Podcasts about asians

If as many Asians drank wine as the average American, we'd have ~100,000 more wine drinkers. And if Asian restaurants had wine lists at the average rate, we'd have ~5,000 more restaurants with wine lists. This is one of the foundations of the Asian Wine Association of America (“AWAA”), whose mission includes bringing wine to Asian cultures, of which food is central. Part of bridging this divide is exploring Asian food and wine pairing. One of AWAA's board members, Sunny Liao, Co-founder and CEO, and Philippe Venghiattis, Operations Manager of Vinus Club, delve into their extensive experience pairing wine with Asian foods. Detailed Show Notes: Sunny's background: exposed to wine from 6, wine educator with Lady Penguin in China, Wine MBA, wine consultant for restaurants, board member of AWAAPhilippe's background: exposed to wine from 3, worked in wine auctions, then went to UC Davis and is a vineyard manager and winemaker as well as operations for Vinus ClubVinus Club is a wine club focused on introducing wine to Asian consumers, including a wine dinner seriesAsian food: texture is a big focus, meals often have a diverse assortment of food at once, often need more than 1 wine to pairWine w/ at least 5-6 years of age are more accessible to a wider array of flavors and spice vs the pure fruit of young wines, more complexity helps for pairingSpicy foods work well w/ wines w/ a denser mid-palate that buffer the alcoholPhilippe's first challenge with Asian food and wine was at UC Davis with spicy hot potEastern palates tend to be more sensitive to acid and more into texture (e.g. - the texture of Petite Sirah attractive to Eastern palates)Pairing suggestionsAged Alsatian whites (15-20 years old) work well, they have texture, complexity, and mid-palate to buffer the spiceSmargad Riesling w/ a few years of age pairs well w/ Singaporean foodBraised duck and BaroloFlor de Muga Blanco's aging process adds textureOrange and volcanic wines work for younger winesChampagne w/ a large amount of reserve wineJura wines a natural fit for a lot of categoriesNicolas Joly's Coulee de Serrant w/ ~15 years of age often pairs well, but also shows a lot of variationHardest pairings: Korean food; often has a hint of sweetness, hard to balance w/ wineIndian cuisine Hosted on Acast. See acast.com/privacy for more information.

Send a textHere's a FROM THE ARCHIVES episode originally released on Feb 18, 2023.Many towns in the Chicago area were established to be all-white, keeping out Blacks, Asians, Jews, Native Americans, and others, allowing minorities to work in those towns but not live there. Those individuals also needed to be gone by sundown.Find all things Ernest Crim III at ernestcrim.com. Signed copies of Mr. Crim's book “The ABC's of Affirming Black Children" can be found at https://www.ernestcrim.com/shop.Show your support of the show for the cost of a coffee:https://www.buymeacoffee.com/chicagohistoryLeave me a voice message - just click on the microphone in the lower right corner here:https://www.chicagohistorypod.comUp your cocktail or Sodastream game with Portland craft syrups!https://portlandsyrups.com/collections/all?sca_ref=1270971.MO4APpJH1kNeed music for YOUR projects? Audiio has got you covered. Try a free trial here:https://audiio.com/pricing?oid=1&affid=481Anything purchased through the links below may generate a small commission for this podcast at no cost to you and help offset production costs.BOOKS:Sundown Towns: A Hidden Dimension of American Racism by James W. Loewenhttps://amzn.to/3xBW8va (Hardcover)https://amzn.to/3KihHZj (Kindle)Lies My Teacher Told Me: Everything Your History Textbook Got Wrong  by James W. Loewenhttps://amzn.to/3xAsXJbLies Across America: What Our Historic Sites Get Wrong by James W. Loewenhttps://amzn.to/3I4SLBYBlack History Saved My Life: How My Viral Hate Crime Led to an Awakening by Ernest Crim IIIhttps://amzn.to/3S8xtrGABCs of Affirming Black Children, The by Ernest Crim IIIhttps://amzn.to/3KjN3imTry Amazon Kindle Unlimited for FREE here: https://amzn.to/2WsP1GHChicago History Podcast Clothing, Mugs, Totes, & More (your purchase helps support the podcast):https://www.teepublic.com/user/chicago-history-podcasthttps://chicago-history-podcast.creator-spring.com/Chicago History Podcast (chicagohistorypod AT gmail.com):https://www.chicagohistorypod.comChicago History Podcast Art by John K. Schneider (angeleyesartjks AT gmail.com)Support the show

The balance of global power changed profoundly over the course of the twentieth century, above all with the economic and political rise of Asia. Asia after Europe: Imagining a Continent in the Long Twentieth Century (Harvard UP, 2024) is a bold new interpretation of the period, focusing on the conflicting and overlapping ways in which Asians have conceived their bonds and their roles in the world. Tracking the circulation of ideas and people across colonial and national borders, Sugata Bose explores developments in Asian thought, art, and politics that defied Euro-American models and defined Asianness as a locus of solidarity for all humanity.Impressive in scale, yet driven by the stories of fascinating and influential individuals, Asia after Europe examines early intimations of Asian solidarity and universalism preceding Japan's victory over Russia in 1905; the revolutionary collaborations of the First World War and its aftermath, when Asian universalism took shape alongside Wilsonian internationalism and Bolshevism; the impact of the Great Depression and Second World War on the idea of Asia; and the persistence of forms of Asian universalism in the postwar period, despite the consolidation of postcolonial nation-states on a European model.Diverse Asian universalisms were forged and fractured through phases of poverty and prosperity, among elites and common people, throughout the span of the twentieth century. Noting the endurance of nationalist rivalries, often tied to religious exclusion and violence, Bose concludes with reflections on the continuing potential of political thought beyond European definitions of reason, nation, and identity. Sugata Bose is Gardiner Professor of Oceanic History and Affairs, Harvard University. Lucas Tse is Examination Fellow at All Souls College, Oxford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The balance of global power changed profoundly over the course of the twentieth century, above all with the economic and political rise of Asia. Asia after Europe: Imagining a Continent in the Long Twentieth Century (Harvard UP, 2024) is a bold new interpretation of the period, focusing on the conflicting and overlapping ways in which Asians have conceived their bonds and their roles in the world. Tracking the circulation of ideas and people across colonial and national borders, Sugata Bose explores developments in Asian thought, art, and politics that defied Euro-American models and defined Asianness as a locus of solidarity for all humanity.Impressive in scale, yet driven by the stories of fascinating and influential individuals, Asia after Europe examines early intimations of Asian solidarity and universalism preceding Japan's victory over Russia in 1905; the revolutionary collaborations of the First World War and its aftermath, when Asian universalism took shape alongside Wilsonian internationalism and Bolshevism; the impact of the Great Depression and Second World War on the idea of Asia; and the persistence of forms of Asian universalism in the postwar period, despite the consolidation of postcolonial nation-states on a European model.Diverse Asian universalisms were forged and fractured through phases of poverty and prosperity, among elites and common people, throughout the span of the twentieth century. Noting the endurance of nationalist rivalries, often tied to religious exclusion and violence, Bose concludes with reflections on the continuing potential of political thought beyond European definitions of reason, nation, and identity. Sugata Bose is Gardiner Professor of Oceanic History and Affairs, Harvard University. Lucas Tse is Examination Fellow at All Souls College, Oxford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

An interview podcast giving the inside scoop on what happens in comedy scenes across the globe and dedicated to speaking to the mavericks in the comedy world. Susan Nickson, the creator of the legendary British sitcom Two Pints of Lager and a Packet of Crisps, joins The Comedian's Paradise to share her journey of writing a hit show at just 19 years old. Here is an overview of what we discussed:[[00:00]] Accents and finding love: Regional identity and chemistry [[06:04]][[06:04]] Starting Two Pints: The origin of the BBC cult classic [[07:52]][[07:52]] Asians ageing well: Cultural insights and heritage [[08:57]][[09:25]] Why Two Pints succeeded: Casting secrets and Runcorn nostalgia [[18:10]][[18:11]] Local backlash vs. comfort TV: The Runcorn response [[23:09]][[25:20]] Why sitcoms aren't being produced: The Mrs. Brown's Boys effect [[28:22]][[28:22]] Writing Two Pints characters: The scriptwriting thought process [[35:00]][[32:00]] Creative collaboration: Working with different writing styles [[35:00]][[38:25]] Writers' room: Inside the professional comedy engine [[41:03]][[41:03]] British comedy legends: Why Only Fools and Horses works [[45:16]][[47:42]] The Two Pints musicals: How the special episodes happened [[48:58]][[51:13]] Actors vs. Characters: Real life vs. on-screen personas [[54:36]][[52:53]] Creating Louise: Developing a brilliant sitcom character [[54:36]][[54:51]] Writer-actor synergy: Building vital industry relationships [[56:23]][[57:11]] Success and risk: Why starting young is a creative advantage [[01:03:17]][[01:01:00]] Multi-platform content: Strategies for modern creators [[01:03:17]][[01:03:17]] Ignoring the critics: Dealing with hate and reviews [[01:08:40]][[01:05:25]] Why I don't believe in critics: Maintaining creative vision [[01:07:00]][[01:08:40]] Career reflections: What my ten-year-old self would think [[01:12:00]][[01:12:34]] Is Two Pints coming back: Ownership and revival news [[01:16:44]]If you would like to know more about Susan, she is running a play at the Lion and Unicorn Theatre, here is the link: www.thelionandunicorntheatre.com. You can follow this podcast on Youtube at https://bit.ly/41LWDAq, Spotify at https://spoti.fi/3oLrmyU,Apple podcasts at https://apple.co/3LEkr3E and you can support the pod on:https://www.patreon.com/thecomediansparadise. #standupcomedypodcast #thecomediansparadise #thetwopintspodcast #twopintsoflargerandapacketofcrisps #interviewingcomedians #britishsitcom #britishcomedy

The balance of global power changed profoundly over the course of the twentieth century, above all with the economic and political rise of Asia. Asia after Europe: Imagining a Continent in the Long Twentieth Century (Harvard UP, 2024) is a bold new interpretation of the period, focusing on the conflicting and overlapping ways in which Asians have conceived their bonds and their roles in the world. Tracking the circulation of ideas and people across colonial and national borders, Sugata Bose explores developments in Asian thought, art, and politics that defied Euro-American models and defined Asianness as a locus of solidarity for all humanity.Impressive in scale, yet driven by the stories of fascinating and influential individuals, Asia after Europe examines early intimations of Asian solidarity and universalism preceding Japan's victory over Russia in 1905; the revolutionary collaborations of the First World War and its aftermath, when Asian universalism took shape alongside Wilsonian internationalism and Bolshevism; the impact of the Great Depression and Second World War on the idea of Asia; and the persistence of forms of Asian universalism in the postwar period, despite the consolidation of postcolonial nation-states on a European model.Diverse Asian universalisms were forged and fractured through phases of poverty and prosperity, among elites and common people, throughout the span of the twentieth century. Noting the endurance of nationalist rivalries, often tied to religious exclusion and violence, Bose concludes with reflections on the continuing potential of political thought beyond European definitions of reason, nation, and identity. Sugata Bose is Gardiner Professor of Oceanic History and Affairs, Harvard University. Lucas Tse is Examination Fellow at All Souls College, Oxford University. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/southeast-asian-studies

The balance of global power changed profoundly over the course of the twentieth century, above all with the economic and political rise of Asia. Asia after Europe: Imagining a Continent in the Long Twentieth Century (Harvard UP, 2024) is a bold new interpretation of the period, focusing on the conflicting and overlapping ways in which Asians have conceived their bonds and their roles in the world. Tracking the circulation of ideas and people across colonial and national borders, Sugata Bose explores developments in Asian thought, art, and politics that defied Euro-American models and defined Asianness as a locus of solidarity for all humanity.Impressive in scale, yet driven by the stories of fascinating and influential individuals, Asia after Europe examines early intimations of Asian solidarity and universalism preceding Japan's victory over Russia in 1905; the revolutionary collaborations of the First World War and its aftermath, when Asian universalism took shape alongside Wilsonian internationalism and Bolshevism; the impact of the Great Depression and Second World War on the idea of Asia; and the persistence of forms of Asian universalism in the postwar period, despite the consolidation of postcolonial nation-states on a European model.Diverse Asian universalisms were forged and fractured through phases of poverty and prosperity, among elites and common people, throughout the span of the twentieth century. Noting the endurance of nationalist rivalries, often tied to religious exclusion and violence, Bose concludes with reflections on the continuing potential of political thought beyond European definitions of reason, nation, and identity. Sugata Bose is Gardiner Professor of Oceanic History and Affairs, Harvard University. Lucas Tse is Examination Fellow at All Souls College, Oxford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/central-asian-studies

The balance of global power changed profoundly over the course of the twentieth century, above all with the economic and political rise of Asia. Asia after Europe: Imagining a Continent in the Long Twentieth Century (Harvard UP, 2024) is a bold new interpretation of the period, focusing on the conflicting and overlapping ways in which Asians have conceived their bonds and their roles in the world. Tracking the circulation of ideas and people across colonial and national borders, Sugata Bose explores developments in Asian thought, art, and politics that defied Euro-American models and defined Asianness as a locus of solidarity for all humanity.Impressive in scale, yet driven by the stories of fascinating and influential individuals, Asia after Europe examines early intimations of Asian solidarity and universalism preceding Japan's victory over Russia in 1905; the revolutionary collaborations of the First World War and its aftermath, when Asian universalism took shape alongside Wilsonian internationalism and Bolshevism; the impact of the Great Depression and Second World War on the idea of Asia; and the persistence of forms of Asian universalism in the postwar period, despite the consolidation of postcolonial nation-states on a European model.Diverse Asian universalisms were forged and fractured through phases of poverty and prosperity, among elites and common people, throughout the span of the twentieth century. Noting the endurance of nationalist rivalries, often tied to religious exclusion and violence, Bose concludes with reflections on the continuing potential of political thought beyond European definitions of reason, nation, and identity. Sugata Bose is Gardiner Professor of Oceanic History and Affairs, Harvard University. Lucas Tse is Examination Fellow at All Souls College, Oxford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/world-affairs

The balance of global power changed profoundly over the course of the twentieth century, above all with the economic and political rise of Asia. Asia after Europe: Imagining a Continent in the Long Twentieth Century (Harvard UP, 2024) is a bold new interpretation of the period, focusing on the conflicting and overlapping ways in which Asians have conceived their bonds and their roles in the world. Tracking the circulation of ideas and people across colonial and national borders, Sugata Bose explores developments in Asian thought, art, and politics that defied Euro-American models and defined Asianness as a locus of solidarity for all humanity.Impressive in scale, yet driven by the stories of fascinating and influential individuals, Asia after Europe examines early intimations of Asian solidarity and universalism preceding Japan's victory over Russia in 1905; the revolutionary collaborations of the First World War and its aftermath, when Asian universalism took shape alongside Wilsonian internationalism and Bolshevism; the impact of the Great Depression and Second World War on the idea of Asia; and the persistence of forms of Asian universalism in the postwar period, despite the consolidation of postcolonial nation-states on a European model.Diverse Asian universalisms were forged and fractured through phases of poverty and prosperity, among elites and common people, throughout the span of the twentieth century. Noting the endurance of nationalist rivalries, often tied to religious exclusion and violence, Bose concludes with reflections on the continuing potential of political thought beyond European definitions of reason, nation, and identity. Sugata Bose is Gardiner Professor of Oceanic History and Affairs, Harvard University. Lucas Tse is Examination Fellow at All Souls College, Oxford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

