame, why shame keeps so many faithful Christians stuck in hiding, and how God's lavish love invites us into healing instead of condemnation. Drawing on her own story as an Asian American woman in ministry, Toni brings wisdom about both the personal and communal sides of shame and practical ways to start living unashamed. Don't miss the part of the interview where Toni unpacks the well-known story of Adam and Eve in the garden of Eden and how God still saw Adam and Eve as His children even though they failed and they were ashamed. This was Barb's favorite part of the episode! Has shame been a constant part of your life? If you've ever felt like you're not quite good enough for God's love, this conversation will remind you: shame doesn't get the final word. God's love for you does. Connect with Toni Kim Shame Redeemed: Learning to Live in Christ's Freedom   About Our Guest: Toni Kim is director of spiritual care at the National Association of Evangelicals. Previously, she served over twenty years as a pastor in Vancouver and Boston. Toni and her husband Walter currently live in Charlottesville, Virginia, and have two adult children. About Your Host: Barb Roose is a Christian speaker, Bible teacher and author who helps overwhelmed women stop carrying the things God never asked them to carry so those women can experience God's peace, freedom, and purpose. She speaks nationally and internationally at conferences and retreats, including Aspire Women's Events, ECPA Leadership Summit, Proverbs 31 COMPEL and She Speaks Conference. Barb is the author of seven Bible studies, including Surrendered: Letting Go and Living Like Jesus, Joshua: Winning the Worry Battle, and five books, including Stronger Than Stress. She hosts the Bold, Brave & Beautiful podcast and writes her weekly Happy Monday devotional. Barb is the proud mom of three adult kids. She lives in northwest Ohio and prefers to eat dessert first.

Angela Buchdahl was the first Asian American to be ordained as a rabbi, and now she is among the most influential rabbis in the world. She and Stephen Dubner talk about boundary-crossing, the aftermath of October 7, and whether you can be a good Jew without believing in God.    If you'd like to see the video version of Better in Person, you can watch it on YouTube or Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Today we talk about how we handle conflicts in friendships! We chat about how factors like age and compatibility can affect how conflicts manifest, discuss how we evaluate whether something is worth bringing up or not, and muse about wording things in delicate conversations.Support the showFollow us on social media @eatyourcrustpod

Before Kaila was old enough to fully understand her body she became the target of an old racist myth spread by a classmate, about the sexual anatomy of Asian girls. Like many of us who encountered harassment this early, she'd soon learn his comments were only the tip of a bigoted iceberg. Do you remember the first time you were confronted with a stereotype that would resurface throughout your entire life? Kaila Yu is the author of Fetishized: A Reckoning with Yellow Fever, Feminism and Beauty. Formerly an import model and lead singer of the all-Asian American pop-rock band Nylon Pink, Kaila joins Janicia for a conversation on the origins of "yellow fever," why your "type" preference might be a problem, the “raunch era” of the late 90's & 2000's, plastic surgery, the underground car scene that inspired the Fast & Furious series, and more. Content warning for references to SA from 23:08 - 24:35 0:00 Intro & where the heck I've been 3:18 Atlanta Spa Shootings 5:01 Beginnings of Asian fetishization in Western media 6:29 Colonization and sex work in Asia 7:50 Trafficking, “Yellow Peril”, and the Chinese Exclusion Act 11:20 Bride Schools & the War Brides Act 14:08 90s media, whiteness & model minority myths 16:03 Role models, self-esteem and Sung-Hi Lee 20:00 Representation 21:21 Pin-ups and the Raunch Era 23:08 - 24:35 CONTENT WARNING SA discussion 26:02 Import modeling & the Fast & Furious import car scene 29:27 What is the Asian fetish 31:10 Racial awakenings 34:58 Preference vs. fetish vs. BOTH 40:45 Can you be complicit in your own fetishization? 43:26 Sobriety, self worth & therapy 47:56 Sex icons and role models 50:39 Plastic surgery, whitewashing & erasure 1:00:38 Book release drama Archival audio: @ameyamarieokamoto 2022 Today Show reports, 2021 Jackie Fernandez, Asian women are not your fetish - TT @jackiefern IG @jackie_fern @soogia1 2025 Viola Davis, The View 2022 Sung-Hi Lee, The Girl Next Door, 2004 @AsianHappyHour 2022 Watch the full video version of this episode on patreon: https://www.patreon.com/teawithqj/posts/your-preference-165112637?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link Send your inquiries, thoughts and advice letters to teawithqueenandj@gmail.com If you'd like to support this work, please share it with a friend and/or join us on Patreon! www.patreon.com/teawithqj To donate: www.paypal.com/paypalme/JaniciaF Cashapp: $JaniciaF Venmo: @Janicia-Francis xo