The balance of global power changed profoundly over the course of the twentieth century, above all with the economic and political rise of Asia. Asia after Europe: Imagining a Continent in the Long Twentieth Century (Harvard UP, 2024) is a bold new interpretation of the period, focusing on the conflicting and overlapping ways in which Asians have conceived their bonds and their roles in the world. Tracking the circulation of ideas and people across colonial and national borders, Sugata Bose explores developments in Asian thought, art, and politics that defied Euro-American models and defined Asianness as a locus of solidarity for all humanity.Impressive in scale, yet driven by the stories of fascinating and influential individuals, Asia after Europe examines early intimations of Asian solidarity and universalism preceding Japan's victory over Russia in 1905; the revolutionary collaborations of the First World War and its aftermath, when Asian universalism took shape alongside Wilsonian internationalism and Bolshevism; the impact of the Great Depression and Second World War on the idea of Asia; and the persistence of forms of Asian universalism in the postwar period, despite the consolidation of postcolonial nation-states on a European model.Diverse Asian universalisms were forged and fractured through phases of poverty and prosperity, among elites and common people, throughout the span of the twentieth century. Noting the endurance of nationalist rivalries, often tied to religious exclusion and violence, Bose concludes with reflections on the continuing potential of political thought beyond European definitions of reason, nation, and identity. Sugata Bose is Gardiner Professor of Oceanic History and Affairs, Harvard University. Lucas Tse is Examination Fellow at All Souls College, Oxford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Jason Hull, the founder and CEO of DoorGrow, discusses with Ashton Thomas the concept of marrying private equity with property management operations. Ashton Thomas is a third-generation real estate broker in Central Florida, she got her real estate license right after graduating high school and, in February 2019, opened her own brokerage. She decided to start her own brokerage and grew to about 25 agents, but she realized she preferred property management and did not like dealing with realtors and their recurring issues, and shifted her focus after property management "fell into her lap" when employees from a failing company approached her You'll Learn (00:45) Introduction and Ashton Thomas's Background  (03:46) The Audacity to Start a Brokerage at 23  (07:16) The Marriage of Private Equity and Property Management  (07:42) Benjamin Hardy's "Science of Scaling"  (12:31) Understanding Private Equity and the Roll Up Strategy  (17:58) The Advantage of Property Managers in Roll Ups  (19:10) Advice for Getting into Private Equity  (22:29) Raising Capital and How to Connect with Ashton Thomas Quotables "I've been thinking too small. That's why it's been so hard." "That's like entrepreneurs worst nightmare is to be feeling stuck and feeling like I'm not moving and I'm not getting traction and I'm not accomplishing anything." "The slowest, absolute slowest path to growth is to do it alone." Resources DoorGrow and Scale Mastermind DoorGrow Academy DoorGrow on YouTube DoorGrowClub DoorGrowLive Transcript Jason Hull (00:00) All right, five, four, three, two, one. Hello everybody, I'm Jason Hull, the founder and CEO of DoorGrow, the world's leading and most comprehensive coaching and consulting firm for long-term residential property management entrepreneurs. For over a decade and a half, we've brought innovative strategies and optimization to the property management industry. At DoorGrow, we are on a mission to transform property management business owners and their businesses. We want to transform the industry.   eliminate the BS, build awareness, change perception, expand the market, and help the best property management entrepreneurs win. Now, let's get into the show. All right, so my guest today is Ashton Thomas. Welcome, Ashton. Ashton (00:43) Thank you for having me. Jason Hull (00:45) So Ashton is a client of ours, but she also is a badass. And so Ashen, I would love for people to get to know you a little bit, share a little bit of your background. How did you get into real estate and property management and all of this?   Ashton (01:02) Yeah, absolutely. So I'm actually a third generation real estate broker in central Florida. My granddad started in Orlando like way back in the 60s. ⁓ Both my dad and my granddad, a lot of my uncles, they're all builders. So just kind of grew up in that real estate world. I was on a job site from when I was very little. ⁓ And so I always just had a love for homes, real estate, just   the whole nine years. When I was wrapping up high school about to go to college, my parents suggested, I always had like an entrepreneurial spirit, and my parents suggested that I get my real estate license. And I was like, you know what, it can't hurt to have that. So I went ahead and took the class, got the licensing as soon as I graduated high school. So I was actually a licensed realtor already working before I started my freshman year of   college. ⁓ Real estate has been so fascinating because I've been able to see so many changes over the last 12 years since I got into the industry. I started with new home sales construction, actually working for my parents, ⁓ really learned about what it took to run a sales center. And then I switched to traditional real estate, like what you think of a realtor doing now. ⁓ From there, I ended up opening my own brokerage.   Jason Hull (02:03) Wow.   Ashton (02:28) ⁓ in February of 2019. And then property management really just fell into my lap. There was a company that was going out of business because the owner was embezzling funds. And their employees actually came to me and said, you know, we would like to work with you. We'd like to work for you. And we're bringing these clients. So   I had never written a lease, seen, really even put my eyes or hands on a lease, never. This was two years ago, roughly. ⁓ And like just didn't have any property management experience at all. Figured out that we needed to get some systems in place right out of the gate. And I really took the next year, year and a half.   Jason Hull (02:59) how long ago.   Okay.   Ashton (03:22) to develop those. And Jason, you've been so instrumental in helping us succeed in those systems. You helped us identify the holes in our business and really figure out what we needed to do. ⁓ So at the time that I had brought on the property management side, and when I say property management for us, we do both long-term property management and short-term vacation rental. So I two separate sister companies that operate.   Jason Hull (03:51) Yeah.   Ashton (03:51) So ⁓ at the time I had roughly about 25 realtors that worked for me under the brokerage. I had really developed that, grown that. We were one of the largest Zillow Premier agent teams in central Florida at that time.   Jason Hull (04:13) Wait, can I ask you question about that?   Not very many agents start their own brokerage. What? mean, how, do you mind me asking age here? How old were you you started your brokerage and what gave you the audacity to decide to do this big thing?   Ashton (04:19) Mm-hmm.   I was 23 when I started my brokerage and the funny part was is I actually wanted to buy a brokerage first and I had this is a wild story you'll love this so you know you look back and you say what was I thinking like I had some guts and one of those stories   Jason Hull (04:33) Okay, go ahead.   Okay.   Okay.   Yeah   Ashton (04:55) So I had initially gone to this guy's office, he had four branches, local real estate agent, or a local real estate brokerage. I'd ⁓ developed his brokerage over like 50 years, had over 200 agents working for him. And I walk in and I asked to speak with the broker. He was there, they put me in the conference room. He thought that I wanted to become an agent working for him. Yeah. And I said, no, sir, I want to buy your company.   Jason Hull (05:19) That's the default.   my god.   Ashton (05:25) And   like, this was a total cold call. Like I had never talked with him before, never met him before. I ended up negotiating a price for the company ended up getting securing SBA financing. Everything had lined up so perfectly. And then a couple of weeks before we were actually going to be making it official. He decided that he wanted to, to sell his brokerage to a family member and not go through with me. And so.   Jason Hull (05:53) Wow.   Ashton (05:55) Honestly, in hindsight, that was the best thing that could have happened. I had no business running that large of a brokerage at 23 years old with no experience. ⁓ Over 200. Yeah. And I had secured a price for 2.4 million for the company. So with an earn out and it was just, it was going to be an insane deal if I could have like actually done that. But ⁓ I was   Jason Hull (06:05) How large was it? How many Asians? Okay, yeah, I mean massive, yeah.   Ashton (06:24) You know, everything happens for a reason. coming off of like the adrenaline rush from that not happening, I was like, you know what? I'm just going to start my own. Why not? So that's how I started when I was 23.   Jason Hull (06:26) Yeah.   Yeah.   I mean,   starting your own brokerage at 23 doesn't sound as crazy if you were already trying to buy 200 agent brokerage. Like, I'll just, you know, step it back a little bit.   Ashton (06:49) Mm-hmm.   Yes,   let's like crawl before we run. Oh, so that was originally what I wanted to do was just build up a massive, brokerage with lots of agents. And I thought that in my head was the dream. No, for me, it was not. I had grown to about 25 agents, like roughly like steadily and kept that number for a while. I realized that I   Jason Hull (06:56) Yeah. ⁓   Yeah.   Mm-hmm.   Ashton (07:21) to not like dealing with realtors and their issues over and over and over again, every day in and day out. It became like kind of toxic to me at least. And I went through and slashed a lot of agents jobs here ⁓ because it was either performance issues, attitude issues, whatever it was, they just were not the right fit for us. I ended up keeping a core five. ⁓   Jason Hull (07:32) Yeah.   Ashton (07:47) and they are phenomenal people with good ethics and good business sense who care about their clients and represent me and my company very, very well.   Jason Hull (07:58) What do feel like gave you the clarity to make that transition? Like, did you just wake up one morning or like, I don't like a lot of these people? Or how did you get clarity on what you really want?   Ashton (08:09) ⁓ One of the things was I told my office manager, I was so frustrated one morning, I told her, said, if one more person asks me another stupid question, I am gonna lose my mind. So I was fed up, I just couldn't deal with it anymore.   Jason Hull (08:23) Okay, we're just fed up.   Yeah, yeah. So I know when, when did that fit with you joining DoorGrow? Because I know you had worked on culture and we'd helped you figure out kind of what mattered to you and like, that align with, was that before you came on board? Was that after? When did you let go of all the... Okay. You don't move slow on anything, it sounds like.   Ashton (08:45) I don't want the same time. Yeah.   I try not to. I try not to. Honestly, I feel like that's where things go to die is if you move slow.   Jason Hull (08:57) Got it, yeah, right. Okay, cool, quick action taker. So obviously a very driven personality type. ⁓ And I know the topic that we were planning to talk about today is the marriage of private equity and property management, capital meets operations. So let's get into that. Again, you have big goals, big crazy goals.   Ashton (09:05) Thank you.   Yes.   Jason Hull (09:27) that sound pretty insane to most people. But you know, the people that are bold, that have the audacity to go after these big things, achieve big things. So what are you up to now?   Ashton (09:39) Yeah, so there's actually a great book by Dr. Benjamin Hardy. He has he's written like several and I know you're a big fan of Dr. Hardy's as well. He talks about like those impossible goals and how you really should and actually that one of his latest books, The Science of Scaling, is ⁓ really spurred me to action and not just having like a 10 year time frame, but like a three year time frame. And I can condense these goals.   what I want to do kind of vaguely into really specifics and get it done now. ⁓ So yeah, I would highly recommend anybody listening to also read his books.   Jason Hull (10:20) Yeah, agreed. Phenomenal book. I got to hear him speak down in Mexico and he hadn't released his book yet. And I was with a bunch of entrepreneurs that spent a lot of money to be there. And he all just walked out of the room with their mind blown. We were all just like, ⁓ I've been thinking too small. That's why it's been so hard. And it actually gets easier to grow and scale your business when you start thinking outside of your current mental limitations, which means it has to be something unrealistic or impossible.   Ashton (10:36) Mm-hmm.   Jason Hull (10:49) So that's been a game changer. I've done some episodes talking about this, but same thing for us. Like we've got some big things we're doing this year that are probably a bit ridiculous. And I don't know if we can pull it off, but if we do, DoorGrow will be the dominant player in the industry. And I already feel like we're a leader or leader, but this will be a game changer, some of the stuff that we have planned. And I've talked about it on previous episodes, just a little bit, what we're thinking of doing.   But I think it's going to be some of these things are going to be game changer. and we've got so many irons in the fire right now, like we move fast and it's bit crazy, but that's where the fun is too, right? In business. So I'd rather be lit on fire with too many ideas than be stuck. And I've been that way before where I'm like, what should I do next? know, I work on.   Ashton (11:35) That's like   entrepreneurs worst nightmare is to be feeling stuck and feeling like I'm not moving and I'm not getting traction and I'm not accomplishing anything. That is like absolute hell for us, isn't it?   Jason Hull (11:45) Yeah.   Yeah, I usually joke that entrepreneurs don't care about being happy or sad. They care about whether they're in momentum or whether they're stuck. And when we're stuck, damned, blocked, frustrated, that is hell. That's like, that's hell for us. We're miserable. And yeah, and it kills our motivation, everything. But when we're in momentum, that's the drug we crave. We want to feel like we're making progress and moving forward. And so   I'm that drug dealer. That's what I give out to clients. Like I'm like, let's go. That's hopium. So got to give them some hope. And then they're excited and believe they can do it. But yeah, if you believe you can do something big and you've got a big vision, a big dream, yeah, you start to find new pathways. You start to find new ideas. And so you're working on some crazy stuff. So let's talk about capital meets operations. How do we marry private equity with property management? And could other property managers do this?   Ashton (12:21) You do.   Jason Hull (12:47) excited to hear.   Ashton (12:47) Yeah,   absolutely. So I started in the private equity world really recently. It was like January of this year. And I feel like I've just been drinking out of a fire hose, like learning and being in, I've just made sure to put myself in the right rooms where I'm just like absorbing knowledge and information and wisdom from people and family offices that have been doing this so much longer than I.   Jason Hull (13:13) You've been really focused on learning the private equity space, which a lot of people, that's like some crazy thing they don't really maybe even understand. They're like, oh, don't know how it works. And you decided, hey, want get in on this.   Ashton (13:25) Yeah. ⁓ go   ahead. What was that?   Jason Hull (13:30) You said, I want to get in on this and learn about this and started figuring it out. All right, I'm going to plug our sponsor real quick, who you use, Vendoroo. How's it going with Vendoroo?   Ashton (13:33) Yes. ⁓   And here's amazing. We love them. They they honestly they take care of everything. They're really good about communication. I think they're they're phenomenal. They've been a game changer for us for our day to day ops.   Jason Hull (13:54) Okay, cool. I mean, it's So let me read this and then we'll get back into the show. So many of you tell me that maintenance is probably the least enjoyable part of being a property manager and definitely the most time consuming. But what if you could cut that workload by up to 85 percent? That's exactly what Vendero has achieved. They've leveraged cutting edge AI technology to handle nearly all of your maintenance tasks from initiating work orders and troubleshooting to coordinating with vendors and reporting.   This AI doesn't just automate, it becomes your ideal employee, learning your preferences and executing tasks flawlessly, never needing a day off and never quitting. This frees you up to focus on the critical tasks that really move the needle for your business, whether that's refining operations, expanding your portfolio, or even just taking a well-deserved break. Don't let maintenance drag you down. Step up your property management game with Vendero. Visit vendero.ai slash door grow.   today and make this the last maintenance hire you'll ever need. All right, cool. So let's talk about this private equity stuff. Help me understand what it is. I'm fairly ignorant, so.   Ashton (14:59) Hmm   So basically, I mean, it's a very big term, private equity, and it can span over so many different asset classes. And I think that's one of, I'm sidetracking a little just a minute, but like, I think that's one of my favorite parts about the private equity and PE industry is because you can meet somebody in your same asset class and they're doing something totally different. Like for instance, you know, what you're teaching Jason with the property management and like these operators and entrepreneurs who are   owner operators really, you're teaching us the same framework and we're doing the same exact thing, which there's nothing wrong with that. That's great. That works. It's systemized. In private equity, it's all wild cards. There's a lot of structure to it, but at the same time, everybody can be doing something different. And you're not in competition truly because you all have your own unique spin on it. So it's cool. But what it means is that ⁓ if, so our firm,   we bring in investor capital, ⁓ either through debt or equity. And then our investors trust us. We let them know like what we're investing in. usually have like a it depends on the type of investment. So I try not to get too technical here. It depends on the type of investment, but we let them know, hey, we're investing in XYZ companies, or we're investing in hard assets with like purchasing real estate that meet these certain criteria. So instead of   these investors taking their money and putting it into the stock market, they are putting it with private firms because the stock market is the public equities. then private equity is these private individually owned firms ⁓ that I mean, you have really large ones like BlackRock and Blackstone and ⁓ all of those. And then you have a lot of small ones like myself who are just getting off the ground. We don't have a lot of assets under management yet.   But as we develop that investor base, we're just going to keep that ball rolling and continuing.   Jason Hull (17:04) Yeah, so there's booty   firms, there's gigantic ones, there's lots of different categories of asset classes that they might be involved or invested in. And so somebody can pick a private equity company or something to partner with or get involved with that kind of is involved with the asset classes that they feel comfortable.   Ashton (17:23) Yeah,   absolutely. like, there's some, ⁓ like for us, we're real estate based and specifically Florida based real estate. There's, have friends who own hedge funds and that's all they do is hedge funds and specifically in like just in gold or in like just in commodities. We, there's people who are running funds based on really specific short-term rentals or within a five mile radius of national parks. So it gets down really, really, really specific.   ⁓ Up until like you large firms with very large funds and they have a diversified asset class over You know, they have hedge funds. They they're doing running venture They're doing ⁓ you know Secondaries they're actually in like the private equity sphere there. So it just really depends on on the firm itself and you want to make sure as if there's any investors listening you want to make sure that ⁓ your you fit with   how that firm is treating your money and running your money, and that it aligns with your goals, obviously, not just monetarily, but also with what they're investing in.   Jason Hull (18:32) Right, got it. Okay. And so how can property managers start to get involved in this and create this marriage? What are you doing?   Ashton (18:43) Yeah, so we're kind of doing it a little bit backwards. Most private equity firms, they start with raising capital and then they're going out and buying the asset and then they're outsourcing their vendors. So one of those vendors being property management and that's really where the gains and losses are happening is in the daily management style there. Then they realize and typically restructure   that they could be making more money. They could be increasing their bottom lines and everything else with that management. Everything hinges on the management when you're talking like hard assets in real estate, whether that's multifamily commercial, you know, residence, whatever it is. ⁓ So when they bring it in-house, they are restructuring. And there's also been a huge problem with   Jason Hull (19:36) Yeah.   Ashton (19:41) And I've been hearing this lately, huge problem with investor capital really not being watched out for by these firms because they're outsourcing all their vendors. What we did instead is I had already have the acquisition engine through our brokerage. We've already got all the systems set up in place for our property management firms, both short and long. Now we added the private equity firm. I have a series 65. So we're actually a state registered   Jason Hull (19:51) Right.   Ashton (20:10) like investment advisory firm for true asset management on the back end, which a lot of private equity firms do not have that. And then we added the capital. So we literally just did it backwards. And now we're focused on acquiring not only hard assets with cash flowing tenant occupied portfolios that meet certain metrics. We have to have a certain   Jason Hull (20:12) Okay.   Okay.   .   Ashton (20:37) IRR, we have to have a certain cap rate and a certain cash on cash return to even peak our interest. The other thing that we're buying is property management businesses. So we are working on acquisitions right now. We just completed one last week and we've got two more in the hopper. So we are going in and offering these off-market portfolios, know, minimum 20 up to, you   We have no limit on how many we'll buy, like minimum 20 units and we want creative financing. So we want to structure the deal where the seller and the owner is holding the majority of that note. We're using investor capital for the down payment. We're saving some to hedge for ⁓ reserves and we're going in and buying these companies to add to our revenue and our to our bottom line.   Jason Hull (21:35) I love it.   Ashton (21:36) Roll   up. That's the name and the term that's used in the private equity space is roll up.   Jason Hull (21:42) Roll-up, got it. So I've seen some of these companies in the past. I had a client, he eventually exited and sold his business to Home River Group. He had like 2,000 doors. So then he was kind more of a partner in Home River Group, 30,000 eventually. And he became kind of a consultant that would come in and these roll-ups that were being done in some instances, because they did it the reverse way from what you did, they thought they could just throw money at the problem.   So they went and acquired a whole bunch of property management companies. Sometimes, like some companies would acquire like 10,000 doors. Then they would fire like 7,000 of them because they realized there was so much garbage and it was difficult to manage. And then they thought they could just put in or install a property manager in and then the business would just run. But no real leadership for the boots on the ground. And so they would bring him in as a consultant. He would go in, fire everybody.   Ashton (22:34) Mm.   Jason Hull (22:42) organize a team, build a business and act as an interim CEO till he got the thing healthy and running. And he would make a lot of money because they were losing a lot of money trying to make this work. And people don't realize how hard property management can be. And so I think, yes, property managers have an advantage because they have the hardest piece of this entire puzzle, it sounds like.   Ashton (23:05) Yeah, it definitely is because you're dealing with you're dealing with tenants, you're dealing with the day to day your you are the boots on the ground. So that is why it is so important before we started any of this, I wanted to make sure that we had the proper systems in place that we could scale 500 more doors without blinking an eye. That is where you have to have that mindset and like you have to know what's going on before adding because when you just add   doors and just think that exactly what you said add doors and thinking that that's just going to like solve your problem you're just multiplying your problem whatever problems you have at 20 doors is going to be 10 fold at a thousand doors or more so ⁓ and more just doesn't necessarily equal better and that is one reason like in our contracts we actually do have clawbacks so if we do end up getting rid of owners that just aren't a fit   our purchase price is reduced down from the seller. So it gives the seller an incentive to ensure that they're selling us a good.   Jason Hull (24:11) Got it, yeah, that's important to have all that's in any sort of acquisition deal. So for other property managers that are looking to get into private equity and they're looking at maybe starting to do this, because they're like, you know what, I've got a healthy property management company, we've got the systems in place, is there somebody that I can partner with on this that already knows how to do it or can I go and learn to do this?   What would you say between those two options and where would you send them?   Ashton (24:43) Really? It depends on the person. This isn't for everybody. know, you, what I would recommend, and this is honestly what I tell anybody, no matter what business they're in, if they're thinking about growing, where do you want to be in three years? And let's reverse engineer it from there. So if you want to, like for us, our, our plan is to roll up to about 5,500 doors and then exit. So   Jason Hull (24:45) Yeah.   Got it.   Ashton (25:12) I already knew where I wanted to be. And so like, I wanted to exit at a certain amount. So I was like, how do I get to this amount? And then I just backed it up from there. ⁓ but that's, everybody's going to have a different goal. So I would highly recommend just like starting with that initial goal. that's, if that goal is freedom, if it is like, you want to be able to exit, you want to have, you want to just run a massive company, whatever it is, start there and then figure it out backwards.   Jason Hull (25:21) Okay.   Ashton (25:41) As far as bringing on capital and investor capital, whether they want to partner with somebody or if they want to like bring on debt, that's also a comfort level thing. ⁓ And it also depends on like what you and that other person that's bringing in the capital agree to and what you both feel like is the optimal solution. But before doing that, definitely educate yourself and find someone ⁓ either as a consultant like   Right now I am doing a little bit of consulting work for ⁓ different ⁓ funds as well as like companies like, you know, like what we're doing ⁓ for, you know, to help them with what their goals are. Let's back it up and then let's go from there. And like just adding some advice and getting them in touch with the right people that they need as far as connections. Analysts, numbers are so important when you're talking with investors.   You can't just be like, I think it's going to make this an investor, especially a sophisticated one is not going to go for that. Maybe friends and family will what I call country club money, but ⁓ a sophisticated investor, absolutely not. They're going to want to see a pro forma. ⁓ So there's so many steps involved before you ever, ever, ever bring on a dime of investor capital. So.   Jason Hull (26:51) Yep.   Ashton (27:09) I'm sorry, that's not like a ⁓ space.   Jason Hull (27:10) So, well, it sounds like   the path is maybe this. Like if you're a property manager first, you got to get your side of the room clean. You got to get your business tight. You got to get operations working, maybe reach out to DoorGro, get a little help, but you got to get things really well dialed in because it doesn't make sense to go start playing with other people's money and be on the hook for other people's money and investors.   Ashton (27:20) Yes.   was not.   Jason Hull (27:36) if you don't really feel like you have the ability to scale, you don't really feel like you can handle stuff, because if once money starts flowing and doors start adding, then if your stuff is okay, it's going to be stress tested and probably not okay. So that's probably first. Next, they need to learn about private equity, figure out that game, and then even once you figure out how that all works, then you've got to get good at selling it, which you are already a natural, you know...   Ashton (27:51) Yeah, exactly.   Jason Hull (28:05) Salesperson, you've invested a lot towards figuring that out, but then you're going out and you have to raise the cap.   Ashton (28:11) Raising capital is literally one of the hardest jobs. It is insane because you want to build a relationship and you want someone to trust you, but you're also asking for a check. And so it's trying to balance the relationship aspect as well as the transactional aspect. And it's even harder as a woman because private equity is definitely, ⁓ there's not a lot of women in this field.   Jason Hull (28:32) Yeah.   Ashton (28:41) ⁓ so it's even harder being like of the opposite gender. ⁓ so there's a lot to balance there. so getting, getting comfortable asking, but not being pushy. It's that I've learned so much from.   Jason Hull (28:56) As a woman, you've had   to take maybe a more feminine approach or you go in hot the way most guys would.   Ashton (29:04) It depends on the person.   It depends on my audience. You have to sell the way somebody wants to buy. So I've learned not to, at the beginning, I was definitely very transactional. And I've learned ⁓ through a dear friend of mine that to be more relationship-based and then that will come a little bit later with the transaction. ⁓ But at the same time, because I'm like,   Jason Hull (29:11) Yeah.   Mm-hmm.   Ashton (29:32) I need to know now. Like, I don't want to waste my time. I don't want to waste their time. We just need to lay it out on the table right now. They need to know what I'm here for. ⁓ I've had to like roll that back a little bit. And since I have, the checks have been definitely coming in a little bit smoother. So it was a huge learning experience for me.   Jason Hull (29:51) Yeah.   Ashton, how old are you right now for those listening? All they've heard is 23.   Ashton (29:59) I'm 30 now.   Jason Hull (30:01) 30 now, okay, you're 30 years old, you're doing amazing things. What amount of capital are you raising right now? Like what's your goal?   Ashton (30:05) Yeah.   Yeah, so we do different like rounds or like tranches of raising and it right now we are raising for specific projects. So as the projects come up, then we go out to our current investors first and then to like new potential investors next. ⁓ So in the spring, we're about to start doing another raise for ⁓ one, a business and then two, a couple other. ⁓   real estate portfolios that I'm looking at. ⁓ So that is going to be around the $800,000 mark of capital. And typically we do like minimum commitments of 100 because when you get into smaller amounts, typically the investors that are, I just become a little bit more needy because they're only, they're not as sophisticated and we want to deal with the investors who are.   Jason Hull (31:06) Got it. Yeah, that makes sense. Very cool. Sounds like you're doing really cool things. So Ashton, for those that are listening and they're curious about you, they're curious about maybe getting into this, you mentioned you do some consulting, you mentioned there may be investors or maybe they want to get in on some of the investing stuff that you're doing. How can they get in touch with you?   Ashton (31:29) Yeah, so they can send us an email. That would be the best way to you can send it to info at FX to capital calm. ⁓ And we, you know, are one of our interns checks that email on the daily. ⁓ So then we can set up an investor call and go through really well what your goals are. What is your portfolio look like right now?   How are you diversifying yourself? And maybe we can talk about what we can do to help increase that, maybe rebalance you a little bit within the private space and in the private markets.   Jason Hull (32:06) Cool, well property managers, if you're listening, I think Ashton's definitely doing something that's very cool. A lot of you probably could get in on this or create some sort of alliance or relationships that could allow you to be part of something like this. Even if it's just you're getting doors from other people that are in the private equity space that are rolling up a bunch of investment properties, this would be easy doors for you to get on if you really could do a good job. And it sounds like that's the linchpin, that's the hardest piece of the puzzle.   And if you're a good property manager, you've got that down then. So you've got a competitive advantage. So Ashwin, I appreciate you coming on and sharing this here on the board.   Ashton (32:43) Thank you.   Yeah, that was so much fun. It was so great talking to you.   Jason Hull (32:48) Awesome, so we'll go ahead and wrap up. For those of you that are feeling stuck, stagnant, you want to take your property management business to the next level, reach out to us at doorgrow.com for a free training on how to get unlimited free leads. Text the word leads to 512-648-4608. Also join our free Facebook community. It's just for property management business owners at doorgrowclub.com. And if you want tips, tricks, ideas to learn maybe about some of our offers,   subscribe to our newsletter by going to doorgrow.com slash subscribe. And if you found this even a little bit helpful, don't forget to subscribe, leave us a review. Anything like that would really help us out. We would appreciate it. And until next time, remember, the slowest, absolute slowest path to growth is to do it alone. And you heard Ashton, she's leveraging a lot of people to do what she's doing to grow. So let's grow together. Bye everyone.

APEX Express is a weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. On this episode, the Stop AAPI Hate Pacific Islander Advisory Council discuss a new report on anti–Pacific Islander hate. They examine the documented impacts of hate, structural barriers Pacific Islander communities face in reporting and accessing support, and the long-standing traditions of resistance and community care within PI communities.   Important Links: Stop AAPI Hate Stop AAPI Hate Anti-Pacific Islander Hate Report If you have questions related to the report, please feel free to contact Stop AAPI Hate Research Manager Connie Tan at ctan@stopaapihate.org Community Calendar: Upcoming Lunar New Year Events Saturday, February 14 – Sunday, February 15 – Chinatown Flower Market Fair, Grant Avenue (fresh flowers, arts activities, cultural performances) Tuesday, February 24 – Drumbeats, Heartbeats: Community as One, San Francisco Public Library (Lunar New Year and Black History Month celebration) Saturday, February 28 – Oakland Lunar New Year Parade, Jackson Street Saturday, March 7 – Year of the Horse Parade, San Francisco Throughout the season – Additional Lunar New Year events, including parades, night markets, and museum programs across the Bay Area and beyond. Transcript: [00:00:00]  Miata Tan: Hello and welcome. You are tuning in to Apex Express, a weekly radio show uplifting the voices and stories of Asian Americans and Pacific Islanders. I'm your host, Miata Tan and tonight we're examining community realities that often go under reported. The term A API, meaning Asian Americans and Pacific Islanders is an [00:01:00] acronym we like to use a lot, but Pacific Islander peoples, their histories and their challenges are sometimes mischaracterized or not spoken about at all. Stop A API Hate is a national coalition that tracks and responds to the hate experience by A API communities through reporting, research and advocacy. They've released a new report showing that nearly half of Pacific Islander adults experienced an act of hate in 2024 because of their race, ethnicity, or nationality. Tonight we'll share conversations from a recent virtual community briefing about the report and dive into its findings and the legacy of discrimination experienced by Pacific Islanders. Isa Kelawili Whalen: I think it doesn't really help that our history of violence between Pacific Islander Land and Sea and the United States, it already leaves a sour taste in your mouth. When we Pacifica. Think [00:02:00] about participating in American society and then to top it off, there's little to no representation of Pacific Islanders. Miata Tan: That was the voice of Isa Kelawili Whalen, Executive Director at API Advocates and a member of Stop, A API hates Pacific Islander Advisory Council. You'll hear more from Isa and the other members of the advisory council soon. But first up is Cynthia Choi, the co-founder of Stop, A API, Hate and co-Executive Director of Chinese for affirmative action. Cynthia will help to ground us in the history of the organization and their hopes for this new report about Pacific Islander communities. Cynthia Choi: As many of you know, Stop API Hate was launched nearly six years ago in response to anti-Asian hate during COVID-19 pandemic. And since then we've operated as the [00:03:00] nation's largest reporting center tracking anti A. PI Hate Acts while working to advance justice and equity for our communities. In addition to policy advocacy, community care and narrative work, research has really been Central to our mission because data, when grounded in community experience helps tell a fuller and more honest story about the harms our communities face. Over the years, through listening sessions and necessary and hard conversations with our PI community members and leaders, we've heard a consistent. An important message. Pacific Islander experiences are often rendered invisible when grouped under the broader A API umbrella and the forms of hate they experience are shaped by distinct histories, ongoing injustice, and unique cultural and political [00:04:00] context. This report is in response to this truth and to the trust Pacific Islander communities have placed in sharing their experience. Conducted in partnership with NORC at the University of Chicago, along with stories from our reporting center. we believe these findings shed light on the prevalence of hate, the multifaceted impact of hate and how often harm goes unreported. Our hope is that this report sparks deeper dialogue and more meaningful actions to address anti pi hate. We are especially grateful to the Pacific Islander leaders who have guided this work from the beginning. Earlier this year, uh, Stop API hate convened Pacific Islander Advisory Council made up of four incredible leaders, Dr. Jamaica Osorio Tu‘ulau‘ulu Estella Owoimaha Church, Michelle Pedro, and Isa Whalen. Their leadership, wisdom [00:05:00] and care have been essential in shaping both our research and narrative work. Our shared goal is to build trust with Pacific Islander communities and to ensure that our work is authentic, inclusive, and truly reflective of lived experiences. These insights were critical in helping us interpret these findings with the depth and context they deserve.  Miata Tan: That was Cynthia Choi, the co-founder of Stop, A API, hate and co-Executive Director of Chinese for affirmative action. As Cynthia mentioned to collect data for this report, Stop A API Hate worked with NORC, a non-partisan research organization at the University of Chicago. In January, 2025, Stop A API. Hate and norc conducted a national survey that included 504 Pacific Islander respondents. The survey [00:06:00] examined the scope of anti Pacific Islander hate in 2024, the challenges of reporting and accessing support and participation in resistance and ongoing organizing efforts. We'll be sharing a link to the full report in our show notes at kpfa.org/program/apex-express. We also just heard Cynthia give thanks to the efforts of the Stop A API hate Pacific Islander Advisory Council. this council is a team of four Pacific Islander folks with a range of professional and community expertise who helped Stop A API hate to unpack and contextualize their new report. Tonight we'll hear from all four members of the PI Council. First up is Dr. Jamaica Osorio, a Kanaka Maoli wahine artist activist, and an Associate Professor of Indigenous and native Hawaiian politics [00:07:00] at the University of Hawaiʻi at Mānoa . Here's Dr. Jamaica, reflecting on her initial reaction to the report and what she sees going on in her community. Dr. Jamaica Heolimeleikalani Osorio: Aloha kākou. Thank you for having us today. I think the biggest thing that stood out to me in the data and the reporting that I haven't really been able to shake from my head, and I think it's related to something we're seeing a lot in our own community, was the high levels of stress and anxiety that folks in our community were experiencing and how those high levels were almost, they didn't really change based on whether or not people had experienced hate. Our communities are living, um, at a threshold, a high threshold of stress and anxiety, um, and struggling with a number of mental health, issues because of that. And I think this is an important reminder in relationship to the broader work we might be doing, to be thinking about Stopping hate acts against folks in our community and in other communities, but really to think about what are the [00:08:00] conditions that people are living under that make it nearly unlivable for our communities to survive in this place. Uh, the, the other thing that popped out to me that I wanna highlight is the data around folks feeling less welcome. How hate acts made certain folks in our community feel less welcome where they're living. And I kind of wanna. Us to think more about the tension between being unwelcomed in the so-called United States, and the tension of the inability for many of our people to return home, uh, if they would've preferred to actually be in our ancestral homes. And what are. How are those conditions created by American Empire and militarism and nuclearization, kind of the stuff that we talked about as a panel early on but also as we move away from today's conversation thinking about like what is. The place of PIs in the so-called United States. Uh, what does it mean to be able to live in your ancestral homeland like myself, where America has come to us, and chosen to stay? What does it mean for our other PI family members who have [00:09:00] come to the United States? Because our homes have been devastated by us militarism and imperialism. That's what's sitting with me that I think may not. Immediately jump out of the reporting, but we need to continue to highlight, uh, in how we interpret. Miata Tan: That was Dr. Jamaica Osorio, an Associate Professor of Indigenous and native Hawaiian politics at the University of Hawaiʻi at Māno a.  Now let's turn to Isa Kelawili Whalen. Isa is the Executive Director of API Advocates and another member of the Stop A API hate Pacific Islander Advisory Council. Here Isa builds on what Dr. Jamaica was saying about feelings of stress and anxiety within the Pacific Islander communities. Okay. She also speaks from her experience as an Indigenous CHamoru and Filipino woman. Here's Isa. Isa Kelawili Whalen: [00:10:00] American society and culture is drastically different from Pacifica Island and our culture, our roots, traditions, and so forth, as are many ethnicities and identities out there. But for us who are trying to figure out how to constantly navigate between the two, it's a little polarizing. Trying to fit in into. American society, structure that was not made for us and definitely does not coincide from where we come from either. So it's hard to navigate and we're constantly felt, we feel like we're excluded, um, that there is no space for us. There's all these boxes, but we don't really fit into one. And to be honest, none of these boxes are really made for anyone to fit into one single box the unspoken truth. And so. A lot of the times we're too Indigenous or I'm too Pacifica, or I'm too American, even to our own families being called a coconut. A racial comment alluding to being one ethnicity on the inside versus the outside, and to that causes a lot of mental health harm, um, within ourselves, our [00:11:00] friends, our family, community, and understanding for one another. in addition to that. I think it doesn't really help that our history of violence between Pacific Islander Land and Sea and the United States, it already leaves a sour taste in your mouth. When we Pacifica. Think about participating in American society and then to top it off, there's little to no representation of Pacific Islanders, um, across. The largest platforms in the United States of America. It goes beyond just representation with civic engagement, um, and elected officials. This goes to like stem leadership positions in business to social media and entertainment. And when we are represented, it's something of the past. We're always connotated to something that's dead, dying or old news. And. we're also completely romanticized. This could look like Moana or even the movie Avatar. So I think the feeling of disconnected or unaccepted by American society at large is something that stood out to me in the [00:12:00] report and something I heavily resonate with as well. Miata Tan: That was Isa Kelawili Whalen, Executive Director at API Advocates and a member of the Stop A API hate Pacific Islander Advisory Council. As we heard from both Dr. Jamaica and Isa, the histories and impacts of hate against. Pacific Islander communities are complex and deeply rooted from ongoing US militarization to a lack of representation in popular culture. Before we hear from the two other members of the PI Advisory Council, let's get on the same page. What are we talking about when we talk about hate? Connie Tan is a research manager at Stop, A API hate and a lead contributor to their recent report on anti Pacific Islander hate. Here she is defining Stop A API hate's research framework for this project. [00:13:00]  Connie Tan: Our definition of hate is largely guided by how our communities define it through the reporting. So people have reported a wide range of hate acts that they perceive to be motivated by racial bias or prejudice. The vast majority of hate acts that our communities experience are not considered hate crimes. So there's a real need to find solutions outside of policing in order to address the full range of hate Asian Americans and Pacific Islander experience. We use the term hate act as an umbrella term to encompass the various types of bias motivated events people experience, including hate crimes and hate incidents. And from the survey findings, we found that anti PI hate was prevalent. Nearly half or 47% of PI adults reported experiencing a hate act due to their race, ethnicity, or nationality in 2024. And harassment such as being called a racial slur was the most common type of hate. Another [00:14:00] 27% of PI adults reported institutional discrimination such as unfair treatment by an employer or at a business. Miata Tan: That was Connie Tan from Stop. A API hate providing context on how hate affects Pacific Islander communities. Now let's return to the Pacific Islander Advisory Council who helped Stop A API hate to better understand their reporting on PI communities. The remaining two members of the council are Tu‘ulau‘ulu Estella Owoimaha- Church, a first generation Afro Pacifican educator, speaker and consultant. And we also have Michelle Pedro, who is a California born Marshallese American advocate, and the policy and communications director at Arkansas's Coalition of the Marshallese. You'll also hear the voice of Stephanie Chan, the Director of Data and [00:15:00] Research at Stop A API Hate who led this conversation with the PI Council. Alrighty. Here's Esella reflecting on her key takeaways from the report and how she sees her community being impacted. Tu‘ulau‘ulu Estella Owoimaha-Church: A piece of data that stood out to me is the six out of 10 PIs who have experienced hate, noted that it was an intersectional experience, that there are multiple facets of their identities that impacted the ways they experienced hate. And in my experience as Afro Pacifican. Nigerian Samoan, born and raised in South Central Los Angeles on Tonga land. That's very much been my experience, both in predominantly white spaces and predominantly API spaces as well. As an educator a piece of data that, that really stood out to me was around the rate at which. Pacific Islanders have to exit education. 20 years as a high school educator, public high school educator and college counselor. And that was [00:16:00] absolutely my experience when I made the choice to become an educator. And I moved back home from grad school, went back to my neighborhood and went to the school where I had assumed, because when I was little, this is where. My people were, were when I was growing up, I assumed that I would be able to, to put my degrees to use to serve other black PI kids. And it wasn't the case. Students were not there. Whole populations of our folks were missing from the community. And as I continued to dig and figure out, or try to figure out why, it was very clear that at my school site in particular, Samoan, Tongan, and Fijian students who were there. We're not being met where they are. Their parents weren't being met where they are. They didn't feel welcome. Coming into our schools, coming into our districts to receive services or ask for support it was very common that the only students who received support were our students who chose to play sports. Whereas as a theater and literature educator, I, I spent most of my time advocating for [00:17:00] block schedule. So that my students who I knew had, you know, church commitments after school, family commitments after school I needed to find ways to accommodate them. and I was alone in that fight, right? The entire district, the school the profession was not showing up for our students in the ways that they needed. Stephanie Chan: Thank you, Estella. Yeah, definitely common themes of, you know, what does belonging mean in our institutions, but also when the US comes to you, as Jamaica pointed out as well. Michelle, I'll turn it over to you next.  Michelle Pedro: Lakwe and greetings everyone. , A few things that pointed out to me or stood out to me. Was, um, the mental health aspect mental health is such a, a big thing in our community we don't like to talk about, especially in the Marshallese community. it's just in recent years that our youth is talking about it more. And people from my generation are learning about mental health and what it is in this society versus back home. It is so different. [00:18:00] When people move from Marshall Islands to the United States, the whole entire system is different. The system was not built for people like us, for Marshallese, for Pacific Islanders. It really wasn't. And so the entire structure needs to do more. I feel like it needs to do more. And the lack of education like Estella said. Back home. We have a lot of our folks move here who don't graduate from past like third grade. So the literacy, rate here in Arkansas my friends that our teachers, they say it's very low and I can only imagine what it is in the Marshallese community here. And. I hear stories from elders who have lived here for a while that in Arkansas it was a little bit scary living here because they did not feel welcome. They didn't feel like it was a place that they could express themselves. A lot of my folks say that they're tired of their race card,  but we [00:19:00] need to talk about race. We don't know what internal racism is, or systemic racism is in my community. We need to be explaining it to our folks where they understand it and they see it and they recognize it to talk about it more. Miata Tan: That was Michelle Pedro, Policy and Communications Director at Arkansas Coalition of the Marshallese, and a member of the Stop, A API hate Pacific Islander Advisory Council. Michelle shared with us that hate against Pacific Islander communities affects educational outcomes leading to lower rates of literacy, school attendance, and graduation. As Esella noted, considering intersectionality can help us to see the full scope of these impacts. Here's Connie Tan, a research manager at Stop, A API hate with some data on how PI communities are being targeted the toll this takes on their mental and physical [00:20:00] wellbeing. Connie Tan: And we saw that hate was intersectional. In addition to their race and ethnicity, over six, in 10 or 66% of PI adults said that other aspects of their identity were targeted. The top three identities targeted were for their age, class, and gender. And experiences with hate have a detrimental impact on the wellbeing of PI Individuals with more than half or about 58% of PI adults reporting negative effects on their mental or physical health. It also impacted their sense of safety and altered their behavior. So for example, it is evidenced through the disproportionate recruitment of PI people into the military. And athletic programs as a result, many are susceptible to traumatic brain injuries, chronic pain, and even post-traumatic stress disorder. Miata Tan: That was Connie Tan with Stop. A API Hate. You are tuned [00:21:00] into Apex Express, a weekly radio show, uplifting the voices and stories of Asian Americans and Pacific Islanders. You'll hear more about Connie's research and the analysis from the Stop. A API hate Pacific Islander Advisory Council. In a moment. Stay with us. [00:22:00] [00:23:00] [00:24:00] [00:25:00]  Miata Tan: That was us by Ruby Ibarra featuring Rocky Rivera, Klassy and Faith Santilla. You are tuned into Apex Express on 94.1 KPFA, A weekly radio show [00:26:00] uplifting the voices and stories of Asian Americans and Pacific Islanders. I'm your host Miata Tan. Tonight we're focused on our Pacific Islander communities and taking a closer look at a new report on anti Pacific Islander hate from the National Coalition, Stop A API hate. Before the break the Stop, A API, Pacific Islander Advisory Council shared how mental health challenges, experiences of hate and the effects of US militarization are all deeply interconnected in PI communities. Connie Tan, a research manager at Stop. A API Hate reflects on how a broader historical context helps to explain why Pacific Islanders experience such high rates of hate. Here's Connie. Connie Tan: We conducted sensemaking sessions with our PI advisory council members, and what we learned is that anti PI hate must be understood [00:27:00] within a broader historical context rooted in colonialism. Militarization nuclear testing and forced displacement, and that these structural violence continue to shape PI people's daily lives. And so some key examples include the US overthrow and occupation of Hawaii in the 18 hundreds that led to the loss of Hawaiian sovereignty and cultural suppression. In the 1940s, the US conducted almost 70 nuclear tests across the Marshall Islands that decimated the environment and subjected residents to long-term health problems and forced relocation to gain military dominance. The US established a compacts of free association in the 1980s that created a complex and inequitable framework of immigration status that left many PI communities with limited access to federal benefits. The COVID-19 pandemic exposed a disproportionate health impacts in PI communities due to the historical lack of disaggregated data, unequal access to health benefits, [00:28:00] and a lack of culturally responsive care. And most recently, there are proposed or already enacted US travel bans targeting different Pacific Island nations, continuing a legacy of exclusion. So when we speak of violence harm. Injustice related to anti P hate. It must be understood within this larger context. Miata Tan: That was Connie Tan at Stop. A API hate. Now let's get back to the Pacific Islander Advisory Council who are helping us to better understand the findings from the recent report from Stop. A API hate focused on hate acts against the Pacific Islander communities. I will pass the reins over to Stephanie Chan. Stephanie's the director of Data and Research at Stop A API Hate who led this recent conversation with the PI Advisory Council. Here's Stephanie. [00:29:00]  Stephanie Chan: The big mental health challenges as well as the issues of acceptance and belonging and like what that all means. I, I think a lot of you spoke to this but let's get deeper. What are some of the historical or cultural factors that shape how PI communities experience racism or hate today? Let's start with Estella. Tu‘ulau‘ulu Estella Owoimaha-Church: Thank you for the question, Stephanie. A piece of data that, stood out to me, it was around the six outta 10 won't report to formal authority agencies. And earlier it was mentioned that there's a need For strategies outside policing. I think that, to everything that, Jamaica's already stated and, and what's been presented in the, the data why would we report, when the state itself has been harmful to us collectively. The other thing I can speak to in my experience is again, I'll, I'll say that an approach of intersectionality is, is a must because says this too in the report, more than [00:30:00] 57% of our communities identify as multiracial, multi-ethnic. And so in addition to. Who we are as Pacific Islander, right? Like many of us are also half Indigenous, half black, half Mexican, et cetera. List goes on. And there's, there needs to be enough space for all of us, for the whole of us to be present in our communities and to, to do the work, whatever the work may be, whatever sector you're in, whether health or education. Policy or in data. And intersectional approach is absolutely necessary to capture who we are as a whole. And the other, something else that was mentioned in the report was around misinformation and that being something that needs to be combated in particular today. Um, and I see this across several communities. The, AI videos are, are a bit outta control. Sort of silly, but still kind of serious. Example comes to mind, recent a very extensive conversation. I didn't feel like having, uh, with, [00:31:00] with my uncles around whether or not Tupac is alive because AI videos Are doing a whole lot that they shouldn't be doing. And it's, it's a goofy example, but an example nonetheless, many of our elders are using social media or on different platforms and the misinformation and disinformation is so loud, it's difficult to continue to do our work. And educate, or in some cases reeducate. And make sure that, the needs of our community that is highlighted in this report are being adjusted. Stephanie Chan: Thank you. Yeah. And a whole new set of challenges with the technology we have today. Uh, Michelle, do you wanna speak to the historical and cultural factors that have shaped how PI communities experience racism today?  Michelle Pedro: Our experience is, it's inseparable to the US nuclear legacy and just everything that Estella was saying, a standard outside of policing. Like why is the only solution incarceration or most of the solutions involve [00:32:00] incarceration. You know, if there's other means of taking care of somebody we really need to get to the root causes, right? Instead of incarceration. And I feel like a lot of people use us, but not protect us. And the experiences that my people feel they're going through now is, it's just as similar than when we were going through it during COVID. I. Here in Arkansas. More than half of people that, uh, the death rates were Marshallese. And most of those people were my relatives. And so going to these funerals, I was just like, okay, how do I, how do I go to each funeral without, you know, if I get in contact to COVID with COVID without spreading that? And, you know, I think we've been conditioned for so long to feel ashamed, to feel less than. I feel like a lot of our, our folks are coming out of that and feeling like they can breathe again. But with the [00:33:00] recent administration and ice, it's like, okay, now we have to step back into our shell. And we're outsiders again, thankfully here in, uh, Northwest Arkansas, I think there's a lot of people who. have empathy towards the Marshallese community and Pacific Islanders here. And they feel like we can, we feel like we can rely on our neighbors. Somebody's death and, or a group of people's deaths shouldn't, be a reason why we, we come together. It should be a reason for, wanting to just be kind to each other. And like Estella said, we need to educate but also move past talks and actually going forward with policy changes and stuff like that. Stephanie Chan: Thank you Michelle. And yes, we'll get to the policy changes in a second. I would love to hear. What all of our panelists think about what steps we need to take. Uh, Isa I'm gonna turn it over to you to talk about historical or cultural factors that shape how PI communities experience racism today.  Isa Kelawili Whalen: [00:34:00] Many, if not all, Pacific Islander families or communities that I know of or I'm a part of, we don't wanna get in trouble. And what does that really mean? We don't wanna be incarcerated by racially biased jurisdictions. Um, we don't wanna be deported. We don't want to be revoked of our citizenship for our rights or evicted or fired. All things that we deem at risk at all times. It's always on the table whenever we engage with the American government. Even down to something as simple as filling out a census form. And so I think it's important to know also that at the core of many of our Pacifica cultures, strengthening future generations is at the center. Every single time. I mean, with everything that our elders have carried, have fought for, have sacrificed for, to bring us to where we are today. It's almost like if someone calls you a name or they give you a dirty look, or maybe even if they get physical with you on a sidewalk. Those are things we just swallow. ‘ cause you have to, there's so much on the table so much at risk that we cannot afford to lose. [00:35:00] And unfortunately, majority of the times it's at the cost of yourself. It is. That mistrust with everything that's at risk with keeping ourselves, our families, and future generations. To continue being a part of this American society, it makes it really, really hard for us to navigate racism and hate in comparison to, I would say, other ethnic groups. Stephanie Chan: Definitely. And the mistrust in the government is not gonna get better in this context. It's only gonna get worse. Jamaica, do you wanna speak to the question of the historical and cultural factors that shape how PI communities experience racism? Dr. Jamaica Heolimeleikalani Osorio: Absolutely. You know, without risking sounding like a broken record, I think one of the most meaningful things that many of us share across the Pacific is the violence of us. Uh, not just us, but in imperial militarization and nuclear testing. and I think it's easy for folks. Outside of the Pacific to forget that that's actually ongoing, right? That there are military occupations ongoing in Hawaii, in [00:36:00] Guam, in Okinawa, uh, that our people are being extracted out of their communities to serve in the US military in particular, out of Samoa, the highest per capita rate of folks being enlisted into the US on forces, which is insane. Um, so I don't want that to go unnamed as something that is both historical. And ongoing and related to the kind of global US imperial violence that is taking place today that the Pacific is is this. Point of departure for so much of that ongoing imperial violence, which implicates us, our lands, our waters, and our peoples, and that as well. And that's something that we have to reckon with within the overall context of, experiencing hate in and around the so-called United States. But I also wanna touch on, The issue of intersectionality around, um, experiencing hate in the PI community and, and in particular thinking about anti-blackness, both the PI community and towards the PI community. Uh, [00:37:00] and I Understanding the history of the way white supremacy has both been inflicted upon our people and in many cases internalized within our people. And how anti-blackness in particular has been used as a weapon from within our communities to each other while also experiencing it from the outside. Is something that is deeply, deeply impacting our people. I'm thinking both the, the personal, immediate experience of folks experiencing or practicing anti-blackness in our community. But I'm also thinking about the fact that we have many examples of our own organizations and institutions Reinforcing anti-blackness, uh, being unwilling to look at the way that anti-blackness has been reinterpreted through our own cultural practices to seem natural. I'll speak for myself. I've, I've seen this on a personal level coming out of our communities and coming into our communities. I've seen this on a structural level. you know, we saw the stat in the report that there's a high percentage of PIs who believe that cross racial solidarity is [00:38:00] important, and there's a high percentage of PIs who are saying that they want to be involved and are being involved in trying to make a difference, uh, against racial injustice in this godforsaken. Country,  Um, that work will never be effective if we cannot as a community really take on this issue of anti-blackness and how intimately it has seeped into some of our most basic assumptions about what it means to be Hawaiian, about what it means to be Polynesian, about what it means to be, any of these other, uh, discreet identities. We hold as a part of the Pacific. Miata Tan: That was Dr. Jamaica Osorio, an Associate Professor of Indigenous and Native Hawaiian politics and a member of the Stop A API hate Pacific Islander Advisory Council. Dr. Jamaica was reflecting on the new report from Stop. A API Hate that focuses on instances of hate against Pacific Islander [00:39:00] communities. We'll hear more from the PI Advisory Council in a moment. Stay with us. ​ [00:40:00] [00:41:00] [00:42:00] [00:43:00] That was Tonda by Diskarte Namin . You are tuned into Apex Express on 94.1 KPFA, a weekly radio show uplifting the voices and stories of Asian Americans and Pacific Islanders. I am your host Miata Tan, and tonight we're centering our Pacific Islander communities. Stop. A API Hate is a national coalition that tracks and responds to anti-Asian American and Pacific Islander hate. Their latest report found that nearly half of Pacific Islander [00:44:00] adults experienced an act of hate in 2024 because of their race, ethnicity, or nationality. Connie Tan is a research manager at Stop, A API Hate who led the charge on this new report. Here she is sharing some community recommendations on how we can all help to reduce instances of harm and hate against Pacific Islander communities. Connie Tan: So to support those impacted by hate, we've outlined a set of community recommendations for what community members can do if they experience hate, and to take collective action against anti P. Hate first. Speak up and report hate acts. Reporting is one of the most powerful tools we have to ensure harms against PI. Communities are addressed and taken seriously. You can take action by reporting to trusted platforms like our Stop API Hate Reporting Center, which is available in 21 languages, including Tongan, Samoan, and Marshall. [00:45:00] Second, prioritize your mental health and take care of your wellbeing. We encourage community members to raise awareness by having open conversations with loved ones, family members, and elders about self-care and mental wellness, and to seek services in culturally aligned and trusted spaces. Third, combat misinformation in the fight against. It is important to share accurate and credible information and to combat anti PI rhetoric. You can view our media literacy page to learn more. Fourth, know your rights and stay informed During this challenging climate, it is important to stay up to date and know your rights. There are various organizations offering Know your rights materials, including in Pacific Islander languages, and finally participate in civic engagement and advocacy. Civic engagement is one of the most effective ways to combat hate, whether it is participating in voting or amplifying advocacy efforts. Miata Tan: That [00:46:00] was Connie Tan, a research manager at Stop. A API Hate. As Connie shared, there's a lot that can be done to support Pacific Islander communities from taking collective action against hate through reporting and combating misinformation to participating in civic engagement and advocacy. I'll pass the reins back over to Stephanie Chen, the director of Data and Research at Stop A API Hate. Stephanie is speaking with the Stop, A API hate Pacific Islander Advisory Council, zeroing in on where we can go from here in addressing hate against Pacific Islander communities. Stephanie Chan: We've heard a lot, a lot about the pain of anti PI hate, we've heard a lot about the pain of just, ongoing militarization displacement government distrust problems with education. Anti-blackness. what three things would you name as things that [00:47:00] we need to do? What changes actions or policies we need to do to move forward, on these issues? And I'm gonna start with Isa.  Isa Kelawili Whalen: Thank you Stephanie. Um, I'll try and go quickly here, but three policy areas. I'd love to get everyone engaged. One, data disaggregation. Pacific Islanders were constantly told that we don't have the data, so how could we possibly know what you guys are experiencing or need, and then. When we do have the data, it's always, oh, but you don't have enough numbers to meet this threshold, to get those benefits. Data informs policy, policy informs data. Again, thank you. Stop. I hate for having us here to talk about that also, but definitely continue fighting for data disaggregation. Second thing I would say. Climate resiliency, uh, supporting it and saying no to deep sea mining in our Pacifica waters. History of violence again with our land and sea. There's been a number in the, in the chat and one to name the nuclear warfare and bikini at toll, where after wiping out the people, the culture, the island itself, the United States promised reparations and to never harm again in that [00:48:00] way, but. Here we are. And then third language access, quite literally access, just access, um, to all things that the average English speaking person or learner has. So I'd say those three.  Stephanie Chan: Thank you. Well, we'll move on to Jamaica. Uh, what do you think are the actions or policies that we need?  Dr. Jamaica Heolimeleikalani Osorio: Uh, we need to demilitarize the Pacific. We need to shut down military bases. We need to not renew military leases. We need to not allow the US government to condemn lands, to expand their military footprint in the Pacific. I think one of the points that came up time and time again around not reporting is again, not feeling like anything's gonna happen, but two, who are we reporting to and we're reporting to states and systems that have contained us, that have violated us and that have hurt us. So yeah, demilitarization, abolition in the broadest sense, both thinking about Discreet carceral institutions, but then also the entire US governing system. And three I'll just make it a little smaller, like fuck ice, and tear that shit [00:49:00] down. Like right now, there are policy change issues related to ICE and carceral institutions, but I'm really thinking about kind of. Incredible mobilization that's taking place in particular in, in Minneapolis and the way people are showing up for their neighbors across racial, gender, and political spectrums. And so outside of this discrete policy changes that we need to fight for, we need more people in the streets showing up to protect each other. and in doing so, building the systems and the, the communities and the institutions that we will need to arrive in a new world. Stephanie Chan: Great word, Michelle.  Michelle Pedro: I'm just gonna add on to what, Isa said about language, access justice, equity, also protection of access to healthcare. in terms of what Ika said yes. Three West, Papua New Guinea, yeah, thank you for having me here. Stephanie Chan: Thank you. And Ella, you wanna bring us home on the policy question?  Tu‘ulau‘ulu Estella Owoimaha-Church: I'm from South Central LA Ice melts around here. yes to everything that has been said, in [00:50:00] particular, I think the greatest policy issue. Impact in our folks is demil, demilitarization. And that also goes to the active genocide that is happening in the Pacific and has been ongoing. And as a broader API community, it's a conversation we don't ever have and have not had uh, regularly. So yes to all that. And risk, it sounded like a broken record too. I think, uh, education is a huge. Part of the issue here, I think access to real liberated ethnic studies for all of our folks is absolutely crucial to continuing generation after generation, being able to continue the demil fight to continue. To show up for our folks for our islands in diaspora and back home on our islands. You know, the, the report said that, uh, we are 1.6 million strong here in the United States and that our populations continue to grow, fortunately, unfortunately here in the us. And that [00:51:00] we are a multi-ethnic, um, group of folks and that, That demands, it's an imperative that our approach to education, to political education, to how we show up for community, how we organize across faith-based communities has to be intersectional. It has to be it has to be pro-black. It has to be pro Indigenous because that is who we are as a people. We are black. And Indigenous populations all wrapped up into one. And any way we approach policy change has to come from a pro-black, pro Indigenous stance.  Stephanie Chan: Thank you, Estella. We did have a question about education and how we actually make. PI studies happen. do you have anything you wanna elaborate on, how do we get school districts and state governments to prioritize PI history, especially K through 12?  Tu‘ulau‘ulu Estella Owoimaha-Church: I'm gonna say with the caveat of under this current regime. Any regular tactics I'm used to employing may not be viable at this current [00:52:00] moment. But my regular go-to will always be to tell parents you have the most power in school districts to show up at your local school board meetings and demand that there is liberated ethnic studies and be conscious and cognizant about the, the big ed tech companies that districts are hiring to bring. Some fake, uh, ethnic studies. It's not real ethnic studies. And there are also quite a few ethnic studies or programs that are out there parading as ethnic studies that are 100% coming from the alt-right. 100% coming from Zionist based organizations That are not, doing ethnic studies actually doing a disservice to ethnic studies. And the other thing I'll say for API organizations that are doing the work around ethnic studies and, and pushing for Asian American studies legislation state by state. We're also doing a disservice because in many situations or many cases where legislation has passed for Asian American studies, it's been at the [00:53:00] detriment of black, brown, queer, and Indigenous communities. And that's not the spirit of ethnic studies. And so first I'd say for parents. Exercise your right as a parent in your local district and be as loud as you possibly can be, and organize parent pods that are gonna do the fight for you, and then reach out to folks. My number one recommendation is always liberated ethnic studies model consortium curriculum, for a group of badass educators who were, who are gonna show up for community whenever called. Miata Tan: That was Tu‘ulau‘ulu Estella Owoimaha- Church discussing how we can help to encourage school districts and state governments to prioritize Pacific Islander education. A big thank you to the Stop, A API Hate team and their Pacific Islander Advisory Council. Your work is vital and we appreciate you all. Thank you for speaking with us [00:54:00] today.  Miata Tan: [00:55:00] That final track was a little snippet from the fantastic Zhou Tian check out Hidden Grace. It's a truly fabulous song. This is Apex Express on 94.1 KPFA, A weekly radio show uplifting the voices and stories of Asian Americans and Pacific Islanders. Apex Express Airs every Thursday evening at 7:00 PM And with that, we're unfortunately nearing the end of our time here tonight. thank you so much for tuning into the show. And another big thank you to the Stop, A API Hate Team and their Pacific Islander Advisory Council. We appreciate your work so much. One final note, if you are listening to this live, then it's February 12th, meaning Lunar New Year is [00:56:00] just around the corner. For listeners who might not be familiar, Lunar New Year is a major celebration for many in the Asian diaspora, a fresh start marked by family, food, and festivities. This year we are welcoming in the Year of the Horse, and you can join the celebrations too. On Saturday, March 7th, San Francisco will come alive with the year of the horse parade, and this weekend you can check out the Chinatown Flower Market Fair Head to Grant Avenue for fresh flowers, arts activities, and cultural performances. On Tuesday, February 24th, the San Francisco Public Library will Drumbeats, Heartbeats: Community as One . this event will honor Lunar New Year and Black History Month with Lion Dancers, poetry, and more. Across the bay, Oakland celebrates their Lunar New Year parade on Saturday, February 28th. From more [00:57:00] parades to night markets and museum events, celebrations will be happening all over the Bay Area and beyond. We hope you enjoy this opportunity to gather, reflect, and welcome in the new year with joy. For show notes, please visit our website. That's kpfa.org/program/apex-express. On the webpage for this episode, we've added links to the Stop, A API Hate Report on Anti Pacific Islander, hate from data on how hate is impacting PI communities to information on what you can do to help. This report is well worth the read. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by me , Miata Tan. Get some rest y'all. .  The post APEX Express – 2.12.26 – Anti-Pacific Islander Hate Amid Ongoing Injustice appeared first on KPFA.