Sam talks to scholar and activist Dr. Scott Kurashige, author of the new book American Peril: The Violent History of Anti-Asian Racism. "This is a must-read book to understand the multifaceted history of anti-Asian violence not only as individual attacks but through the context of war, militarism, imperialism, capitalist exploitation, and the postindustrial urban crisis. Through captivating storytelling, Kurashige uses his decades of knowledge as scholar and activist to resist the violence of erasure of Asian American activism and of anti-Asian racism itself.” —Diane C. Fujino, author of Heartbeat of Struggle: The Revolutionary Life of Yuri KochiyamaLearn more about the book here and follow Dr. Kurashige's work at scottkurashige.com.It's hard to keep up with the fascism that is unfolding as the Trump MAGA regime and party bid to consolidate a new form of governance atop the United States. Here are just three of the important recent developments in the accelerating Trump fascist assault on humanity.... Catch up with Paul Street's weekly column. Text REFUSE to 855-755-1314 or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠sign up online⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, follow @RefuseFascism on social media (@RefuseFashizm on TikTok) and our YouTube channel: @Refuse_Fascism.Support:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe to Refuse Fascism on Substack⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/refusefascism⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠donate.refusefascism.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Venmo: Refuse-Fascism⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy merch (Big Cartel)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy merch (Fourth Wall)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Music for this episode: Penny the Snitch by Ikebe Shakedown

In this episode, host Ken Fong is joined by independent filmmaker Anthony Ma, writer and director of the award-winning short film God and Buddha Are Friends. Anthony shares the inspirations and creative journey behind his funny, tender, and deeply personal film, exploring how faith, friendship, family, and Asian American identity intersect on screen. Before diving into the conversation, Ken reflects on taking his granddaughters to the Sacramento Buddhist Church's annual August Bazaar. He shares his personal journey of moving away from rigid religious rejection toward a progressive, deconstructed Christian faith that fully embraces his Asian American cultural heritage.

President Trump scores another major win by cracking down on the scourge of birth tourism; simps for radical Islam are shedding salty tears over the release of the trailer for our new film, Run, Hide, Fight: Infidels; and the Democrats are willing to accept radical Muslim candidates but not Asian-American ladies with crazy eyes. Ep. 2481 - - - Today's Sponsors: Balance of Nature - Simple ingredients. Simple routine. Get an additional 10% off any Balance of Nature subscription PLUS a FREE Guiltless Snack when you use promo code SHAPIRO. Visit https://BalanceofNature.com and use code SHAPIRO. Policygenius - Head to https://policygenius.com/SHAPIRO to compare life insurance quotes from top companies and see how much you could save. - - - DailyWire+ Become a Daily Wire Member and watch all of our content ad-free: https://www.dailywire.com/subscribe

In the early 1970s, Bruce Lee made nunchaku (nunchucks) cool — kids were building their own and buying them in record numbers. But the nunchucks craze coincided with something much bigger: the birth of a radical new Asian American identity. Roman Mars and historian Jeff Chang trace how nunchucks went from ancient weapon to symbol of resistance — not only uniting Asian Americans in the fight for their own rights, but connecting them to every other group pushing back from the margins. A History of the United States in 100 Objects is a production of 99% Invisible and BBC Studios. Subscribe to SiriusXM Podcasts+ to listen to new episodes of 99% Invisible ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.