Like a TV show and wish there was a Kdrama like it? (Because you know, Kdramas do it better.) Well today, we hope we help you out with that, as we discuss popular western shows and their possible Kdrama counterparts. Ready to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for takes on Bangtan life. ★ Support this podcast on Patreon ★

Jane Hyun is the leading authority for leveraging culture and differences to drive innovation. Often called an "interpreter," she has been a trusted coach for over 20 years to thousands of leaders at Fortune 500 companies including PepsiCo, Clorox, Merck, and USGA, as well as schools and nonprofits, guiding their growth by building their cross-cultural capability. She is the pioneering author of Breaking the Bamboo Ceiling: Leadership Toolkit for Asians and the co-author of Flex: The New Playbook for Managing Across Differences. Through her Cultural Fluency in Leadership Project, Jane enjoys helping leaders forge stronger teams by closing the gaps that get in the way of growth and collaboration.She has been featured on CNN, CNBC, and NPR and has written for Harvard Business Review, Forbes, Fast Company, and The Wall Street Journal on the topics of culture, career development, and onboarding. As a sought-after speaker, Jane has keynoted at Microsoft, ESPN, the International Coaches Federation (ICF), and the Conferences for Women. Recently, Jane received the Marshall Goldsmith 50 Leading Global Coaches Award as the #1 Coach for Cultural Fluency and the NAAAP Vision 100 Award.Her life's calling is to help others flourish in their workplaces and in their communities.In today's episode of Smashing the Plateau, you will learn how to build a meaningful, sustainable consulting practice by leveraging cultural fluency and staying true to your values.Jane and I discuss:Jane's career journey from corporate to consulting [03:02]How Jane developed her cultural fluency specialty [05:27]Assessing and improving cultural fluency in leaders [08:32]How Jane's business has evolved over 20 years [12:31]The importance of saying no to the wrong clients [14:45]The role of community and peer support in business growth [17:42]Integrating personal and professional life as an entrepreneur [19:35]The strategic importance of rest and self-care [22:11]Seeing growth as an iterative process [24:00]Learn more about Jane at: https://www.linkedin.com/in/jane-hyun?utm_source=share&utm_campaign=share_via&utm_content=profile&utm_medium=ios_app , https://www.instagram.com/janehyun_author/, and Substack ______________________________________________________________About Smashing the PlateauSmashing the Plateau shares stories and strategies from corporate refugees: mid-career professionals who've left corporate life to build something of their own.Each episode features a candid conversation with someone who has walked this path or supports those who do. Guests offer real strategies to help you build a sustainable, fulfilling business on your terms, with...

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. Envisioning Hopeful Futures Host Miko Lee speaks with two Bay Area artists, activists, and social change makers: Tara Dorabji and Cece Carpio. Both of these powerful people have been kicking it up in the bay for a minute. They worked in arts administration as community organizers and as artist activists.   LINKS TO OUR GUESTS WORK Tara Dorabji Author's website New book Call Her Freedom Find more information about what is happening in Kashmir Stand With Kashmir Cece Carpio  Tabi Tabi Po running at Somarts   SHOW Transcript Opening Music: Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express. Miko Lee: Good evening. I'm your host Miko Lee, and tonight I have the pleasure of speaking with two Bay Area local artists, activists, and social change makers, Tara Dorabji and Cece Carpio. Both of these powerful people have been kicking it up in the bay for a minute. They worked in arts administration as community organizers and as artist activists. I so love aligning with these multi hyphenated women whose works you can catch right now. First up, I talk with my longtime colleague, Tara Dorabji Tara is an award-winning writer whose first book Call Her Freedom just came out in paperback. And I just wanna give a little background that over a decade ago I met Tara at a workshop with the Great Marshall Gantz, and we were both asked to share our stories with the crowd. During a break, Tara came up to me and said, Hey, are you interested in joining our radio show, Apex Express? And that began my time with Apex and the broader Asian Americans for Civil Rights and Equality community. So if you hear a tinge of familiarity and warmth in the interview, that's because it's real and the book is so great. Please check it out and go to a local bookstore and listen next to my chat with Tara. Welcome Tara Dorabji to Apex Express.  Tara Dorabji: Thank you so much for having me. It's wonderful to be with you, Miko. Miko Lee: And you're actually the person who pulled me into Apex Express many a moon ago, and so now times have changed and I'm here interviewing you about your book Call Her Freedom, which just was released in paperback, right? Tara Dorabji: Yep. It's the one year book-anniversary. Miko Lee: Happy book anniversary. Let's go back and start with a little bit for our audience. They may have heard you, if they've been a long time Apex listener, but you as an artist, as a creator, as a change maker tell me who are your people and what legacy do you carry with you? Tara Dorabji: Who are my people? My people I would say are those who really align with truth. Truth in the heart. That's like at the very core of it. And I'm from the Bay Area. I've been organizing in the Bay a long time. I started out organizing around contaminated sites from nuclear weapons. I've moved into organizing with young people and supporting storytelling. So arts and culture has been a huge part of it. Of course, KPFA has been a big part of my journey, amplifying stories that have been silenced, and I think in terms of legacy, I've been thinking about this more and more. I think it goes into two categories for me. One are the relationships and who remembers you and and those deep heart connections. So that's one part. And then for my artistry, it's the artists that come and can create. On the work that I've done and from that create things that I couldn't even imagine. And so I really think that's the deepest gift is not the art that you're able to make, but what you create so that others can continue to create. Miko Lee: Thank you so much for sharing the deep kind of legacy and sense of collaboration that you've had with all these different artists that you've worked with and it's, your work is very powerful. I read it a year ago when it first came out, and I love that it's out in paper back now. Can you tell our audience what inspired Call her Freedom. Tara Dorabji: Call Her Freedom is very much inspired by the independence movement in Indian occupied Kashmir. And for me it was during the summer uprisings when, and this was way back in, In 2010-2009, after the Arab Spring and for the entire summer, Kashmir would be striking. It would shut down from mothers, grandmothers, women, children in the street. This huge nonviolent uprising, and I was really drawn to how it's both one of the most militarized zones on earth. And how there was this huge nonviolent uprising happening and questions about what it could look like, even like liberation beyond the nation state. And so I was really drawn to that. My dad's from Bombay, from Mumbai, that's the occupying side of it, and ethnically we're Parsi. So from Persia a thousand years ago. And so I think for me, at a personal level, there's this question of, okay, my people have been welcomed and assimilated for generations, and yet you have indigenous folks to the region that are under a complete seizure and occupation as part of the post-colonial legacy. And so I went and when I went to Kashmir for the first time was in 2011, and I was there. Right when the state was verifying mass graves and was able to meet with human rights workers and defenders, and there was a woman whose husband had disappeared and she talked to me about going to the graves and she told me, she said I wanted to crawl in and hug those bones. Those are the lost and stolen brothers, sons, uncles, those are our people. And another woman I spoke to talked about how it gave her hope for the stories to carry beyond the region and for other people to hear them. And so that became a real core part of my work and really what call her freedom is born from. Miko Lee: Thank you for sharing and I know that you did a film series and I wonder if you could about Kashmir and about what's going on, and I think that's great because so many times we in American media don't really hear what's going on in these occupied lands. Can you talk a little bit about how the interconnectedness of your film series and the book and was that part of your research? Was it woven together? How did you utilize those two art forms?  Tara Dorabji: I think we're both accidental filmmakers. That might be another way that our cross, our paths cross. In terms of medium. So for me, I was actually working with Youth Speaks the Brave New Voices Network at that time and doing a lot of short form. So video content, three minutes, 10 minutes, six minutes. And it was playing really well and what I was seeing coming outta kir by local filmmakers was beautiful, gorgeous, highly repressed work generally, longer form, and not always immediately accessible to an audience that didn't have context, that hadn't been, didn't understand. And my thinking was this was a gap I could fill. I had experience, not as a filmmaker, but like overseeing film teams doing the work, right? And then here are some of the most silent stories of our time. So when I went back to do book research in 2018, I was like, Hey, why don't I make some short form films now? I didn't even know what I was getting into. And also I think. When you go in as a novelist, you're absorbing your hearing and it takes time. There's no clock. It was, it's been the hardest project to get from start to finish. And I couldn't be like, okay, Miko, like I've done it once. Now this is how you do it. And when people trust you with their story, there's an urgency. So throughout the whole project, I was always seeking form. So my first trip went straight to KPFA radio. Took the stories, project sensor, took the stories, and so I wanted to build on that. And so the documentary films provided a more some are, I'm still working on, but there was some immediacy that I could release, at least the first film and the second film, and also I could talk about how can this work dovetail with campaigns happening on the ground and how can my work accelerate what human rights defenders are doing? So the first film here still was released with the first comprehensive report on torture from the region. And so it gave that report a whole different dimension in terms of conversation and accessibility. It was a difficult film but necessary, and because I had to spend so much time with. It was a difficult film but necessary, and because I had to spend so much time with transcribing, watching the footage over and over again, it really did inform my research from the B-roll to sitting and hearing the content and also for what people were willing to share. I think people shared in a different way during video interviews than when I was there for novel research. So it worked really well. And what I am, I think most proud of is that the work was able to serve what people were doing in a really good way, even though it's really difficult work.  Miko Lee: It built on the communication strategies of those issues like the torture report and others that you're working on.  Tara Dorabji: Exactly. And in that way I wasn't just coming and taking stories, I was applying storytelling to the legal advocacy strategies that were underway. And, you make mistakes, so it's not like there weren't difficulties in the production and all of that. And then also being able to work with creatives on the ground and at times it just. You, it became increasingly difficult, like any type of money going out was too heavily scrutinized. But for a time you could work with creatives as part of the projects in the region and then that's also super exciting.    [00:11:18] Miko Lee: Yeah. Can you talk a little bit more, I heard you say something about how the, when people are telling your story for the novel versus telling the story for the video that the cadence changes. Can you share a little bit more about what you mean by that?    Tara Dorabji: Yeah, I think when I'm doing novel research, it's very expansive, so I'm dealing with these really big questions like, what is freedom? How do you live in it? How do you, how do you choose freedom when your rights are being eroded? And so that conversation, you could take me in so many different directions, but if I am focused on a very specific, okay, I'm doing a short documentary film around torture, we're gonna go into those narratives. Or if I'm coming with a film medium, like people just see it differently and they'll speak and tell their stories differently than with a novel. It's gonna be fictionalized. Some of it might get in there or not. And also with a novel, I don't ever, I don't take people and apply them to fiction. I have characters that like, I guess come to me and then they're threaded through with reality. So one character may hold anecdotes from like dozens of different people and are threaded through. And so in that way you're just taking like bits and pieces become part of it, but. You don't get to see yourself in the same way that you do with the film. So in some ways. It can be safer when the security environment is as extreme as is as it is right now. But there's also this real important part of documentary film where it's people are expressing themselves in their own words, and I'm just curating the container.  Miko Lee: Was there an issue like getting film out during the time that you were doing the documentary work? Because I've heard from other folks that were in Kashmir that were talking about smuggling film, trying to upload it and finding different, did you have to deal with any of that, or was that before the hardest crackdown? Tara Dorabji: I mean there were, there's been series, so 2019 was abrogation where there was a six month media blockade. And so just your ability to upload and download. And so that was after I had been there. The environment was there was challenges to the environment. I was there for a short time and you just come and you go. You just do what you're gonna do and you be discreet. Miko Lee: And what is going on in Kashmir now?  Tara Dorabji: The situation is really difficult. One of the lead leads of the report on torture and coordinator from the human rights group that put, that helped put out that report has been incarcerated for four years Koran Perve. Miko Lee: Based on what?  Tara Dorabji: His human rights work. So they've just been detaining him and the United Nations keeps calling for his release.  Miko Lee: And what do they give a reason even?  Tara Dorabji: They, it's yeah, they give all kinds of trumped up charges about the state and terrorism and this and that. And also. One of the journalists and storyteller and artists in the first film that I released, Iran Raj, he's been incarcerated for two years. He was taken shortly after he was married, the press, the media has been dismantled. So there was, prolific local press. Now it's very few and it's all Indian State sponsored narrative propaganda coming through. ] Miko Lee: How are concerned folks here in the US able to get any news about what's happening in Kashmere, what's really going down?  ara Dorabji: It's really hard. Stand with cashmere is a really good source. That's one. There's cashmere awareness. There's a few different outlets that cover what happens, but it's very difficult to be getting the information and there's a huge amount of repression. So I definitely think the more instagram orgs, like the organizations that go straight to the ground and then are having reels and short information and stories on Instagram is some of the most accurate information because the longer form journalism. It is just not happening right now. In that way people are being locked up and the press is being dismantled and people running, the papers are being charged. It's just horrendous. Entire archives are being pulled and destroyed. So hard. Really hard. So those, Stand With Kashmir is my go-to source, and then I see where else they're looking.  Miko Lee: So your book Call Her Freedom is a fictionalized version, but it's based around the real situation of what's been going on in Kashmir. Can you share a little bit more about your book, about what people should expect and about what you want them to walk away with understanding.  Tara Dorabji: It's a mother daughter story. It's a love story. It's about love and loss and families, how you find home when it's taken. And the mom is no Johan. She's a healer. She's a midwife. She has a complex relationship with her daughter and she haunts the book. So the story told from multiple points of view, we never get and ignore the mom's head, but. She comes back as she has a lot to say. And I think it's interesting too because in this village that's largely run by men, you have these two women living by themselves and really determining their own fate. And a lot of it has to do with both nors ability to look at ancient healing practices, but also a commitment that her daughter gets educated. And so she really like positions her daughter in between the worlds and all the while you have increasing militarization. And Aisha starts as a young girl just starting school. And then at the end of the story, she's a grandmother. We get to see her relationships evolve, her relationship with love evolve, and a lot of the imperfections in it. And one of the things in writing this is when you're dealing. Living in occupation, there's still the day-to-day challenges that so many of us endure. And you have these other layers that are horrific.  Miko Lee: Yeah. And I'm wondering how much of yourself as a mother you embedded into the book as a mother, as an activist, as a mother of daughters, how much of yourself do you feel like you put into the book?  Tara Dorabji: A ton. It's my heart and spirit in there. And there were some really, there's this scene where the mom does die, and I actually wrote that before my mom passed away. And I do remember like after my mom died, going through and editing that part. And it was just like. It was really, it was super intense and yeah, I mean it definitely made me cry and it was also like the emotion was already there, which was interesting for me to have written it before but then have it come back and a full circle, I think.  Miko Lee: So did you change it after you experienced your own mom dying?  Tara Dorabji: It was soft edits. In my second novel, there's a scene and it, that one completely changed 'cause I didn't hit the emotion. Emotional tenor, right? It's funny, but in this one it was pretty good. I was like, I did pretty good on that one. But yeah, so it was just like tinkering with it a little. I think also my daughters were about four when I started.  Miko Lee: Oh, wow.  Tara Dorabji: And it came out as, when they're 18. So the other part was I was able to use their age references constantly throughout it because. I could just map to what it's like being a mom of a kid that age. So I did ob yeah, definitely used my own. So it's an amalgam and also it's fictionalized. So in the book, it's not Kashmir, it's Poshkarbal there's right a village. And so trying to take people out of something that they can identify as reality, but then at the same time, you can see the threads of reality and create a new experience. Miko Lee: So since you brought that up, tell us about the next book that you're working on right now.  Tara Dorabji: Yes, it's still very much in a draft form, but takes place here in the Bay Area. Similar themes around militarization, family secret love, lineage loss, and part of it's in Livermore Home to one of the world's nuclear weapons lab. Mm-hmm. Part of it's in San Francisco, so exploring into the future tech, AI, and. There's an underpinning around humans' relationship to technology, and I think at this point. We know that technology isn't gonna solve the crisis of technology. And so also looking at our relationship to land and culture and lineage. So there's, it's about, now I'm looking at about a hundred year span in it.  Miko Lee: Wow. Really?  Tara Dorabji: Yeah. Contained with the geography of the Bay Area  Miko Lee: Toward the future. Toward the past? Tara Dorabji: both past and future Miko Lee: Whoa. Interesting.  Tara Dorabji: Yeah.  Miko Lee: I'm reading Empire of AI right now. I don't know if you're familiar with that, but, oh, the AI stuff is so deeply disturbing about humanity. You're really thinking about where we're going, so I'm curious to find out your fictionalized versions of the impact.  Tara Dorabji: It's a major change we're going through. Yeah, and you and I grew up in a time when we didn't have cell phones and we used maps, and Yeah. If I was gonna meet you, I had to be there and we'd have to make a plan in advance and yeah. It's just shifting so rapidly. So we went  Miko Lee: through that. Even how to read a, how to read a clock like my girls, I had to show them as adults how to read a clock. Wow, I didn't realize these things. Our world is so digitized that even the most basic, that concepts ha how are shifting and even fine motor skills. Like most young people do not have good, fine motor skills.  Tara Dorabji: Yeah.  Miko Lee: Because they're just used to being on their phone all the time.  Tara Dorabji: Yes, and the, and I would give it is during the rain over the holidays, there is just always a family out with a small child in their yellow rain boots. And the kid like reaching into the tree, grabbing, smelling it dad or mom holding them. And so there are these anchors.  Miko Lee: Yeah.  Tara Dorabji: And even though humanity is accelerating in this one way, that's very scary and digitize. It's like the anchor of the earth in our community and our relationships still is holding us. Some of, you know, there's still that pull. And so I think that how people form their communities in the future and the way that. The choices that are gonna be made are just gonna become increasingly difficult. We faced it in our generation, parenting around cell phones, social media. We're seeing that impact of the suicidality, all of those things coming up. And that's gonna accelerate. So I do think it's, definitely a major change in transition some dark times, but also some really beautiful possibilities still rooting in our communities and in the world.  Miko Lee: And because we both work in movement spaces, I'm really curious I heard you talk a lot about connection and land and I'm just curious in your book. I got this vibe and I know a lot of the work that we do in the community. I'm wondering if you could speak a little bit on the land back movement internationally. In so many of those spaces, women are at the forefront of that. I wonder if you could talk a little bit about that.  Tara Dorabji: That's one of the most exciting things happening right now is the land back movement. In my younger days when I was studying what determines a woman's quality of life internationally at a scale, it's, it was really came down to land ownership. So in societies where land ownership went to women, they were able, and it was like. Outpaced by far, education and those other things is like that access to the land and the resource in that way. And land back is an acceleration of that, and I think particularly when we're looking at a lot of questions around philanthropy, spun downs, how it's done. When you transition an asset back into the community as land and land stewardship, right? Because then there's like the ownership for the stewardship and yeah, the different ways that it's done. But that is a lasting impact for that community. And so often when you're investing in women. Then it goes not just in terms of their quality of life, but the children, right? And the whole community tends to benefit from that. And I think even looking at Kir in the, one of the things that always has fascinated me is Kashmir during, it was independence was a carve up by the British, so that's a post-colonial strategy to keep people fighting. That has been very successful in the subcontinent. Kashmir had  Miko Lee: all over the world.  Tara Dorabji: Exactly. And Kashmir had a semi-autonomous status. That's what was really stripped in 2019, was that article from the Constitution. And so in the very early days when their autonomy was stronger, they started some pretty revolutionary land reforms. And so there was actually clauses where the people that were working the land could have it. And people Kashmiris were transferring land. To two other cashmeres. And so it was this radical re resource redistribution and you have a really strong legacy of feminism and women protesting and leading in Kashmir and I think that part from my perspective is that was a threat. This fear of redistribution of resources, land distribution other areas started to follow suit and the nation state didn't want that to happen. They wanted a certain type of concentration of wealth. And so I think that was one of the factors that. There were many, but I do think that was one that contributed to it. So I do think this idea of land backed land reform is extraordinarily important, and particularly looking at our own relationship with it. How do we steward it? How do we stop stripping the land? Of its resources and start realigning our relationship to it where humans are supposed to be the caretakers. Not the ones taking from.  Miko Lee: Thank you for sharing. I was thinking so much about your book, but also about the movement that we live in and the more positive visions of the future. Because right now it's devastating all the things that are happening in our communities. So I'm trying to be a bit hopeful and honestly just to keep through it make sure that we get through each day. Given so many of our brothers and sisters are at risk right now I'm wondering what gives you hope these days?  Tara Dorabji: Yeah, a lot of things do, I think like when I do try to take the breaths for the grief and the devastation because that loss of life is deep and it's heavy and it's real and it's mounting. So one, not to shy away from feeling it. Obviously not, it's hard. You don't want to 24 7, but when it comes in to let it come in and move through. And for me it's also this idea of not. It's just like living in hope. How do you live each moment and hope? And so a big part of it for me is natural beauty, like just noticing the beauty around me and filling myself up in it because that can never be taken away. And I think also in some of the most violent acts that are being committed right now, the way people are meeting them with a pure heart.  Miko Lee: Yeah.  Tara Dorabji: It's like you can't stop, like that's unstoppable is like that beauty and that purity and that love. And so to try to live in love, to try to ground in hope and to try to really take in the beauty. And then also like how do we treat each other day to day, and really take the time to be kind to one another. To slow it down and connect. So there are, these are tremendously difficult times. I think that reality of instability, political violence, assassination, disappearances, paramilitary have come visibly. They've been in the country, but at a, in the US at a more quiet pace, and now it's so visible and visceral  Miko Lee: And blatant. Yeah. It's just out there. There's no, they're not hiding about it. They're just out there saying out there, roaming the streets of Minnesota right now and other states to come. It's pretty wild.  Tara Dorabji: Yeah. And I think that the practice is not to move in fear. The grief is there, the rage and outrage can be there. But the love and the beauty exists in our communities and and in the young people. Miko Lee: Yeah.  Tara Dorabji: And our elders too. There's so much wisdom in our, in the elders. So really soaking up those lessons as much as possible.  Miko Lee: Thank you so much for chatting with me and I hope everybody that checks out your book call Her Freedom, which has gotten some acclaim, won some awards, been out there, people can have access to it in Paper Book. We'll put a link in our show notes so people can have access to buy it from an independent bookstore.  Tara Dorabji: Thank you so much. Wonderful to catch up and thank you for all your work on Apex as well.  Miko Lee: Thank you. Next up, take a listen to “Live It Up” by Bay Area's Power Struggle.    MUSIC “Live It Up” by Bay Area's Power Struggle.  Next up I chat with Visual artist, cultural strategist and Dream Weaver, Cece Carpio about her solo exhibition that is up and running right now at SOMArts through March. Welcome, Cece Carpio to Apex Express.   [00:33:37] Cece Carpio: Thank you for having me here.   [00:33:39] Miko Lee: I am so excited to talk with you, and I wanna start with my very first question that I ask all of my guests, which is, who are your people and what legacy do you carry with you? [00:33:52] Cece Carpio: That's a packed question and something I love. just in terms of where I come from, I was born and raised in the Philippines, small little farming village town, and migrated as my first so ground in the United States here in San Francisco. So my peoples consists of many different beings in all track of. The world whom I met, who I've loved and fought with, and, relate with and connect with and vision the world with. So that includes my family, both blood and extended, and the people who are here claiming the streets and claiming. Claiming our nation and claiming our world to make sure that we live in the world, that we wanna envision, that we are visioning, that we are creating. I track along indigenous immigrant folks in diaspora. black, indigenous people of color, community, queer folks, and those are folks that resonate in, identify and relate, and live, and pray and play and create art with.  [00:35:11] Miko Lee: Thank you so much. And do you wanna talk, chat a little bit about the legacy that you carry with you? [00:35:16] Cece Carpio: I carry a legacy of. Lovers and fighters, who are moving and shaking things, who are creating things, who are the healers, the teachers, the artists and it's a lot of load to carry in some extent, but something I'm very proud of, and those are the folks I'm also rocking with right now. I think we're still continuing and we're still making that legacy. And those are the people that are constantly breathing on my neck to make sure that I'm doing and walking the path. And it's a responsibility I don't take lightly, but it's also a responsibility I take proudly. [00:35:58] Miko Lee: Thank you for sharing. We are talking today because you have an exhibit that's at SOMArts Space, your first solo exhibit, and it's running all the way through March 29th, and it's called Tabi Tabi Po: Come Out With the Spirits! You Are Welcome Here First, tell me about the title and what that evokes for you. [00:36:18] Cece Carpio: Yes, so Tabi Tabi Po is a saying from the Philippines that essentially. Acknowledge, like it's most often used when you walk in the forest. And I think collectively acknowledge that there are other beings and spirits there beyond ourselves. So it's asking for permission. It's almost kind of like, excuse me, we're walking your territory right now. And, acknowledging that they're there and acknowledging that we're here or present and that, we're about to. Coexist in that space for that moment. So can we please come through? I think this is also not just like my open idea and choosing this title is not that we're only just coming through, but we're actually coming out to hang out for a little while and see what's happening here and kick it. Opening up space and welcoming folks who wants to come out and play with us and who wants to come and share the space.  [00:37:15] Miko Lee: Ooh. I really love that. I feel that when I walk in the forest to this ancestors that are with us. That's beautiful. This is your first solo exhibit, so I'm wondering what that feels like. You have been a cultural bearer for a really long time, and also an arts administrator. So what does it feel like to have your first solo exhibit and see so much of all of your work all around?  [00:37:36] Cece Carpio: Well, I'm a public artist. Most of the stuff that I've been doing the last decade has been out in public, creating murals and installations and activations, in different public spaces, and went somewhere. Specifically Carolina, who is the curator at SOMA have asked me to do this. To be honest, I was a little bit hesitant because I'm like, oh, it's a big space. I don't know. 'cause I've done group exhibitions in different parts of the years, but most of the stuff I do are affordable housing to like public activations to support the movement. Then I kind of retracted back and it's like, maybe this is the next step that I wanna explore. And it was a beautiful and amazing decision to work alongside so Mars and Carolina to make this happen 'cause I don't think it would've happened the way we did it in any other space, and it was amazing. Stressful that moments because I was still doing other projects and as I tried to conceive of a 2000 square footage gallery and so my district in San Francisco. But it was also the perfect opportunity. 'cause my community, my folks are here and. We are saying that it's a solo exhibition, but it really did take the village to make it all happen, and, which was one of my favorite part because I've been tracking this stem for so long and he is like folks on my back and I wanted to tell both my stories and our stories together. It was very opening, very humbling. Very vulnerable and exciting. All at the same time, I was able to talk or explore other mediums within the show. I've never really put out my writing out into public and is a big part and component of the exhibition as well as creating installations in the space. Alongside, what I do, which is painting mostly. But to be honest, the painting part is probably just half of the show. So it was beautiful to play and explore those different parts of me that was also playing with the notion of private and public, like sharing some of my own stories is something as I'm still trying to find ease and comfort in. Because as a public artist, I'm mostly translating our collective stories out, to be a visual language for folks to see. So this time around I was challenged a little bit to be like, what is it that you wanna share? What is it that you wanna tell? And that part was both scary and exciting. And, and he was, it was wonderful. It was great. I thought he was received well. And also, it was actually very relieving to share parts and pieces of me out with my community who have known for a long time. There were still different parts of that there were just now still learning. [00:40:39] Miko Lee: What did you discover about yourself as you're kind of grappling with this public versus private presentation? [00:40:45] Cece Carpio: What I learned about myself through this process is I can actually pretty shy. I mean, I might be, you know, um, contrary to like popular belief, but it was definitely, I'm like, Ooh, I don't know. I don't know. My folks who had been standing close with me, just like, this is dope. And also just in the whole notion that, the more personal it is, the more universal it becomes and learning that, being able to share those part of me in a way of just for the pure sake of sharing, actually allows more people to resonate and relate, and connect, which at this moment in time is I thing very necessary for all of us to know who our peoples are when this tyranny, trying to go and divide us and trying to go and separate us and trying to go and erase us. So I think there's something really beautiful in being able to find those connections with folks and spaces and places that otherwise wouldn't have opened up if you weren't sharing parts and pieces of each other.   [00:42:00] Miko Lee: That's so interesting. The more personal, kind of vulnerable you make yourself, the more it resonates with folks around the world. I think that's such a powerful sentiment because the, even just having a gallery, any piece of artwork is like a piece of yourself. So opening up a huge space like Somar, it's, that's like, come on in people. Thank you for sharing with us. To your point about the shocking, horrible, challenging, awful times that we live in. As we talk right now, which is Saturday, January 31st, there protests going on all around the country. I'm wondering if you can talk a little bit about what it means to be a visual artist, a cultural bearer in a time of fascism and in a time of struggle. [00:42:43] Cece Carpio: Well, if you go and see the exhibition, that's actually very much intertwined. My practice has always been intertwined with, creating a vision in solidarity with our communities who are believing and fighting for another world that's possible. My practice of this work has been embedded and rooted with the movement and with organizations and people who have the same goals and dreams to, bring in presence and existence of just us regular, everyday people who are still fighting to just be here to exist. So just to your question of, but what it means to do this work at this time. I think it is the imagination. It is the creativity that allow us to imagine something different. It is the imagination, it is the dreams that allow us to create that. Other world that we wanna envision when, everything else around us is telling us another way that's not really the best for ourselves and for our peoples and for the future generations that's gonna be carrying this load for us. And with this. In so many ways, a lot of my. my creating process, my making process has always carried that, and even myself, immigrating to this place that was once foreign is figuring out where I can belong. My art practice has not only been a way in which I express myself, but it has been the way in which I navigate the world. That's how I relate to people. That's how I am able to be part of different groups and community. And it's also how I communicate. , And that's always been, and still is a very big portion of my own practice.   [00:44:37] Miko Lee: Can you share a little bit more about your arts practice, especially when we're living in times where, people are trying to get a paycheck and then go to the rally, and then maybe phone banking and organizing and there's so many outside pressures for us to just continue to move on and be in community and be in movement work. I'm wondering how do you do it? Do you carve out times? Is it in your dreams? Where and how do you put yourself in your arts practice. [00:45:04] Cece Carpio: I don't think there is a wrong or right way of doing this. I think being an artist, it is not only about being creative on what, a paint on the walls, it is about being creative on how you live your life. I don't know if there's a formula and it's also been something that, to be honest, it's a real conversation. I mean, most of us artists. We're asking each other that, you know, like You do it. How do you figure out, like how do you add hours in your day? How do you continue doing what it is that you love and still fall in love with it when we're under capitalism trying to survive, all these different things. Everyone has a different answer and everyone has different ways of doing it. I'm just kind of figuring it out as I go, you know? I'm an independent artist. It is the center of the work that I do, both as a livelihood and as a creative practice, as a spiritual practice, as a connective practice. This is what I do. For me it is just like finding my peoples who wants to come and trek along. Finding folks who wants to support and make it happen. Beyond painting on walls, I'm also an educator. I've taught and pretty much most of the different levels of, what this nation's education system is like and still do that in practice, in both workshops, , sometimes classrooms, community group workshops and folks who wants to learn stern, both technical and also like conceptual skills. I consider myself also a cultural strategist, within a lot of my public activation and how I can support the movement is not just, creating banners or like little cards, but actually how to strategize how we utilize art. To speak of those things unspoken. But to gather folks together in order to create gateways for, other everyday folks who might not be as involved with, doesn't have time or availability or access to be involved to make our revolution irresistible. Many different cultural strategist comes together and we produce public art activations to make it both irresistible, but also to provide access, to folks who otherwise probably would just walk by and have to go to their everyday grind to just make it on this work. As long as I see it aligned within kind of divisions that we have together to consistently rise up and get our stories known and become. Both a visual translator but also a visual communicator in spaces and places sometimes, you know, unexpected, like for example, within the protest when protest is over, like what are left behind within those spaces where we can create memories. And not just like a moment in time, but actually how do we mark. The space and places we share and that we learn from and that we do actions with. We can make a mark and let it be seen.   [00:48:05] Miko Lee: Thank you for that. I'm wondering, as you're talking about your profound work, and how you move through the world, I'm wondering who are some of the artists that inspire you right now?  [00:48:17] Cece Carpio: So many, so many folks. Artists at this moment have been becoming vital because of the intensity of our political climate that's happening. There's so many artists right now who are. doing a lot of amazing, amazing things. I definitely always have to give shout out to my mama, Esra, which is one Alicia, who's just consistently and prolifically still creating things. And she, I've been doing and collaborating with her for many, many years. What I think I really love and enjoy is that she's continuously doing it and like it gives us more hunger to like, all right, we gotta catch up. it's amazing and  [00:48:58] Miko Lee: beautiful. Amazing work.  [00:49:00] Cece Carpio: Yes, and I've been very fortunate and been very lucky to be part of an artist Has been such an inspiration , and a collaborator and in the many process of the different works that we do. So some of the crew members definitely shout out to my brother Miguel to, folks like Frankie and Sean Sacramento. Then we have span over in New York, like we've, we're now spreading like Voltron. ‘ve been very lucky to have some amazing people around me that love doing the same things who are my family. We're continuing to do that. So many more. It's really countless. I feel like I definitely have learned my craft and this trait by. Both being out there and making happen and then meeting folks along the way who actually are in the same path. And it's such a beautiful meeting and connection when that happens. Not only just in path of creating work, but, and path of we down to do something together. There's so many, there's so many. It's so nameless.  [00:50:05] Miko Lee: Thank you for sharing some of them, some of the artists that helped to feed you, and I'm sure you feed them. You just have finished up an artist in residence with the Ohlone people. I'm wondering if you could talk a little bit about what that experience was like being an artist in residence there. [00:50:21] Cece Carpio: It has been an amazing, and the relationship continues. Karina actually gave the spirit plate on the opening, which is such a big honor because I consider her, both a mentor and a comrade and, and  [00:50:34] Miko Lee: Karina Gold, the Chair of the Ohlone tribe.  [00:50:38] Cece Carpio: Yes. And who I have such admiration for, because if. Both integrity and also the knowledge that she carries and the work that she's doing and how she opens it up for different folks. How she walks is such a big part of how that collaboration started in the first place. As an indigenous immigrant that's been consistent. Like what does even mean to be indigenous in the land that's not yours, you know? Just the notion of what is our responsibility as stewards of this land to live on stolen land? I had this specific skill that I wanted to share, and they were more than willing, and open to dream together of what that could look like and was able to do. Many different projects and different sites , of land that's been returned to indigenous hands. It was such an honor to be part of that. Creating visual markers and visual acknowledgement in spaces that, you know, kind of telling the autobiographical stories of those spaces and how it was returned, what our divisions, and to work alongside the young people, the various different communities she believes and wanted to take part of the movement. I learned as much or if not more. I share my knowledge of like how to paint a mural or all the different skills. So it was very much a reciprocal relationship and it's still a continuous relationship that we're building. It's gonna be an ongoing fight, an ongoing resistance, but an ongoing victory. They've already have shared and won and have shown and shared with us the experiences of that. It's been very rejuvenating, regenerating, revitalizing, and in all those different ways, being able to bear witness to that, but taking small part in pieces, and certain projects to uplift and support that and also just to learn from the many different folks, and people from both Sego and the communities that they've able to like. Create and build through the time, I mean through the young time actually that they've been here, but definitely still growing.  [00:52:46] Miko Lee: Thank you. Your show is up until the end of March. What do you want folks to feel after they go see Tabi Tabi Po  [00:52:55] Cece Carpio: Mostly are gonna feel whatever they wanna feel. I'm kind of curious to know actually, what is it that people are feeling and thinking, but I think Enchantment, I wanna recapture that feeling of Enchantment in a time and moment where. It can be very frustrating. It can be very, depressing. Seeing the series of event in this nation and just uncaring, and like the pickable violence that's imposed to our peoples. I wanna be able to give folks a little bit of glimpse of like, why we are fighting and why we were doing this for and even see the magic in the fight. I think that's a big part of the story that's being told and that the, knowing that we're still writing a story as we go. Within this exhibition, there's a lot of spaces of me sharing parts of my story, but a big part of that is also spaces for folks to share theirs. That exchange of magic is something that we can use as ammunitions, we can use as tools to keep us going in times that is very, very trying.  [00:53:59] Miko Lee: The magical exchange to make the revolution irresistible.  [00:54:03] Cece Carpio: Let's do it. Let's go.  [00:54:05] Miko Lee: Sounds great. We're gonna put links to the show at SoMarts we'll put them on our Apex Express, um, page, and I'm wondering what's next for you? [00:54:14] Cece Carpio: We will also have programs that coincides alongside the various stories that we're telling with this exhibition to welcome for other community members, other artists, other cultural bearers, other fighters to come and join us, and be part of it and tell stories, heal time. Imagine a magical future to celebrate the victories and wins as big and small as they come. So that is gonna be happening. What's nice for me is, actually it's going simultaneously is I'm still painting. I'm going to be in support of painting a new space opening for a Palestinian owned bakery. They're opening up a new space back in their hometown right here in Oakland. And Reem is a close friend, but also a very frontline fighter. 'cause you know, genocide is still happening right now. I wanna be able to support that and also support her. Another public art installation is actually gonna be unveiling within next month over at soma. In the district of Soma Filipino with the Jean Friend Recreation Center. I'm actually trying to carve out more time to write. I'm still exploring, definitely like in the infants stages of exploring it, but falling in love with it. At some point in time within this show, . Wanna be able to actually get it published, in a written form where both the images can accompany some of the written work , and wanna see like its duration last beyond the exhibition show. There's always the streets to come and protest to happen and contributing to that work that we do to reclaim what is ours, the world that is ours.  [00:55:53] Miko Lee: Thank you so much. You're doing so many things so powerfully, so beautifully, so articulately and I guess the best way for folks to follow up is on your Instagram. [00:56:04] Cece Carpio: Yeah, I'm still actually operating in myself.  [00:56:06] Miko Lee: Okay. Okay. Well thank you so much for your work, everything that you do in the community, so powerful, and thanks so much for speaking with us today. Thank you. Thanks so much for listening to our show tonight. Please go check out Cece's exhibition Tabi Tabi Po at SoMarts and go to a local bookstore to get the paperback version of Tara's Call Her Freedom. Support artists who are paving the way towards a vision for a new future. They are working to make the revolution irresistible. Join us. [00:56:41] Closing Music: Please check out our website, kpfa.org/program/apex Express 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, Preeti 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 – 2.5.26-Envisioning Hopeful Futures appeared first on KPFA.

This week we're diving into the delicious details—our favorite microtropes in K-drama! We've covered the big ones (enemies to lovers, marriage of convenience, "I can fix him"), but now we want to talk about those smaller, niche story elements that add that extra spark. You know: the hero who perpetually rolls up his shirtsleeves, the secret cat dad, the boss babe who can't organize her own life (Love Scout, anyone?), the heroine who burns water, the hero who cooks like a dream, meaningful tattoos—all those little touches that make you swoon.We get a lot of great feedback from the Patreon, but what are your favorite K-drama microtropes? Let us know!Ready to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for takes on Bangtan life. ★ Support this podcast on Patreon ★

This week's topics: • Having to do self assessment • The quality of our podcast • Disciplining children • Wanting a child to be cool and average student or nerd and great student • Wanting your child to do what they want to do • Bullies or nerds running the world • Asians in football • AI taking jobs • Doctors, Lawyers & Engineers • AI in medicine • Lupe Fiasco v Joe Budden v J. Cole • Rocafella Records • Best feature rapper ever • J. Cole's loss of respect after apologising for diss song • ishowspeed in Africa • Shaolin temple in Zambia • Nicki Minaj pals with Trump • Being friends with someone you slept with in a new relationship • Being religion as a moral guidance • AITA for not allowing my partner from being friends with someone he slept with • #StavrosSays : Lupe Fiasco - Double Burger With Cheese [https://www.youtube.com/watch?v=lE2Ox3nYVTo&list=RDlE2Ox3nYVTo&start_radio=1] Connect with us at & send your questions & comments to: #ESNpod so we can find your comments www.esnpodcast.com www.facebook.com/ESNpodcasts www.twitter.com/ESNpodcast www.instagram.com/ESNpodcast @esnpodcast on all other social media esnpodcast@gmail.com It's important to subscribe, rate and review us on your apple products. You can do that here... www.bit.ly/esnitunes

•Jesus Joins The Sh… •Buy This. We Hope You Hate It. •"Work e-mail" = Dick pic •Females, Asians, And Large Men •Bananas with Rice and Fried Chicken •Maybe Don't Heckle I.C.E. •The Secret Underground Flour Tortilla Black Market •Rectum Story, Check. •Jesus Really Joins The Show, This Time •What Law Deters You To Kill Yourself? •On This Side Of The Road, I'm Not Gay •Hell No! Fat Don't Go! •Okay… Okay……… Okay. •I Hopped Outta My Bed BOING •Neigh Means Neigh •May I Tamper With Your Horse? •The Mexicaniesty Belt Buckle …And Much More!   Support Us on Patreon Get access to bonus episodes every week, ad free episodes, and join us on our weekly after show chats. https://www.patreon.com/WhosRight Watch us Live Tuesday (Bonus Episodes) and Wednesday on Youtube https://www.youtube.com/c/WhosRightPodcast Our website - https://whosrightpodcast.com/ For superchat sounds, send them over to Doug at doug.whosrightpodcast@gmail.com with "superchat" in the subject line Submit Dear Flabby Questions - https://whosrightpodcast.com/dearflabby/ Don't miss any updates or content. Find all our social media links located in our Linktree: http://linktr.ee/whosrightpodcast Link to our Discord - https://discord.gg/5jkc6NfAW8 Doug's Substack - https://mindofdorg.substack.com/ Deputy Butterbean's Playlist - https://open.spotify.com/playlist/4BgFV8Gik4pDL4HNiygudW?si=VUiKTlOIRuO7-JtZ5pjJ1Q&pi=0uChhaL3Stq-0 The infamous Beastie Boys episode - https://beastieboysepisode.com/

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Guest host Jovelyn Richards presents White Switch   WHITE SWITCH Show Transcript Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Jovelyn Richards: [00:01:07] Hi, this is Jovelyn Richards and I'm happy to be here on Apex. Some of you may know me from Cover to Cover, which is every Tuesday at two o'clock, which I, um, spend time with artists, filmmakers, uh, writers, play writers, poets, to bring that to my audience. And on every third Monday you would hear me on Women's Magazine and my colleagues. We all take one Monday and Tuesday on different topics from a feminist perspective, from a global perspective. And my specific way of approaching that is to look at writings and, um, that's either from fiction or either it is nonfiction, but at the core of it, because my interest really is getting to the story of what it's like to be human.   Jovelyn Richards: [00:02:05] Those reflect characters topics that really dig inside of that written by women who was in search of, in their research, their lives of highlighting either known people or ordinary people who are. Living in ways in which moves humanity forward. So that's where you'll find me. And so why am I here? I'm here because I did a project, uh, over a year ago, and this, this, uh, tape is, uh, this program is a long time coming. I partnered with this particular project with, so when you would be familiar with, and that's Preeti Shekar last name is spelled S-H-E-K-A-R. And we began this story, uh, of looking at anti-blackness in the South Asian community together. So what I'm going to do is let you listen to a clip, not from Preeti or myself. But from someone else's doing this anti-blackness work in South Asian communities with Ritu Bhasin, and the last spelling of her name is B-H-A-S-I-N. So we'll take a listen to that and then I will be right back and have that discussion.   CLIP PLAYS   Jovelyn Richards: [00:04:46] All right, so here we go. And so one of the things I appreciated seeing and listening to her video when I first was introduced to her, that aligned with the work that myself and Preeti was doing in our project curriculum called The White Switch, and we'll dig into that. What is the White Switch? What is the curriculum of the White Switch and how it came about? And so what I appreciate, the continuous work, you may wanna Google, if you don't already know, you probably do with Ritu Bhasin, uh, because she speaks directly about anti-black, uh, racism within South Asian communities, especially among professionals and leaders. And as you've heard in the video, she shares what that experience has been. And I was so happy to be able to offer that in the beginning of this. Uh, broadcast so that it, uh, to break the sense of isolation just in myself. Speaking of it as a black woman, I was hoping that Preeti would be here, but she's, um, back in India and I'll talk a little bit about what that's like for me, uh, that my co-create, um, my partner on this here.   Jovelyn Richards: [00:05:59] So the white switch and the history of it for years. Uh. Probably like close to 15 years now. We were part of the beginning of white, uh, women's magazine and we had wanted to do something together. We knew that we wanted to work together without knowing the why, but every time we were in conversation in the building, uh, women's magazine and the way I approach the topics, uh, as a collective. And where the resistance was, where the fun of it was at. Uh, and then her way she approached it, there was place the, the connected dots. So example would be for any of our lives, when you're in very difficult conversations, you pay attention to the other, uh, uh, collaborators or whatever the, what the team is made of. And even if it's to people and you see whether or not they're coming from a place of inclusiveness, you're seeing how, how hard they are holding on to their opinion, whether it's negotiable, whether they're really deeply listening. And what was really interesting to where we connect the is that we found that both of us and we were relatively new to each other.   Jovelyn Richards: [00:07:20] What we both found is that the humor. That in the heat of it all, or the conflict of it all, there was, we relied on this part of humor to not, to deflate and deflect from the situation, not to deflate it, like take off the, the, the fullness of the topic, but to give us all a moment to breathe in humor. Right? And, and that's, that is part of my go-to as a standup comedian. So that's real for me. So. Let's talk about the white switch. So the, oh, so the, how it began, how we came up with that since we wanted to do a project together, how did we come up with the white switch anti-blackness in South Asian community Preeti, uh, was in New York over a year ago, and she was taking a Lyft in Harlem to wherever else she was going, or she was going to Harlem and the Lyft driver. South Asian, uh, driver asked her why was she going there or coming from there. Then she said, what do you mean? And he began to have a conversation around the dangers of that even. He didn't always like to pick up folks there and he was referring to black folks. And so pretty him not knowing that she's an independent journalist, she's also an activist.   Jovelyn Richards: [00:08:48] Begin to ask important questions and starting with what has been your experience, your personal experience, and then your experience with others close to you that might have shared that is informing these thoughts. You have these feelings, you have these decisions you're making, these things you're telling me not to do, and he had nothing, none to offer. So the next question would be, so then, then. Why, and then from, if I got the story right, there was a, um, uh, moments of silence and so I think he was sort of processing, processing in his own mind. Why am I telling, why am I feeling this way? Why am I hesitant to go to areas where I know there'll be black folks? Why am I telling a woman who is South Asian, particularly identifying with his own, uh, identity, wanting her not to go? And in that emptiness, one would hope that. Once he did self-reflection, uh, with that question that he was discovering, like he really didn't have anything substantial to go by. And so when she got back from her trip, we were talking and she said this was very important to her, to talk about that.   Jovelyn Richards: [00:10:15] And uh, and I told her at the time, surprisingly enough that I was. Actually had been working on a project in my isolation, uh, called the White Switch, and that this coincidence, we wanted to take advantage of both of our energy of importance towards the matter. So the thesis statement within it is that the whites, which is a healing curriculum. This innovative program designed for activists very specifically anyone can, can be involved in the curriculum of, of essentially looking at the anti-blackness in any community outside of the black community. Specifically for activists and then, but anyone can do that if you, if they're, you don't have to be actively considering yourself an activist just by wanting to, to think about and look at the curriculum on some level. Something is activating inside and looking at that, and then to, in the curriculum to recognize as this, this Lyft driver did that there was no logical reason for him. To not only have that stance, but to offer it to strangers, then spreading that untruth or have no validity to it, right? And so the curriculum addresses that and to begin as, as to, to eradicate the deeper feelings despite being activists, despite education around anti-blackness.   Jovelyn Richards: [00:12:12] That even among the most astute South Asians, there are the deeper roots, the deeper roots of anti-blackness. And that is the white switch. The white switch. And so the, the pattern. The reoccurring pattern that one has seen politically in black communities. As we also heard in the, um, video, which were two of us seen, uh, has been, that is, is even after years of political education, community organizing, or DEI, where there's a sudden internal shift that occurs. This shift is not intellectual, it is somatic. Emotional and rooted in the proximity to whiteness. And that switch, the white switch goes on immediately for survival purpose. So when confronted. By anti-blackness in conversation and actions, there's a switch that goes off. Fight or flight, fight or flight. And when that happens, there are things that happen again in the activist. In, in communities that have, uh, fought for years for political education through community organizing. But the, the, the roots of the proximity to whiteness globally is no joke because literally it is saying, this is for your survival.   Jovelyn Richards: [00:14:18] You are invested here in this proximity to whiteness. For your survival, economically, social placement, accessibility, back to safety for all of the above, and this buried there even while you're doing the, the, the radical work, however you show up, is sitting there with those deep roots, right? And so the workshop curriculum was created. I had started it before Preeti and I began doing it, um, writing about it. And I'll give you that history. This is a good place to do the history of that. I had been doing political education around anti-blackness and around many issues, but what, this is what we're speaking about, right? And educating around domestic. Other things were like hunger, domestic violence, um, community organizing, and specifically that, that came out of anti-blackness, holding workshops, creating workshops. And what I discovered is, um. Most of the people, the audience that was there, I'm thinking example of the Stockton Unified School districts district where myself and peer advocates went in, uh, to do the work of anti-blackness over some incidences that had happened in in Stockton in the public school system that was quite serious and quite painful for the black students and black community.   Jovelyn Richards: [00:16:07] And when I was there doing a workshop, and this was in my particular, um, um, curriculum that we was, we was doing, uh, but I was implementing it and what I noticed was more pronounced, I had noticed it before. And had even talked about it, had, um, had dialogues about it, uh, with others. What I noticed in those, the, those times that there's a point. Where in the, that particular workshop, I could see where there was staff that was really wanting to get to the bottom of their own anti-blackness for their students. So the teacher part of them and the diversity of the students. And there was activated and then there was those, uh, that were not engaged with the caring of, they were there to teach and they brought, they. Didn't have an issue with their behavior that spoke to anti-blackness. Example would be two students are talking and one non-black. Black. And these are just random examples. Very, they're not mild, but compared to what had happened, what brought us there that was so extreme, it involved death. Um, uh. I shouldn't just say it like that without giving more backdrop to it, but, and maybe I will.   Jovelyn Richards: [00:17:43] But here's in the daily classroom that then this black student would be called out and removed more times than not from a classroom. And so by the teachers that did not take up responsibility, that in their teaching they had a responsibility to be teaching themselves. By listening to the students that would call, would call them out and, and stay forth and say, why, why? This person started talking to me? Why are you only pointing out at me? So this, this is not new. I'm sure this happened throughout the teaching person teaching career. Why am I have to go to office? And so now we can see what happens when students are constantly in the office, how that impacts them. So. That is part of when I started making more notes on this here. And then I, uh, worked with, and probably you're very familiar with this organization in the Bay Area, surge showing up for racial justice. And they were, uh, we worked together on a project. That I was doing as a writer. I was writing the Play 911: What's your emergency? And it was in response to white communities, particularly women calling the police on Brown and black people. And most notable in the Bay Area was barbecue, Becky and Permit Patty. So I met La Peña. I was a resident artist at La Peña Cultural Center. Hopefully you're all aware of that. Uh, of the center and its beauty that it, uh, and work is done over the decades. And I, so in writing the play and working with community folks, uh, actors, performers, and interested and impacted by these phone calls, and we worked in Workshop to create together, I did. I wanted to. Dig more into the psychology now of the barbecue Becky and permit Patty.   Jovelyn Richards: [00:20:10] That means I wanted to look at the racism within white women. And again, I wanted to look at that from, of. White women who have done work and fight for anti-blackness and other, uh, social ills. And so I went to search and, uh, they agreed immediately, which is kudos and kudos, uh, that, uh, they were willing to even think to themselves, yes, I can look, I can get, I, there's, there's roots in here. There's something in here. And so we, um. Created, I created the curriculum for the workshop that lasted over the weekend, and I found out some very interesting things and they found out more importantly, some very interesting things being activists themselves. And as we dug deeper using healing curriculum, for example, uh, there's, uh, healing, uh, um. Theater is based in theater, similar to, um, not similar to, but another theater thing you could think of that deals, which social ills would be theater of the press, uh, playback theater. And I also use that in some of the work I do. That's part of the White Switch. But I had created a thing called two Tiers Telling. Jovelyn Richards: [00:21:38] And in the chairs, two chairs telling the facilitator being me and the, the person who is working on, and this, in this case, women from s would sit in the chair and the others are the witness. They hold the space. Right. And again, this is a healing, uh, process. And then we go into some reflection questions, right. The same way. Preeti did with the Lyft Driver. But these particular questions, because I'm working with activists who are very savvy in the work they do, and very knowledgeable and, uh, the political, uh, things that are happening are happening in the world, then I created those questions to dig past the intellect. Pass the work into the personal, right? So we go into to memory, we go into early memory, and that became really a wonderful experience, as I said, for everybody, right? And I took those notes again, collecting that. And over the years, other workshops I've done. And so again, by the time it circled to pretty us looking forward. Uh, work to do together. It came up. Now I even in this rec, this, um, programming, it was odd when I 'cause this, this recording, this program was due like almost a year ago. We started this program in this 20, 20, 26. Now we started together in late 2024. We presented this at the DESI Conference in 2024, south Asian uh, DESI Conference.   Jovelyn Richards: [00:23:41] We presented at that conference, right? And we were building the curriculum looking for, um, support for it, and Kamala Harris spoke at that conference. There was some political uproar from some of the folks there. They had their own feelings about her and the, the, the, what was, what was happening, what was not happening in the, uh, Biden and her administration with Biden. And there happened to be a moment when I got into, uh, an argument with one of the people who wanted to disrupt the moment she was speaking. I had an issue with that and wanted to, um, ask more questions and in the questioning the person was, was crying and so upset, and then I asked them what work they had been doing in their, in anti-blackness, and their response to me was, I don't have time for that right now.  That was very concerning. Very concerning. And so when I talk about this now, I'm recording this. It's actually Martin Luther King's Day where I'm recording it at air, uh, later and, and I'm sitting here reflecting on where we're at as a whole. Jovelyn Richards: [00:25:14] And I know that a lot of that was, we're here now, whatever, wherever you're thinking about where we're at, because of anti-blackness, because of anti-blackness. So, so much feels kind of odd to be talking about the work we were doing and wanting to do, and then more fiercely leading up to the election. Right? So again, this was, uh, 24. 2024 when we started the story in the, the spring of, and it just turned 2024. The conference was in the spring, I think it was May, late spring, and we came back wanting to do workshops and I left the conference. It was a wonderful. And I love the diversity of the conference in terms of the way diversity and how they was approaching it. Different topics, whatever the topics they were using. It was a different, it was different than most conference where the talking hads and, and then you go to break room, then you come back to another workshop on the program and then you go on the talking hat. You take notes or. And then you come out and then there's a, another break or lunchtime, you go back in and you meet people. There were hundreds of people and there were, there were people approaching difficult subject matters with comedy. And I'm a comedian, so I know that, and we all know on some level the comedians can tell you the best of the best stuff in terms of, um, political social ills, and they get you with that punch.   Jovelyn Richards: [00:26:50] That's another way to get people to sort of pay attention to where they're at in the world, where they're at within the subject matter and what or what not they want to do. Richard Pryor would be a good one, uh, most notable. Uh, and Eddie Murphy to some degree. Yeah, to some degree, but definitely Richard Pryor. Um. And so, and then they also had the dance. They have so much, they had so much of, they brought themselves their culture to the conference and it was one, it was the best conference I had been to. Uh, in a long time. 'cause it brought the, the, the one beautiful thing about many communities is that if, if the conference is put on by them, uh, and for whatever the topics, some, a lot of communities bring their culture into it, right? It's not a template of traditional conference, which very cut, very linear, et cetera. And that was absolutely fantastic. And I enjoyed it deeply and that was my takeaway from it. My takeaway from what we presented, very active listeners, very painful. As I was listening to some of the panelists, I was on the panel, discussed the work they do and gave, uh. Examples, like, uh, one woman was an his attorney and deals with, uh, prison reform and she was giving case cases that she had shared and the disparity of an justice system and the pain of, and then it was, it was, um, very, uh, emotional for me because I know these things occur, but when you hear, hear them in a case study and the results of them.   Jovelyn Richards: [00:28:47] So I was. How very, I was feeling that very deeply. And when it was my, someone asked a question, it was my, and I was speaking again. I'm feeling a certain kind of way. And I'm much, much, uh, I mean at this point my, you can hear and feel my passion when I was answering the question and the frustration that the story of the prison system. Uh, the, the racial, uh, inequality, the punitive measures, and I, and frustrated because this is not new. We know that in the different presidential folks, uh, say the Reagan administration, the Clinton three strikes, we know that's been going on and on, and yet the same stories being told over and over again. Uh, the sameness is like the, the, that different, different, different zip codes, different people, et cetera. But the same story of the injustice. The injustice, right? Going all the way back for some of you that are familiar with history. Going back to, uh, emancipation when the, um, black folks were, the, this sort of system we're working on now was created from that, that system doing emancipation with black folks, had nowhere to go with no resource, no money, and that no land.   Jovelyn Richards: [00:30:19] And that wandering the roads of trying to, to make up a life. And they created a system, a law that if you were the, what is the fragrant of fragrant frequency law, lot loitering, L-O-I-T-E-R-I, in order to re imprison them. So they had choices either go to prison or go work on Mr. X Farm of Land. And so it's been a continuation of, of creating systems, of imprisonment, of enslavement, of brown and black folks. And then so that came out and one of the people facilitating the conference when I, I just, my impatience of keep dis of discussion, my impatience of intellectual approach, my impatience and my bottom line question is, is what is taking this so long? If everybody, if we have attorneys and politicians and all these folks working on the same thing, why are we still here? What is that? And the persons, and so whatever I said after that was really about being more radical, more clear, more intolerant of it. And the person said, we are not ready yet. Meaning we are not we, we are not ready. We don't have all those pieces in place. And then I said, we are. And why? And why are we on the timeframe of others?   Jovelyn Richards: [00:31:50] Right. Why is it we're looking at the clock of others? What is that about other than anti-blackness? The deeper woods where the white switch clicked on? Why are you, why would anyone or any bodies of people talk about the atrocities of the prison system? The injustice? Talk about it, the atrocities. Then when approached to say, meet it, meet it where it's at, it turns the intensity to say, we are not ready yet. What does that, what did that mean? Jovelyn Richards: And what I learned even in that statement that at the conference, and as men pretty came back and talked about and realized that even after years of political education, the community organizing or DEI, a sudden internal shift occurs. The shift is not intellectual, it's somatic. Emotional and again rooted in proximity to whiteness and despite activists stated commitments to racial justice, many South Asians activists experience a movement with their nervous system over rise their politics. Fight or flight response activation. Instead of leaning into accountability, they retreat.   Jovelyn Richards: [00:33:23] Retreat into defensiveness, fragility or self-protection. And when I say those words, we see that more. We think about in the, what is the book? White fragility. So it's the same thing, right? The same characteristic. 'cause again. It's that close proximity to whiteness. So of course you're taking the, the, the, when you, and this, I think it's across the board when anyone is confronted on anything and don't take the word confronted, um, and begin to think of it just as confront, like it seems like a hard word, word and English language doesn't always offer enough words to express. One thing without making it as heavy, because confront, confront could be simply in a conversation and someone says, do you know what you just said is very offensive to me? And, and say, why? And then suddenly the possibility of the white switch, this reflective, turned toward whiteness. Toward innocence. Jovelyn Richards: [00:34:29] Rural more purity and distance from blackness is the white switch. And so when in my experience, uh, south Asian activist is confronted with their own anti-blackness, does the switch may show up as defensiveness. Words like, I've done so much work on this. I, you know, I do the work. It's like proving, here's my resume, here's my, this, I've done the work and, and, and that's not me. I've taken anti-racism training. I work every day my and, and bring credentials into it. I teach workshops. I'm dismantling racism, volunteer in prison reform. I've marched, donated, organized, centering my, uh, centering, centering. And that I wanna say is what people do in any situations, not just a topic like anti-blackness. It's in a relationships you can, and we call, what do people call it now? Uh, you're deflecting, you're being a narcissist. It's all these other things that cover it up. So it's a, it is, it appears to be something that human beings do in constant protection. So I wanna make that clear, but now we're talking about.   Jovelyn Richards: [00:35:50] In a way of the social pains of this world that we are trying as activists, uh, as people trying to get, not just get a handle on, but to eradicate it. Like right where, just take a moment. Where are we at right now? Where are we at in Minnesota? Where are we at in any state? DC Chicago? Where are we at? This is the thing that we're dealing with. And so it, if the answer is to look at the things that, the look at, the things that the government is saying, it is saying, we clearly, we are racist, and everything we about to do was about to be about that. I'm so happy. Again, you're going to hear this after, uh, today, which is Martin Luther King's Day. I'm so happy on social media where everyone is celebrating. Not everyone, but those that I see are, are celebrating and they're honoring. And they're ignoring any, any kind of dismissal. Erasure, ain't nobody. Yeah. You can forget what you wanna forget. You can have what you want to hide, but, but everybody out here knows the truth.   Jovelyn Richards: [00:37:18] We just gotta get to their truth of humanity. Other ways of dis defensiveness is the feeling in a sense of, of almost like being dismissed as all that they've done. Like, I've done all this, I do all this. And then to hear that and in, in, in that moment, I have, uh, witnessed we're almost as if in the mind, you know, if they say we are not mind Raiders, but if you. You don't have your mind reader to pay attention to the, the flesh of a person, the eyes of a person to be able to get cold. Where they're running, where they're hiding, which, where what, what, what are they doing to survive the moment? Right. To be seen and not seen. Right. And it's not intentional. It's not malicious. It again, it is a, it is the umbrella psychology that we exist under and. When a person works so hard to, to show up their best self as an activist in anti-blackness, and then someone, and particularly a black person, joins in their huge effort to say, Hey, this, this ain't this. This is not working here. Let's work with this here. It's almost like they just threw out their. Whole journey of sense of, of what they're proud of, what they're, what makes them feel good about themselves inside this human life. And it should, oh, and they should absolutely adore, feel good because we're out here doing the work.   Jovelyn Richards: [00:39:09] And so these are the things that is important for us to know. And we're going to listen to another, um, video, and you are going to hear, I, I appreciated this video because it asked a question, what would I have been if I had not been doing this? So take a listen and then I will be right back.   CLIP PLAYS   Jovelyn Richards: [00:41:55] So what would. Right. What would we be doing? I ask myself as a black woman, if a lot of what I do as a writer, as a performance artist, as a community, um, activist, whatever the title is, how much energy it takes, and right now. The energy is taken again in a very different faith. This hurts, this hurts, this really hurts. Right? In a way that almost the thinking about again, the timeframe of when we were doing the work and then where we at now. Being in the conference where we at now, how many people voted against Kamala, where we are now after the conference, um, I got a text message and this was when they were, uh, folks was holding, uh, zoom.   Jovelyn Richards: [00:43:20] And it was really exciting. So many people from so many different communities was doing Zoom calls to talk about the, the elections that were coming up. And when she became the primary chosen person to run as a democratic party and people were talking, people raising money. Oh, did you see the excitement, the energy. I got a text message from one of the people from the DESI conference and, and was very, they were in pain. He said, I feel so hurt right now because on the zoom that she was uh, on, there were many people saying that they weren't gonna vote for her, or no, this is South Asian Zoom. They weren't going to vote for her. Or they weren't gonna vote at all. My re I was so my livid, which is really not as important as the liveness of now. But I was just surprised given what everybody understood and knew about her opponent. And so I said to the person in text. I said, go back to the Zoom, and I said this, everyone, there's a slogan that people are saying as if it's, uh, the, the, you know, there's always this new thing to say.   Jovelyn Richards: [00:44:58] And the slogan was, listen to black women. Listen to black. So I said to her, which, which I, I think people really don't get it, don't understand the history of what that means. They don't understand history with that. They don't care. And, and I'm saying, I shouldn't just say I, it's not that they don't care. I don't think they, they, they take, they don't look at what that meaning. That means listen to black women means the story of black women in this country, how the, how our arrival, and then the story after that. They're not gonna even get into you. You know that if you know anything, if you listen to KPFA, you know, and the MA mechanisms of how that happens, the template of how that works is the, the ask black women, the template, right? We, we know that the, the intimate details of how that works, right? And so the thought that people were literally not wanting to. I not wanting to, and that was disturbing.   Jovelyn Richards: [00:46:19] And so that happened. And then we did, oh, then I was, um, watching a couple ones that were white women were getting together. On these zooms, and they were so excited, so excited. And in their excitement, they were talking about, they were connecting. They, they were having so much fun talking about this, this, the leading up to the election, the support, the, the, and they felt some sisterhood. They felt energized. They felt all of this stuff and the energy I got from that. The energy I got from that is this is about y'all having fun, connecting, laughing, having a project. This is a project, and I asked, what I didn't hear them say is how much they had raised. They weren't talking about any of the practicalities of the next step.   Jovelyn Richards: [00:47:28] It was just about. It was a, and I put it in the way I took it. Good, bad or different. You can agree or not agree, but I'm telling you what I experienced. It felt like it was a big party, a really big fun party that they had experienced and being able to see people, they and strangers, and laugh and talk and, and go on and on and on, that it was a party, right? But it really wasn't about the truth. It had something to do. And then, and I said, and I left that, that when I saw that, I wasn't in the Zoom, but this was people talking afterwards, like on social media, about how excited they were. And I had asked, what did you raise? What are your next steps? They had nothing.   Jovelyn Richards: [00:48:14] Well, we are gonna have another one in a couple weeks. We can figure that out. Really interesting. You got two weeks to figure it out. You got, oh, you got that kind of time. Interesting. Right. And then, uh, we saw how that happened and I see that they're working right outside my window. So let me just day. I apologize for those. Got a little bit of that noise out, said that, oh, I think that happened a little bit. And so that's how that went. And now we are here. So again and again, we, I think to find a way, even though there's a sense of probably hopelessness that some of us are feeling and we are not gonna go into, um, the hopelessness of it all. We are gonna go into, uh, not in this here, um, thing, but I think all of us needs to go into, uh, the, not even about the hope, but the necessity. Hope is wonderful. Necessity. They're going to the necessity, right? They go into that place like, and find where do you live, where it's like this is the urgency, the necessity to it.   Jovelyn Richards: [00:49:42] Uh, other quotes that I'm gonna give you a few of them. A few quote, anti-blackness is foundational, not peripheral. And that's Frank B Wilderson. The third on the limits of allyship. So as we go into this, uh, we're in this thing right now. I think it's important for, uh, connectiveness, interconnectiveness in groups, intubated, dig. Inside, um, those roots to be the most effective on the nervous system and racial conditioning, the body keeps the score. I think that's, um, something that's important. And then when the, when I bring that up, the body keeps the score because what does proximity to whiteness doom where it literally dismantles parts of you no matter how deep you've been educated.   Jovelyn Richards: [00:50:43] That it can dismantle you. Um, and where does that go? Example, the nervous system and racial conditioning I speak about That is the, you lose the ability to see, hear, and speak that racial conditioning, proximity to whiteness. You give up the ability to hear. To see and to speak. You are muted and your critical thinking skills is dismantled in areas of, of, uh, anym. So I'm gonna broaden it anym, and it dismantles those parts of you energetically. Like here we are on this human experience. And, and all the, the human properties that belong to us. All the gifts of being human and to come into a circumstance, uh, where you are immediately given isms and in this story, anti-blackness. And I think some of you have, you, you may have heard of the book cast and we know it South. Asian communities coming from a caste system and then coming to America. If you came here to America with, or a history of, however, the story is that you, it's, you have a built in template for anti-blackness. I mean, it's already set thousands of years of being set.   Jovelyn Richards: [00:52:27] And so coming here, it's not so hard, uh, to even, no matter how hard when you work to be educated. And to work in systems, uh, it gives you, working in systems and anti-blackness gives you sort of the oodles and feel a sense of pride when you sit down at the table. Right. But that white switch is there that you, the, the hearing, the saying, and the knowing is gone speaking, and so it's at what percent. What percent are you really doing the work if you are embedded with anti-blackness? You, so, like I said, the co. The co, the conference, I asked that questions. I asked a question like, why is it taking so long? Because people operating, operating at 40%. It's like being in a burning building and people in the burning building, you say, okay, I'm gonna go get, um, uh, enough water for half the building to be, um, uh, fire to be put out.   Jovelyn Richards: [00:53:45] So stand on that part of the building. The building's still on fire. So you're gonna put that out. So you're kind of running around in a burn, a, a burning building, and that's not okay. And so in creating the curriculum to do work, I think is really relevant. Now, I would fe I think February, um, 20, uh. 20 something, there's gonna pop the white switch, uh, ebook is coming out and it'll be on Amazon.  I know. Um, and that's not the best thing. Um, it'll be on, but it'll be out there and it will be the curriculum, it'll be the self-reflection, it'll be stories. And I, one of the things that I'm wanting of folks is to start partnering with. Like, if you're listening to this as a South Asian activist, what would it be like to get to, to hook up, which probably folks in your circle, um, black activists and there, and, and you may say what you, you may, I'm pretty sure you, you connected, but some folks have said, well, what if they're, they're not an activist.   Jovelyn Richards: [00:55:15] Um, very difficult to be breathing in black and not be an activist, if that's even before this time being aware of your activism. 'cause if you gotta move through space every day, you're fighting for yourself. You endure, uh, worlds. You are code switching, you are being aware of and mindful of and of your activities. You are an activist and always saving yourself. Saving yourself, saving your family, aware of signs of, uh, like, uh, signs that are out movies, you're always looking after anti-blackness that exists, even if it's not conscious on that level. Right. And so as I come to an end, I must say that, uh, it would've been nice to have done this with pretty, uh, one of the things that I think we both was learning an I that was.   Jovelyn Richards: [00:56:11] We were working on the anti-blackness and our work together that was, that couldn't be helped, uh, in working together. And as she shared with me one time, and she does a lot of fantastic work on herself, she said, you know, I am, I am the white woman in India. And I appreciated that knowledge and how that might work out with us. I work and it did show up and we were able to discuss some things, some things I, my own stuff kept silent. Right. And that's something I gotta work on. And I'll leave you with that. It's been traveling. Again, the ebook called We Switch by Joplin, uh, late February. Uh, curriculum exercises, thoughts, reflections, Self-Reflection, uh, and I'll see you on Cover, the cover of Women's Magazine. Until then, be mindful. Be conscious. Goodbye.   Miko Lee: [00:57:18] Please check out our website, kpfa.org to find out more about our show tonight. We think 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, Preeti Mangala Shekar and Swati Rayasam. Thank you so much for joining us.   The post APEX Express – 1.29.26 – White Switch appeared first on KPFA.

It's back! It's back! SINGLES INFERNO IS BACK, and your noonas are all in on season 5 so far. We are turning up the heat and sharing our sizzling takes on this year's cast and the vibe of the new season. Find out if we have any favorites right out of the gate, why we think wardrobe choices matter, and how chopping carrots can be hot. It's cold as hell where two-thirds of your noonas are, but we're fired up about the new Singles Inferno.Ready to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for "thinky, thirsty and over thirty" takes on Bangtan life. ★ Support this podcast on Patreon ★

Today we head all the way to Speyside Scotland to chat with Oliver over at Elixir Distillers. We had a little technical issues on my side, but all in all a fantastic show.We chatted about getting into Scotch whisky, life, curation of bottles, blending, and much more. I had such a great time, and learned loads of stuff about there brand. There opening a new distillery on Islay. Anyway check it out, it'll be well worth your time.Elixirdistillers.comBadmotivatorbarrels.com/shop/?aff=3https://www.instagram.com/zsmithwhiskeyandmixology?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==Patreon.com/offtopicwhiskeyAboutElixir Distillers is a creator, blender and bottler of fine spirits. We create brands where we believe there is a niche in the market and seek to combine aesthetically beautiful design with delicious, characterful spirits. Our expertise is primarily Scotch whisky, together with Irish, Japanese and American whiskies as well as rum and Tequila.Our core brands are Port Askaig single malt whisky, Elements of Islay Scotch whisky, The Single Malts of Scotland, Black Tot Rum and Highland Nectar whisky liqueur. In addition, we have several other brands in development and we have global distribution rights outside North and South America for Tapatio Tequila.We currently export our brands to more than 20 international markets and are delighted that all are growing on a steep, upward curve. Every member of our team is a spirits enthusiast with immense product knowledge, looking to produce the world's next great drink. Quite simply, this passion is why our brands have become so popular around the world.HistorySukhinder Singh and Rajbir Singh, co-founders and owners of Elixir Distillers, will tell you they started in the drinks industry aged just two and four years old.1971Sukhinder and Rajbir's parents became the first Asians in the UK to be granted a liquor licence and opened what became an award-winning off-licence in North West London.Sukhinder started collecting miniatures in the mid-1980s before progressing to full-size bottles a few years later. By the mid-1990s, he was one of the largest collectors of whisky in the world.1999Sukhinder and his brother Rajbir found The Whisky Exchange, one of the first online whisky specialist retailers and now one of the most important drinks retailers in the world.2002Sukhinder bottles his first cask of whisky. His passion drove him to seek out the most exceptional casks of single malts and bottle them under a new brand: The Single Malts of Scotland.2008The Elements of Islay range is launched as a way to introduce great Islay whisky to customers young and old.2009Port Askaig is launched as a range of Islay single malt whiskies that embodies the unique spirit of Islay and its people.2011Black Tot: Last Consignment is launched – a unique rum that represents the culmination of more than 300 years of Royal Naval rum tradition.2017The independent bottling arm of the business, previously known as Speciality Drinks, is renamed Elixir Distillers. Henceforth, it will serve as the home for the creation, blending, bottling and international sales for all spirits created by the company.2019After two years of research and 26 different recipe iterations, Elixir Distillers launch their first original blended rum: Black Tot Finest Caribbean.2020Launch of the first annual Black Tot Rum limited edition blend: Black Tot 50th Anniversary Rum.2021Launch of Highland Nectar Scotch Whisky Liqueur.2022Launch of new Elements of Islay Scotch whisky core expressions: Cask Edit, Bourbon Cask and Sherry Cask.2023Tormore Distillery begins production following acquisition in 2022.

APEX Express is a weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. On this episode, host Miata Tan speaks with three guests from the Coalition for Community Safety and Justice (CCSJ), a leading community-based resource providing direct victim services for Asian Americans in San Francisco. They unpack CCSJ's approach to policy change, community advocacy, and public education, and reveal how their Collective Knowledge Base Catalog captures lessons from their work. Important Links: Community Safety and Justice (CCSJ) CCSJ Collective Knowledge Base Catalog CCSJ‘s four founding partners are the Chinatown Community Development Center, Chinese for Affirmative Action, Chinese Progressive Association, and Community Youth Center. Transcript: [00:00:00]  Miata Tan: Hello and welcome. You are tuning into APEX Express, a weekly radio show, uplifting the voices and stories of Asian Americans. I am your host, Miata Tan, and today we are focusing on community safety. The Coalition for Community Safety and Justice, also known as CCSJ, is the leading community-based resource in providing direct victim [00:01:00] services for Asian Americans in San Francisco. The four founding partners of the Coalition are Chinatown Community Development Center, Chinese for Affirmative Action, Chinese Progressive Association, and the Community Youth Center. You might have heard of some of these orgs. Today we are joined by three incredibly hardworking individuals who are shaping this work. First up is Janice Li, the Coalition Director. Here she is unpacking the history of the Coalition for Community Safety and Justice, and the social moment in which it was formed in response to. Janice Li: Yeah, so we formed in 2019 and it was at a time where we were seeing a lot of high profile incidents impacting and harming our Asian American communities, particularly Chinese seniors. We were seeing it across the country due to rhetoric of the Trump administration at that time that was just throwing, oil onto fire and fanning the flames. [00:02:00] And we were seeing those high profile incidents right here in San Francisco. And the story I've been told, because I, I joined CCSJ as its Coalition Director in 2022, so it says a few years before I joined. But the story I've been told is that the Executive Directors, the staff at each of these four organizations, they kept seeing each other. At vigils and protests and rallies, and it was a lot of outpouring of community emotions and feelings after these high profile incidents. And the eds were like. It's good that we're seeing each other and coming together at these things, but like, what are we doing? How are we changing the material conditions of our communities? How are we using our history and our experience and the communities that we've been a part of for literally decades and making our communities safe and doing something that is more resilient than just. The immediate reactive responses that we often know happen [00:03:00] when there are incidents like this. Miata Tan:  And when you say incidents could you speak to that a little bit more?  Janice Li: Yeah. So there were, uh, some of the high profile incidents included a Chinese senior woman who was waiting for a bus at a MUNI stop who was just randomly attacked. And, there were scenes of her. Fighting back. And then I think that had become a real symbol of Asians rejecting that hate. And the violence that they were seeing. You know, at the same time we were seeing the spa shootings in Atlanta where there were, a number of Southeast Asian women. Killed in just completely senseless, uh, violence. And then, uh, we are seeing other, similar sort of high profile random incidents where Chinese seniors often where the victims whether harmed, or even killed in those incident. And we are all just trying to make sense of. What is happening? [00:04:00] And how do we help our communities heal first and foremost? It is hard to make sense of violence and also figure out how we stop it from happening, but how we do it in a way that is expansive and focused on making all of our communities better. Because the ways that we stop harm cannot be punitive for other individuals or other communities. And so I think that's always been what's really important for CCSJ is to have what we call a holistic view of community safety. Miata Tan: Now you might be wondering, what does a holistic view and approach to community safety look like in practice? From active policy campaigns to direct victim service support, the Coalition for Community Safety and Justice offers a range of different programs. Janice Li, the Coalition Director, categorizes this work into three different [00:05:00] buckets.  Janice Li: It is responding to harm when it occurs, and that's, you know, really centering victims and survivors and the harm that they faced and the healing that it takes to help those, folks. The second piece is really figuring out how do we change our systems so that they're responsive to the needs of our communities. And what that looks like is a lot of policy change and a lot of policy implementation. It's a lot of holding government accountable to what they should be doing. And the third piece is recognizing that our communities don't exist in vacuums and all of our work needs to be underpinned by cross-racial healing and solidarity. To acknowledge that there are historic tensions and cultural tensions between different communities of color in particular, and to name it, we know that there are historic tensions here in San Francisco between the Black and Chinese communities. We have to name it. We have to see it, and we have to bring community [00:06:00] leaders together, along with our community members to find spaces where we can understand each other. And most importantly for me is to be able to share joy so that when conflict does occur, that we are there to be able to build bridges and communities as part of the healing that we, that has to happen. Miata Tan: Let's zoom in on the direct victim services work that CCSJ offers. What does this look like exactly and how is the Coalition engaging the community? How do people learn about their programs? Janice Li: We receive referrals from everyone, but initially, and to this day, we still receive a number of referrals from the police department as well as the District Attorney's Victim Services division, where, you know, the role that the police and the DA's office play is really for the criminal justice proceedings. It is to go through. What that form of criminal justice accountability. Could look like, but it's [00:07:00] not in that way, victim centered. So they reach out to community based organizations like Community Youth Center, CYC, which runs CCSJ, direct Victim Services Program to provide additional community. Based services for those victims. And CYC takes a case management approach. CYC has been around for decades and their history has been working, particularly with youth, particularly at risk youth. And they have a long history of taking a case management approach for supporting youth in all the ways that they need support. And so they use this approach now for people of all ages, but many of the victims that we serve are adults, and many of them are senior, and almost all of them are limited English proficient. So they need not only culturally competent support, but also in language support. And so the case management approach is we figure out what it is that person needs. And sometimes it's mental health [00:08:00] services and sometimes it's not. Sometimes it's trying to figure out in home social services, sometimes it's not. Sometimes for youth it might be figure out how to work with, SF Unified school district, our public school system you know, does that student need a transfer? It could be the world of things. I think the case management approach is to say, we have all of these possible tools, all of these forms of healing at our disposal, and we will bring all of those resources to the person who has been harmed to help their healing process. Miata Tan: I'm curious. I know we can't speak to specific cases, but. how did this work evolve? what did it look like then and what does it look like today? Janice Li: What I would say is that every single case is so complex and what the needs of the victims are and for their families who might be trying to process, you know, the death of one of their loved ones. What that [00:09:00] healing looks like and what those needs are. There's not one path, one route, one set of services that exist, but I think what is so important is to really center what those needs are. I think that the public discourse so much of the energy and intention ends up being put on the alleged perpetrator. Which I know there's a sense of, well, if that person is punished, that's accountability. But that doesn't take into account. Putting back together the pieces of the lives that have been just shattered due to these awful, terrible, tragic incidents.  And so what we've learned through the direct victim services that we provide in meeting harm when it occurs is sometimes it's victims wake you up in the hospital and wondering, how am I going to take care of my kids? Oh my gosh, what if I lose my job? How am I gonna pay for this? I don't speak English. I don't understand what my doctors and nurses are telling me [00:10:00] right now. Has anyone contacted my family? What is going on? What I've seen from so many of these cases is that there aren't people there. in the community to support those folks in that sort of like intimate way because the, the public discourse, the newspaper articles the TV news, it's all about, that person who committed this crime, are they being punished harsh enough? While when you really think about healing is always going to have to be victim and survivor centered.   Miata Tan: Janice Li describes this victim and survivor centered approach as a central pillar of the Coalition for Community Safety and Justices work. I asked her about how she sees people responding to the Coalition's programming and who the communities they serve are. Janice Li: So the Direct Victim Services program is just one of the many, many programs that CCSJ runs. Um, we do a wide range of policy advocacy. Right now, we've been focused a lot [00:11:00] on transit safety, particularly muni safety. We do a lot of different kinds of community-based education. What we are seeing in our communities, and we do work across San Francisco. Is that people are just really grateful that there are folks that they trust in the community that are centering safety and what community safety looks like to us. Because our organizations have all been around for a really long time, we already are doing work in our communities. So like for example, CCDC, Chinatown Community Development Center, they're one of the largest affordable housing nonprofits in the city. They have a very robust resident services program amongst the dozens of like apartment buildings and, large housing complexes that they have in their portfolio. And so, some of the folks that participate in programs might be CCDC residents. some of the folks participating in our programs are, folks that are part of CPA's existing youth program called Youth MOJO. They might [00:12:00] be folks that CAA have engaged through their, immigrant parent voting Coalition, who are interested in learning more about youth safety in the schools. So we're really pulling from our existing bases and existing communities and growing that of course. I think something that I've seen is that when there are really serious incidents of violence harming our community, one example Paul give, um, was a few years ago, there was a stabbing that occurred at a bakery called a Bakery in Chinatown, right there on Stockton Street. And it was a horrific incident.  The person who was stabbed survived. And because that was in the heart of Chinatown in a very, very popular, well-known bakery. in the middle of the day there were so many folks in the Chinatown community who were  they just wanted to know what was happening, and they were just so scared, like, could this happen to me? I go to that bakery, can I leave my apartment? Like I don't know what's going on. [00:13:00] So a lot of the times, one of the things that CCSJ does as part of our rapid response, beyond just serving and supporting the victim or victims and survivors themselves, is to ensure that we are either creating healing spaces for our communities, or at least disseminating accurate real-time information. I think that's the ways that we can Be there for our communities because we know that the harm and the fears that exist expand much more beyond just the individuals who were directly impacted by, you know, whatever those incidents of harm are. Miata Tan: And of course, today we've been speaking a lot about the communities that you directly serve, which are more Asian American folks in San Francisco. But how do you think that connects to, I guess, the broader, myriad of demographics that, uh, that live here.  Janice Li: Yeah. So, CCSJ being founded in 2019. We were founded at a time where because of these really [00:14:00] awful, tragic high profile incidents and community-based organizations like CA, a really stepping up to respond, it brought in really historic investments into specifically addressing Asian American and Pacific Islander hate, and violence and. What we knew that in that moment that this investment wasn't going to be indefinite. We knew that. And so something that was really, really important was to be able to archive our learnings and be able to export this, share our. Finding, share, learning, share how we did what we did, why we did what we did, what worked, what didn't work with the broader, committees here in San Francisco State beyond. I will say that one of the first things that we had done when I had started was create actual rapid response protocol. And I remember how so many places across California folks were reaching out to us, being like, oh, I heard that you do community safety [00:15:00] work in the Asian American community. What do you do when something happens because we've just heard from this client, or there was this incident that happened in our community. We just don't know what to do. Just to be able to share our protocol, share what we've learned, why we did this, and say like, Hey, you translate and interpret this for how it works. In whatever community you're in and you know, whatever community you serve. But so much of it is just like documenting your learning is documenting what you do. Um, and so I'm really proud that we've been able to do that through the CCSJ Knowledge Base.   Miata Tan: That was Janice Li, the Coalition Director at the Coalition for Community Safety and Justice, also known as CCSJ. As Janice mentioned, the Coalition is documenting the community safety resources in an online Knowledge Base. More on that later. Our next guest, Tei Huỳnh, will dive deeper into some of the educational workshops and trainings that CCSJ offers. You are tuned into APEX [00:16:00] Express on 94.1 KPFA​ [00:17:00] Welcome back to APEX Express on 94.1 KPFA. I am your host, Miata Tan, and today we are talking about community safety. Tei Huỳnh is a Senior Program Coordinator at Chinese Progressive Association, one of the four organizations that comprise the Coalition for Community Safety and Justice. Here's Tei discussing where their work sits within the Coalition. [00:18:00]  Tei Huỳnh: CPA's kind of piece of the pie with CCS J's work has been to really offer political education to offer membership exchanges with, um, other organizations workshops and trainings for our working class membership base. And so we offer RJ trainings for young people as well as, in language, Cantonese restorative justice training. Miata Tan: For listeners who might not be familiar, could you help to define restorative justice? Tei Huỳnh: Restorative justice is this idea that when harm is done rather than like implementing retributive ways. To bring about justice. There are ways to restore relationships, to center relationships, and to focus efforts of making right relations. Restorative justice often includes like talking circles where like a harm doer or someone who caused harm, right? Someone who is the recipient of harm sit in circle and share stories and really vulnerably, like hear each other out. And so the [00:19:00] first step of restorative justice, 80% of it in communities is, is relationship building, community building. Miata Tan: These sorts of workshops and programs. What do they look like? Tei Huỳnh: In our restorative justice trainings we work with, we actually work with CYC, to have their youth join our young people. And most recently we've worked with another organization called, which works with Latina youth, we bring our youth together and we have, uh, a four-part training and we are doing things like talking about how to give an apology, right? We're like roleplaying, conflict and slowing down and so there's a bit of that, right? That it feels a little bit like counseling or just making space, learning how to like hold emotion. How do we like just sit with these feelings and develop the skill and the capacity to do that within ourselves. And to have difficult conversations beyond us too. And then there's a part of it that is about political education. So trying to make that connection that as we learn to [00:20:00] be more accepting how does that actually look like in politics or like in our day-to-day life today? And does it, does it align? More often than not, right? Like they talk about in their classrooms that it is retributive justice that they're learning about. Oh, you messed up, you're sent out. Or like, oh, you get pink slip, whatever. Or if that's not their personal experience, they can observe that their classmates who look differently than them might get that experience more often than not   And so building beginning to build that empathy as well. Yeah. And then our adults also have, trainings and those are in Cantonese, which is so important. And the things that come up in those trainings are actually really about family dynamics. Our members really wanna know how do we good parents? When we heal our relationship, like learning to have those feelings, learning to locate and articulate our feelings.  To get a Chinese mama to be like, I feel X, Y, Z. Elders to be more in touch with their emotions and then to want to apply that to their family life is amazing, to like know how to like talk through conversations, be a better [00:21:00] parent partner, whatever it may be. Miata Tan: Something to note about the workshops and tools that Tei is describing for us. Yes, it is in response to terrible acts of hate and violence, but there are other applications as well. Tei Huỳnh: And you know, we've seen a lot of leadership in our young people as well, so we started with a restorative justice cohort and young people were literally like, we wanna come back. Can we like help out? You know, and so we like had this track where young people got to be leaders to run their own restorative justice circle. It might sound like really basic, but some of the things we learn about is like how we like practice a script around moving through conflicts too. and that, and we also learn that conflict. It's not bad. Shameful thing. This is actually what we hear a lot from our young people, is that these tools help them. With their friends, with their partners, with their mom. One kid was telling us how he was like going to [00:22:00] get mad about mom asking him to do the dishes he was able to slow down and talk about like how he feels. Sometimes I'm like, oh, are we like releasing little like parent counselors? You know what I mean? Uh, 'cause another young person told us about, yeah. When, when she would, she could feel tension between her and her father. She would slow down and start asking her, her what we call ears questions. and they would be able to slow down enough to have conversations as opposed to like an argument . It makes me think like how as a young person we are really not taught to communicate. We're taught all of these things from what? Dominant media or we just like learn from the style of communication we receive in our home , and exposing young people to different options and to allow them to choose what best fits for them, what feels best for them. I think it's a really, yeah, I wish I was exposed to that . Miata Tan: From younger people to adults, you have programs and workshops for lots of different folks. What are the community needs that this [00:23:00] healing work really helps to address? Tei Huỳnh: What a great question because our youth recently did a survey Within, um, MOJO and then they also did a survey of other young people in the city. And the biggest problem that they're seeing right now is housing affordability because they're getting like, pushed out they think about like, oh yeah, my really good friend now lives in El Sobrante. I can't see my like, best friend we have youth coming from like Richmond, from the East Bay because they want to stay in relationship. And so the ways that, like the lack of affordability in the city for families, working class families has also impacted, our young peoples. Sense of health. And, this is actually a really beautiful extension of, growth, right? In what people are seeing termed as safety, From like a really tangible kind of safety previously safety was like not getting punched, interpersonal violence to now understanding safety from systemic violence as well, which includes, like housing and affordability or [00:24:00] gentrification.   Miata Tan: Through the workshops that Tei runs through the Coalition for Community Safety and Justice Communities are also exposed to others with different lived experiences, including speakers from partner organizations to help make sense of things. Tei Huỳnh: It was a huge moment of like humanization. And restorative justice is really about seeing each other, I remember too, like after our guest speaker from A PSC, our young people were just so moved, and our young people saying like this was the first time that they've shared a room with someone who was formerly incarcerated. they were so moved with like, how funny he was, how smart he was, how all the things you know, and, and that there are all these stories to shed. We really bring in people to share about their lived experiences with our Asian American youth. And then people wanted to like follow up and also Mac from A PSC was so generous and wanted to help them with their college essays and people were like, [00:25:00] yes, they wanna keep talking to you. You know? Um, and that was really sweet. In our. Recent restorative justice work, and our most recent training with POed which works with Latina youth while we saw that it was harder for our young people to just, connect like that, that they were able, that there were like other ways that they were building relationships with  Miata Tan: What were you seeing that went beyond language? Tei Huỳnh: I think it was really sweet to just see like people just trying, right? Like, I think as like young people, it's like, it's also really scary to like, go outside of your, your little bubble, I think as a young person, right? One year we were able to organize for our adult session and our youth session, our final session that happened on the same day. and so we had we had circles together, intergenerational, we brought in a bunch of translators and youth after that were so moved, I think one young person was [00:26:00] talking about how they only like. Chinese adults, they talk to other parents and to like hear these Chinese adults really trying, being really encouraging. There's like something very healing. Restorative justice is not an easy topic for young people. I think at the first level it is about relationships in community to hold those harder feelings. I was really moved by this, a really shy young girl, like choosing to like walk and talk with another young person that they didn't have like that much of a shared language, but Wiley was, they were just really trying to connect. There are moments like when the, youth, like during our break, would wanna put on music and would try to teach the other youth, how they dance to their music. You know, like it's just, it was just like a cultural exchange of sorts too which is really sweet and really fun  ​[00:27:00] [00:28:00]  Miata Tan: You are tuned into APEX Express on 94.1 KPFA, a weekly radio show uplifting the voices and stories of Asian Americans. I'm your host Miata Tan, and today we are [00:29:00] talking about community safety. Since 2019, the Coalition for Community Safety and Justice, also known as CCSJ, has been leading the charge in helping Asian Americans in San Francisco to heal from instances of harm. From Direct Victim Services to Policy Work. The Coalition has a range of programs. Our next guest is Helen Ho, research and Evaluation manager at Chinese for affirmative action in San Francisco. Her research helps us to better understand the impact of these programs. Here's Helen describing her role and the importance of CCS J's evaluation  Helen Ho: My role is to serve as a container for reflection and evaluation so that we can learn from what we're doing, in the moment, we're always so busy, too busy to kind of stop and, assess. And so my role is to have that [00:30:00] time set aside to assess and celebrate and reflect back to people what we're doing. I was initially brought on through an idea that we wanted to build different metrics of community safety because right now the dominant measures of community safety, when you think about like, how do we measure safety, it's crime rates. And that is a very one dimensional, singular, narrow definition of safety that then narrows our focus into what solutions are effective and available to us. And, and we also know that people's sense of safety goes beyond what are the crime rates published by police departments and only relying on those statistics won't capture the benefits of the work that community organizations and other entities that do more of this holistic long-term work. Miata Tan: The Coalition for Community Safety and Justice, has been around since 2019. So was this [00:31:00] process, uh, over these five years, or how did you come into this? Helen Ho: Yeah. The Coalition started in 2019, but I came on in. 2023, you know, in 2019 when they started, their main focus was rapid response because there were a lot of high profile incidents that really needed a coordinated community response. And over time they. Wanted to move beyond rapid response to more long-term prevention and, uh, restorative programming. And that's when they were able to get more resources to build out those programs. So that's why I came on, um, a bit later in the Coalition process when a lot of programs were already started or just about to launch. So what I get to do is to interview people that we've served and talk to them about. Their experiences of our programs, how they might have been transformed, how their perspectives might have changed and, and all of that. Then I get to do mini reports or memos and reflect that back to the people who run the programs. And it's just so [00:32:00] rewarding to share with them the impact that they've had that they might not have heard of. 'cause they don't have the time to talk to everyone . And also. Be an outside thought partner to share with them, okay, well this thing might not have worked and maybe you could think about doing something else. Miata Tan: Certainly sounds like really rewarding work. You're at a stage where you're able to really reflect back a lot of the learnings and, and, and work that's being developed within these programs.  Helen Ho: The first phase of this project was actually to more concretely conceptualize what safety is beyond just crime rates because there are many, Flaws with crime statistics. We know that they are under-reported. We know that they embed racial bias. But we also know that they don't capture all the harm that our communities experience, like non-criminal hate acts or other kinds of harm, like being evicted that cause insecurity, instability, feelings [00:33:00] of not being safe, but would not be counted as a crime. So, Um, this involved talking to our Coalition members, learning about our programs, and really getting to the heart of what they. Conceptualized as safety and why they created the programs that they did. And then based on that developed, a set of pilot evaluations for different programs that we did based on those, ideas of what our, you know, ideal outcomes are. We want students to feel safe at school, not only physically, but emotionally and psychologically. We want them to feel like they have a trusted adult to go to when something is wrong, whether. They're being bullied or maybe they're having a hard time at home or, um, you know, their family, uh, someone lost their job and they need extra support. And that all, none of that would be captured in crime rates, but are very important for our sense of safety. So then I did a whole bunch of evaluations where I interviewed folks, tried to collect [00:34:00] quantitative data as well. And that process. Was incredibly rewarding for me because I really admire people who, uh, develop and implement programs. They're doing the real work, you know, I'm not doing the real work. They're doing the real work of actually, supporting our community members. But what I get to do is reflect back their work to them. 'cause in the moment they're just so busy then, and, and many people when they're doing this work, they're like: Am I even doing, making an impact? Am I doing this well? And all they can think about is how can I, you know, what did I do wrong and how can I do better? And, and they don't necessarily think about all the good that they're doing 'cause they don't give themselves the time to appreciate their own work because they're always trying to do better for our communities. Miata Tan: The Coalition for Community Safety and Justice is cataloging their learnings online in what they call a Collective Knowledge Base. Janice describes the [00:35:00] Knowledge Base as the endpoint of a long process to better understand the Coalition's work. Helen Ho: The Coalition for Community Safety and Justice was doing something, was building something new in San Francisco, and the idea was that there may be other communities across the country who are trying to build something similar and contexts across country, across communities. They're all different, but there is something maybe we could share and learn from each other. And so with this Knowledge Base Catalog, the impetus was to recognize that we're not experts. we're just trying things, building things, and we, we make a lot of mistakes and we're just doing the best that we can, but we've learned something and we'll, we'll share it. and this. Kind of approach really reminded me of a recipe book where you develop a recipe after many, many, many times of testing and tweaking and [00:36:00] building, and there's a recipe that really works for you. And then you can share it. And if you explain, you know, the different steps and some of the. You know, ingredients that are helpful, the techniques and why you chose to do certain things. Someone else can look at that recipe and tweak it how they want. And make it suitable for your own community and context. and once I got onto that analogy it blossomed to something else because. Also the act of creating food, like cooking and feeding our communities is something so important , and yet sometimes it can be seen as not serious. And that's really similar to community Safety is a very serious issue. But then. There's some worries that when we talk about like restoration and healing that's not a serious enough reaction response to safety issues, but when in fact it is crucial and essential, you know, healing and [00:37:00] restoration are crucial for our communities as much as cooking and feeding our communities and both are serious, even if some people think that they're not serious.  Miata Tan: I hear you. I love that metaphor with cooking and the recipe book as well. For our listeners, could you explain where the Knowledge Base Catalog lives online and how people can access it? Helen Ho: Sure. You can go to our website@CCSjsf.org and there's a little tab that says Knowledge Base. And you can either access it through the PDF version where you can get all of the catalog entries in one file, or you can search our database and you can filter or search by different things that you're interested in. So there a lot of programs have, cross functions or cross, aspects to them that might be of interest to you. So for example, if you. We're interested in programs to cultivate trusted community figures so you can look at the different programs that we've done that in different contexts in housing, at schools, or in business [00:38:00] corridors, because when you cultivate those trusted figures, when something bad happens, people then know who to go to, and it's much easier to access resources. You can also, if you're interested in, in language programs, you know, how did we think about doing programming for immigrant communities in their native languages? You can look at our tags and look at all of the programs that are in language. So our Chinese language, restorative justice, or our Chinese language victim services. You can look at all the different ways that we've, done our programming in language and not just in terms of translating something that wasn't English into Chinese, but creating something from the Chinese cultural perspective that would be more resonant with our community members. Miata Tan: How are you reflecting back this work through your research and the Knowledge Base Catalog?  Helen Ho: Before each evaluation, I interviewed the implementers to understand, you know… what's your vision of success? If your [00:39:00] program was successful beyond as wildest dreams what do you think you would see? What do you think people would say about it? And based on those answers, I was able to create some questions and, and measures to then understand. What you know, what assessment would look like in terms of these interviews with, um, program participants or collaborators. And so then I was able to reflect back in these memos about, insights that program participants learned or feelings that they, that they had or for. Program collaborators, what they've seen in their partnerships with us and what they appreciate about our approach and our programming. And also avenues that we could improve our programs. Because we know that harm and violence, although we often talk about them in terms of singular incidents, it's actually a systemic issue. And systemic is a word that people throw around and we don't even know. Like it's so thrown around so much out. I, I don't even remember what it means anymore, but. But we know that there are [00:40:00] big societal issues that cause harm. There's poverty, there's unaddressed mental health and behavioral health issues. There is just a lot of stress that is around that makes us. More tense and flare up and also, or have tensions flare up into conflict which makes us feel unsafe. And so there are policies that we can put in place to create a more. Complete instead of a patchwork system of support and resources so that people can feel more secure economically physically, uh, health wise. And all of that contributes to a, strong lasting and holistic sense of safety.  Miata Tan: As Janice and Helen have both mentioned The Coalition was able to grow in part due to funding that was made during 2019 and 2020 when we were seeing more acts of hate and [00:41:00] violence against Asian Americans. California's Stop the Hate program was one of those investments. Helen explains more about how the work has continued to expand.   Helen Ho: Another reason why the Coalition has been able to evolve is the, government investment in these programs and holistic safety programming. So. The city of San Francisco has been really great through their grants in looking in funding, holistic programming for different racial and ethnic communities and the state. Also, through their Stop the Hate grant has been able to fund programming and also the research and evaluation work that allows us to learn and evolve. Improve and also. Take these learnings beyond when grant programs might end and programs might end, and so that we can hopefully hold onto this, these learnings and not have to start from scratch the next [00:42:00] time Miata Tan: Thank you for laying all that out, Helen. So it sounds like there's a lot of different stakeholders that are really helping to aid this work and move it forward. What have you seen, like what are folks saying have had an impact on their community in a, in a positive way?  Helen Ho: Yeah. There's so much that. The Coalition has done and, and many different impacts. But one program that I evaluated, it was community Youth Center, CYC's, School Outreach Program in which they have teams of adults regularly attending lunch periods or school release periods at several schools in the city. And the idea here is that. At lunchtime or at score release period, kids are free. They're like, we're done with class, we're just gonna be out there wild. And they're figuring how to navigating social relationships, how to be in the world, who they are. , That can come with a lot of conflict, [00:43:00] insecurity a lot of difficulties that then end up, if they escalate enough, could turn into harm. For example, it's middle school kids are playing basketball and so when someone loses a game, they might start a argument and what the school outreach team would do is they're there. They've already built relationships with the students. They can step in and say, Hey, what's going on? Let's talk about this. And they can prevent. Conflicts from escalating into physical harm and also create a teaching moment for students to learn how to resolve their conflicts, how to deal with their difficult emotions of losing and equipping them with tools in the future to then also navigate conflict and, and prevent harm. And so I was able to interview the school collaborators uh, administrators or deans to understand, you know, why did they call on CYC, why did they want to establish this partnership and let adults outside the school come into the [00:44:00] school? And they were just so appreciative of the expertise and experience of the team that they knew. That they could trust the team to develop warm, strong relationships with students of all races and, and identities. That there was not going to be a bias that these adults, the team would be approachable. And so this team brought in both the trust, not only social emotional skills and conflict navigation, but also the organization and responsibility of keeping students physically safe. Another program which is the development of in-language Chinese restorative justice programming and also restorative justice program for Asian American youth. And in interviewing the folks who went through these training programs, I myself learned, truly learned what restorative [00:45:00] justice is. Essentially restorative justice takes the approach that we should, not look to punishment for punishment's sake, but to look at accountability and to restore what has been harmed or lost through, you know, an act of harm in order to do that, we actually have to build community you know, restoring after harm has been done requires relationships and trust for it to be most effective. And so what was really transformative for me was listening to. Youth, high schoolers learn about restorative justice, a completely new idea because so much of their life has been punitive at the home. They do something wrong, they're punished at school, they do something wrong, they're punished. And it's just a default way of reacting to quote unquote wrong. But these youth learned. All of these different [00:46:00] skills for navigating conflict that truly transform the way that they relate to everyone in their life. youth were talking to me about, resolving conflicts with their parents. To believe that their parents could change too. So, you know, what does that have to do with criminal justice? Well, when we think about people who have harmed, a lot of times we're hesitant to go through a restorative route where we just want them to take accountability rather than being punished for punishment's sake for them to change their behavior. But one criticism or barrier to that is we think, oh, they can't change. But you know, if your middle-aged immigrant parent who you thought could never change, could change the sky's the limit in terms of who can change their behavior and be in a better relationship with you. Miata Tan: These workshops are so important in helping to really bring people together and also insight that change. Helen Ho: We also wanna look ahead to [00:47:00] deeper and longer term healing. And so what can we do to restore a sense of safety, a sense of community and especially, um, with a lot of heightened, uh, racial tensions, especially between Asian and black communities that you know, the media and other actors take advantage of our goal of the Coalition is to be able to deescalate those tensions and find ways for communities to see each other and work together and then realize that we can do more to help each other and prevent harm within and across our communities if we work together. For example, we're doing a transit safety audit with our community members, where we've invited our community members who are in for our organization, mainly Chinese, immigrants who don't speak English very well to come with us and ride. The bus lines that are most important to our community coming in and out of Chinatown [00:48:00] to assess what on this bus or this ride makes you feel safe or unsafe, and how can we change something to make you feel safe on the bus? it's so important because public transportation is a lifeline for our community, And so we completed those bus ride alongs and folks are writing in their notebooks and they shared so many. Amazing observations and recommendations that we're now compiling and writing a report to then recommend to, um, S-F-M-T-A, our transit agency the bus. Is one of the few places where a bunch of strangers are in close quarters, a bunch of strangers from many different walks of life. Many different communities are in close quarters, and we just have to learn how to exist with each other. And it could be a really great way for us to practice that skill if we could just do some public education on, how to ride the bus.    Miata Tan: I asked [00:49:00] Helen about how she hopes people will access and build on the learnings in CCS J's Collective Knowledge Base. Helen Ho: Each community will have its own needs and community dynamics And community resources. And so it's hard to say that there's a one size fits all approach, which is also why the recipe book approach is more fitting because everyone just needs to kind of take things, uh, and tweak it to their own contexts. I would just say that for taking it either statewide or nationwide, it's just that something needs to be done in a coordinated fashion that understands the. Importance of long-term solutions for safety and holistic solutions for safety. The understands that harm is done when people's needs are not met, and so we must refocus once we have responded to the crises in the moment of harm, that we [00:50:00] also look to long-term and long lasting community safety solutions. Miata Tan: So with this Knowledge Base, anyone can access it online. Who do you hope will take a peek inside? Helen Ho: Who do I hope would take a peek at the Knowledge Base? I would really love for other people who are at a crossroads just like we were in the early. Days who are scrambling, are building something new and are just in go, go, go mode to come look at some of what we've done so that they just don't have to reinvent the wheel. They could just take something, take one of our templates or. Take some of our topics workshop topics. Something where it just saves them a bunch of time that they don't have to figure it out and then they can move on to the next step of evolving their programs even more. Um, I think that's my greatest hope. I think another this might be too cynical, but I also feel like with [00:51:00] the political. Interest waning in Asian American community safety, that there's going to be a loss of resources. You know, hopefully we can get more resources to sustain these programs, but in reality, a lot of programs will not continue. And it is a tragedy because the people who have developed these programs and worked on them for years Have built so much knowledge and experience and when we just cut programs short, we lose it. We lose the people who have built not only the experience of running this program, but the relationships that they've built in our community that are so hard to replicate and build up again. So my hope is that in however many years when we get another influx of resources from when people care about Asian American community safety, again, that somewhere some will dust off this Knowledge Base. And again, not have [00:52:00] to start from scratch, but, start at a further point so that we can, again, evolve our approach and, and do better for our communities. Miata Tan: That's really beautiful. Hoping that people for the future can access it.  Helen Ho: Another thing about, people either from the future and also in this current moment when they're also asking what's being done. Because I think a part of feeling not safe is that no one's coming to help me and the cynicism of no one's doing anything about this. And and also.  a withdrawal from our community saying, oh, our Asian, the Asian American community, they're approaching it in the wrong way or not doing the right what, whatever it is that your criticism is. But my hope is that folks in our community, folks in the future, folks outside of our, you know, Asian American community, can come to this Knowledge Base and see what we're doing. [00:53:00] Realize that there are, there is a lot of work being put into creating long-term, equitable, holistic safety solutions that can heal individuals in our community, heal our communities at a as a whole, and heal our relationships between communities. And there's so much good being done and that. If more folks join in our collaborations or in our efforts to get more resources to sustain these programs, we can really continue doing great things.  Miata Tan: With this Knowledge Base catalog, is there a way you hope it will continue to evolve to help better inform, I guess someone who might be on the other side of the country or in a totally different place? Miles away from San Francisco. Helen Ho: I would love to be able to do more evaluations and documenting of our work. I mean, we're continually doing more and new stuff. , Even [00:54:00] in a period where we don't have as many resources, we're still doing a lot of work. For example. We are continuing our work to get SFPD to implement a language access policy that works for our communities. And we're doing more and more work on that. And to be able to document that and share that new work would be really exciting. Um, and any other of our new initiatives I will say, going back to the recipe book analogy or metaphor, I don't know if this is just me, but when I have a cookbook, it's great. It's like so long. There's so many recipes. I only use three of them and I use those three all of the time. so that's what I was also thinking about for the Knowledge Base where there's a lot of stuff in here. Hopefully you can find a few things that resonate with you that you can really carry with you into your practice. Miata Tan: Thank you so much for speaking with me today, Helen.  Helen Ho: Thank you for having me. ​[00:55:00]  Miata Tan: The music we played throughout today's [00:56:00] episode was by the incredible Mark Izu check out stick song from his 1992 album Circle of Fire. Such a beautiful track, Now, a big thank you to Janice Tay and Helen for joining me on today's show. You can learn more about the Coalition for Community Safety and Justice via their website. That's ccsjsf.org  Make sure to check out their fantastic Knowledge Base Catalog that Helen spoke to us about from examples of victim centered support programs to rapid response resources during instances of community harm. There's some really important information on there. And thank you to all of our listeners for tuning in. For show notes, check out our website. That's kpfa.org/program/APEX-express. APEX Express is a collective of activists that include [00:57:00] Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Miata Tan, Preeti Mangala Shekar and Swati Rayasam.  Tonight's show was produced by me, Miata Tan. Get some rest y'all .  ​  The post APEX Express – 1.22.26 – What Is Community Safety? appeared first on KPFA.

We're back with another Trope Talk and this time we're talking about the toxic bad boys (and girls) who shaped our childhoods and why we're still into it. Kdramas are rife with characters we want to fix, and we break them all down, from popular characters to some risky takes.Ready to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for "thinky, thirsty and over thirty" takes on Bangtan life. ★ Support this podcast on Patreon ★

Happy Tour Ticketing week! Millions of ARMY across the globe are preparing to do digital battle for a chance to see BTS in concert for the first time in years. Did you register for presale? Are you hydrated? Are you have BTS stress dreams? Join hosts as we discuss the fun and the fervor around this cultural reset. Plus, BTS has introduced the name of their new album (Arirang, out March 20th, 2026)...their fifth full length album and 14 songs that we're soon go to know like old friends. Get into it with us, the train has left the station and it's Choo Choo full steam ahead into BTS Year 2026. The Guardian: BTS named their new album Arirang. What is so striking about their choice?Billboard: BTS' NEXT ALBUM TITLE — AND ITS INSPIRATION — HAS BEEN REVEALEDAre your family and friends sick of you talking about K-drama? We get it...and have an answer. Check out our sister pod www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest members of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Want to find more great BTS content? Head over to Afternoona Army for more takes on Bangtan life and links to our social media.

Calls for Asians to be deported and threats of physical violence are among the latest social media comments aimed at people accused of stripping rockpools and breaching fishing rules. Lucy Xia reports.

In this episode, host Josh interviews Simon Hammer, VP of Product at Vimbly Group, about acquiring and managing e-commerce brands. Simone shares a case study from the cocktail shaker market, illustrating how focusing solely on quantitative metrics led to missed opportunities. He emphasizes the importance of qualitative customer feedback, brand storytelling, and product-market fit to build lasting brands and avoid competing only on price. The discussion highlights key lessons for e-commerce leaders: assess market potential, listen to customers, and continuously test and iterate to stay competitive.Chapters:Introduction to Simone Hammer and Background (00:00:00)Josh introduces Simone Hammer, his background, and experience in e-commerce and investment banking.Approach to Brand Acquisition and Quantitative Analysis (00:00:55)Discussion on traditional quantitative methods for acquiring brands and the limitations of focusing solely on numbers.Case Study: Cocktail Shaker Brand and Market Dynamics (00:01:38)Simone shares a case study about their cocktail shaker brand, market share, and the impact of COVID-19.Competitor Analysis and Information Memorandum (00:03:08)Simone describes obtaining a competitor's information memorandum and insights into their strategies and market position.Market Changes and Increased Competition (00:04:07)Discussion on rising freight costs, increased competition, and the challenges faced in the cocktail shaker market.Brand Building vs. KPI Focus (00:05:05)Comparison between their KPI-driven approach and the competitor's focus on brand building and storytelling.Consequences of Ignoring Qualitative Feedback (00:06:59)Simone explains the negative outcomes of neglecting qualitative customer feedback and the resulting price competition.Importance of Qualitative Customer Insights (00:07:53)Emphasis on the value of qualitative data, customer feedback, and brand building for long-term business success.Lessons Learned and Industry Trends (00:09:01)Reflection on industry trends, the necessity of qualitative insights, and the risk of competing solely on price.Host Reflection and Question on Customer Feedback (00:10:04)Josh reflects on his own business practices and asks Simone what customer feedback they missed.Specific Customer Preferences Missed (00:10:53)Simone details specific customer preferences, such as the shine of the shaker and the appeal of the stand.In-Person vs. Online Customer Insights (00:11:55)Insights gained from in-person customer interactions versus online feedback and the importance of customer development.Three Key Takeaways for E-commerce Success (00:13:43)Josh summarizes three actionable takeaways: market opportunity, listening to customers, and continuous testing.Closing Remarks and Future Follow-Up (00:16:48)Josh thanks Simone and mentions the possibility of future episodes to check on progress.Links and Mentions:Tools and Websites  Helium 10Key Takeaways  Identifying Market Opportunities: 00:13:43Listening to Customers: 00:14:47Testing and Iterating: 00:15:49Transcript:Josh 00:00:00  Today, I'm excited to introduce you to Simon Hammer. Simon is the VP of Product at Vimbly Group, a New York City based firm that scales and invests in tech enabled businesses where he has worked for over ten years. He currently runs Vimbly Group's e-commerce business unit, as well as having his hands involved in a number of Vimbly Group's eight other business units. Prior to the Vimbly Group, Simon was a healthcare investment banker at a boutique investment bank in New York City, where he focused on raising capital and mid-market mergers and acquisitions involving biotech, healthcare, technology and healthcare service companies. He has a bachelor's degree from Cornell University, and I met Simon at the Billion Dollar Seller Summit earlier this year. And Simon, I'm excited to welcome you to the podcast. Welcome.Simon 00:00:50  Thanks, Josh. Really appreciate that. Nice intro. Thanks for having me.Josh 00:00:55  As you look to acquire other brands, and I love that you kind of were an acquire or aggregator before the aggregator theme became pop became popular. So you're not on the the bandwagon there.Josh 00:01:08  You can be like, no, we were doing this long, a long time ago. You know, I think that that's really interesting, Simon. I think you've taken this approach that's actually a little bit different than I think the typical answer is, right, because I've listened to a bunch of other people that talk about acquiring businesses. And I'm looking at these specific numbers and, you know, I'm trying to draw conclusions and, you know, kind of look at 2020 and what happened during Covid and say, okay, this was an artificial bump and it's all very quantitative, right?Simon 00:01:38  All the quantitative stuff that you're talking about like looking historical, it's a given. Right. We always do that. We've always done it. And for the longest time, that's all we did. And, you know, one of our brands right now is going through a major shift in that it, for such a long time survived on three products. Basically, there's a whole, you know, there's more skews, but there's basically more Asians.Simon 00:02:02  But there's there's effectively three basins. One of those. basically a shell of itself now. And part of the reason why is because, you know, actually, if you'll divulge me for a second. So, pre-COVID and even through the first, you know, a couple years of Covid and depending on where you want to, you know, start and stop it, I guess. or, you know, where the beginning till now is, I guess. But first couple of years of it, it was doing incredibly well, right? It was something like anywhere between 25 and 35%, or it accounted for 25 to 35% of our gross margin. That gross margin, including everything from landed costs, three PL costs, FBA costs, advertising, marketing returns, all that stuff. Just not just not like overhead and, and software, things like that nature. But but gross profit. Right. And so it was a large part of our business. this one product and you know, during the beginning of Covid, I got my hands on a competitor, one of our biggest direct competitors.Simon 00:03:08  Their information memorandum, which is basically like their, this deck. it's like 50 pages of their business because they're trying to sell their business. Okay. And through like, you know, like, you know, my partner Sam, he has just a ton of connections in the entrepreneur space, a ton of connections with these brokers. And so we get a lot of deals right across a lot of different industries. and so we just happen to get our direct competitors information memorandum. Right. So this gave us everything about their business, right? We knew the numbers. We knew. we knew, who their suppliers were, right? What their strategy was, what their projections were like. You know, you name it, we knew it. And, I mean, we were like, we could look on helium ten and know that we were dominating. But then we saw the real numbers. We were, you know, we were dominant player in the market. and then all of a sudden, right, like during Covid, you start seeing freight costs go up.Simon 00:04:07  You start seeing, a lot of sellers into the space. The cocktail shaker space is kind of the space that we're playing in for one of our brands. and this is where the the set, you know, was established. and, you know, was this, you know, what's called roughly like 30% of the business. it had basically, started having rank weed, right? The ran...

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's Host Miko Lee speaks with authors who have used their personal lives to tell their stories. They both talk and write about trauma, joy and resilience but in two very different ways. First up she chats with Chanel Miller. Many folx might know of Chanel's best selling first book Know My Name which expands on the powerful victim impact letter she wrote to Brock Turner who brutally sexually assaulted her on the Stanford Campus. We talk about her latest work – two delightful books for young people. Then Miko talks with Kazu Haga who weaves his spiritual practice and trauma healing with a deep lineage of nonviolent social change.  In his books, Fierce Vulnerability and Healing Resistance he shares with us his personal journey and offers some insightful visions for our current tumultuous world.  Links to the Author's work: Kazu Haga  Fierce Vulnerability Kinship Lab,  Chanel Miller Chanel Miller The Moon Without Stars Purchase Chanel's books at East Wind Books and Kazu's books at Parallax Press  SHOW TRANSCRIPT APEX 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. Miko Lee: Good evening. Welcome to apex express. This is your host, Miko Lee. Join us as you hop along the apex express. Tonight I speak with authors who have used their personal lives to tell their stories. They both talk and write about trauma, joy, and resilience, but in two very different and distinct ways. First up, I chat with Chanel Miller. Many folks might know of Chanel's bestselling first book Know My Name, which expands on the powerful victim impact letter she wrote to Brock Turner, who brutally sexually assaulted her on the Stanford campus. But tonight we talk about her latest work, two delightful books for young people. And then I talk with Kazu Haga, who weaves his spiritual practice and trauma healing with a deep lineage of nonviolent social change. In his books Fierce vulnerability and Healing Resistance, he shares with us his personal journey and offers some insightful visions for our current tumultuous world. First off, listen to my conversation with Chanel Miller. Welcome, author Chanel Miller to Apex Express. Chanel Miller: Thank you so much for having me. It's a delight to be here with you. Miko Lee: I'm really excited to talk to you, and I wanna start with my first question, which I ask all of my guests, which is, who are your people and what legacy do you carry with you? Chanel Miller: Oh, I have so many people. Today, you're my people who continue to help guide me forward. I grew up in the Bay Area and I feel like honestly all of my books are attempts at saying thank you to the people who raised me, the English teachers in my public schools. For helping me stay aligned with myself and never letting me drift too far. And so even though I tell very different stories for different demographics, I think if you look at the root of everything that I write, it's gratitude because they are the people who protected my voice in the first place. Miko Lee: Thank you so much. So we're talking about your third book. Your first book was amazing. Know my name, which is really powerful memoir about surviving sexual assault at Stanford, and this incredible public reclamation of your voice. And then you move from that very personal, internal, very adult work to your second book, which was so lovely and sweet. Magnolia Woo unfolds it all, which was an illustrated book set New York about a little girl and her friend who reunite people with their lost socks. From this all the way to this young person's book and your latest book, the Moon Without Stars, your second, YA novel is based in middle school. So talk to me a little bit about this journey from personal memoir to elementary school to middle school books. Chanel Miller: Yeah, so like you said, the first book was so internal and gutting to write. I knew I needed. Something that would help me breathe a little easier and get in touch with playfulness again. I wrote Magnolia Woo Unfolds it all. It's perfect for kids ages seven to 12. My goal was just to enjoy the process of writing and story making. And it was confusing because I thought if I'm not, you know, during the memoir, I would be like crying while I was writing and it was just taking everything out of me. And I was like, if I'm not actively upset. Is the writing even good? Like, like, you know, does it count? And it turns out, yes, you can still create successful stories and have a good time. So I did that book for myself really. And the kid in me who always wanted to, who was always, writing stories unprompted. Like you said, it was a book about a sock detective and pursuing socks makes no sense. It's almost impossible to return a missing sock in New York City. But I loved the idea of these. This little girl in pursuit of something, even if she doesn't know what the outcome will be. Right. It's just trying even if you're not promised a reward, I love this. And for me it's like I keep attempting to love my reality, right? Attempting to go out into the world with an exploratory lens rather than a fearful one. And so that was very healing for me. After I finished that book, I spent the next year writing this new book, the Moon Without Stars. It's for slightly older kids, like you said in middle school. So my protagonist Luna, is 12 years old and she's biracial like me, goes to middle school in Northern California like I did in Palo Alto. I was just reflecting on my. Upbringing, I would say, and really sitting back and letting memories come to the surface. Trying to see how much, was just unexplored. And then sitting down to, to figure out what it all meant that I remembered all of these things. Miko Lee: So how much of Luna is inspired by Chanel? Chanel Miller: A fair amount, I'd say. And it's not always an intentional, I think fiction deals a lot with the subconscious and you end up writing about yourself on accent luna in the book. She is the campus book doctor, is what I call it. Because when kids are going through something, they'll come to her and she'll prescribe them a book that'll help them for whatever phase of life they're going through. And I know for me from a very young age, I loved reading, writing, and drawing. It's all that I ever wanted to do and I was so mad in school that we had six different subjects and you know, the Bay Area was very tech. Centered, STEM centered. And so I felt all this pressure even through high school to take AP Science classes. In retrospect, I thought, why was I trying so hard to be good at it? Everything. This is impossible. And so for Luna, I own her gifts early. And understand that they were gifts at all. The fact that she loves to read and then she shares her gifts and she takes pride in the things that she's passionate about. She's not ashamed that she's not so hot about math. Miko Lee: So the hating math part is a little Chanel inspired also. Chanel Miller: The hating math part is fully me. I'm sorry to say. Miko Lee: No worries. I think that stereotype about Asians and math is so highly overrated. I'm wondering if there was a Scott for you, a bestie that was also an outcast, if there was someone like that for you when you were growing up. Chanel Miller: Yeah, so in the book, Luna is best friends with Scott. They've been friends since childhood, and as Luna starts to get more attention, their relationship is threatened and it begins to dissolve. I was really interested in how, Luna obviously loves Scott as a friend and she would never. Mean to hurt him, right? It's not inflicting intentional emotional pain, but Scott gets very hurt. I think about how sometimes when we're growing up, we get drawn to certain crowds or paid a kind of attention and we have this longing to be desired to fit in. we sometimes make choices that we're not very proud of, but this is a part of it, right? And so I wanted Luna to reckon with maybe some of the emotional harm she's causing and not run away from it. But also think about like, why am I making these choices and what is important to me? We're all kind of constantly reevaluating our value systems, trying to keep our relationships alive, like this is, starts at a very young age and I wanted her to learn some of the self gifts that maybe I didn't give myself when I was that age. Miko Lee: So in a way, she's a little bit of a remedy for your young self or a gift to your young self. Do you think? Chanel Miller: Oh, that's a nice way of putting it. Yeah, I would definitely say so. I think all writing is, is remedy in some form, at least for me, but I like the, it being a gift to little Chanel. Miko Lee: It's been compared to the classic. Are you there god, it's me, Margaret? What is it like for you to hear that? Chanel Miller: It's an honor, obviously. I think what's most stunning is a lot of the themes that were contested in that book. You know, talking about bodily changes, menstruation like. A lot of that is still kind of hush hush, and I'm surprised by the things that haven't changed , or how our society hasn't completely evolved. I really wanted middle school so hard physically, emotionally, and. It can feel so humiliating that you're trying to solve a lot of your issues in private, and I wanted to take the shame out of it as quickly as possible and just say, this is a universal experience. Everyone goes through these things. It's totally okay to talk about it, even if books get banned. Find a way, find your people. Find a way to have these conversations. Miko Lee: For me, it's so much better than, are you there? God, it's me, Margaret, because it's set in a contemporary. There's a young biracial Asian American girl who's a outcast and really it's about belonging and getting your first period and all the things you have to go through in middle school. That seems really. Relatable for a young woman in our society. I appreciate that. Thank you so much. I read it really quick one night, easily read 'cause it's so lovely. I'm wondering about your process because you illustrated, your last book and then also the cover of this book. And on the cover it's sweet because it has all these cute little zines that she writes about are encapsulated on the cover of the book, which you only realize after you read it. I'm wondering for you as an artist, what comes first in the story, the image or the words? Chanel Miller: That's a great question. Yeah. I like to illustrate my books. Sometimes I'll think of a, something I do wanna draw and then think, how can I build a story around that, or like a visually rich scene. Then I come up with writing to allow myself to draw the thing. Other times I will just write, but I, I will say that when I'm writing, I never have a plot. I'm not an outliner. I am very much an explorer. I'm okay with not knowing for long periods of time where the book is gonna go, what it's about , and how it's gonna end. I don't know any of these things. And luckily I have a very gracious, agent and editor and my editor. I had two editors, Jill and Juan, and they let me just submit chunks of writing for six months. Scenes that didn't go together, that were completely out of order , to show them I'm attempting to build this world and this school full of kids, but I don't know how it's all gonna play out yet. And then after six months, we had enough material to, to begin to identify like who the primary characters were gonna be, what the essential conflict was gonna be. I'm saying this because I want people to know that you don't have to know much before you sit down to write. And the knowing comes with the practice of doing every day, and then slowly things start to reveal themselves. Miko Lee: Oh, I appreciate that. So you don't have a linear timeframe. You kind of just let things come to you. Sometimes they're in images, sometimes they're in words. Chanel Miller: Yes. And then your job is to capture them and be curious about them and then make more until you have enough. Then you can edit, but you edit too early, you're gonna , kill the spirit of the thing. Miko Lee: When do you know you have enough? Chanel Miller: When you fulfill the word count in your contract? No, no, I think it's, it's like you can. Sort of start to feel things click into place or a voice is emerging that's very strong. Even Scott know, Luna's best friend, I didn't have him at the very beginning, I don't think originally. Originally, I think Luna had a sister. It was gonna be a sister book, and then it became a friend. You're just open to it evolving, and then suddenly you're like, oh, I can, I can see this relationship. Can see them existing within the structure. It feels more real to you and at that point you can just go in and start revising Miko Lee: Did you create images for know my name? Chanel Miller: I actually tried to, at the very end, I made a bunch of drawings and I said, can we put these at the start of each chapter? And my editor, who's incredible, she said, you know, when I look at your drawings, they have a different voice than your writing voice. And I was like, that is true. Like, that's a great critique. So instead I went to New York, they were like about to send the book to print and I was like, okay, but I need like one drawing. They said, okay, if you can do it at lunch, like have it done by the end of lunch, we'll put it in the acknowledgement. So I dedicated the book to my family and. I sat at the desk and just did this little, these four little creatures that represented my immediate family and cut it outta my notebook. They scanned it in and sent it off to print with a book. So I did get, I did get it. Miko Lee: And how is the illustrator's voice different from the author's voice? Chanel Miller: The illustrator's voice can be very loose, whimsical, playful, whereas the writing, you know, was so measured and heavy and intentional, and so. I liked that edit, and I also, my editor was confident that I would have more opportunities in the future to write and draw, whereas I felt so vulnerable. It's my first book, it's my only chance to say or do anything, but that's not true. Now I understand like I have time to make all kinds of things. You don't have to shove it all into one project. Miko Lee: And are these, more youth-focused books? Do you feel like that's more a combination of your illustrator and your author voice? Chanel Miller: Totally. The medium like allows you to do both. It kind of asks for images also. Who knows, maybe, I still wanna write, contemporary fiction for adults and maybe I'll adults like visuals too. Absolutely. Miko Lee: Absolutely. Yeah. I'm wondering what you want young readers to walk away with after reading the, your latest book. Chanel Miller: Things smooth out in really unexpected ways. And that you can never truly mess up. Like I messed up so many times growing up or would get a really bad grade. I really would think like, this is the end. Like my future just disappeared. I just can't recover from this, and I always would, and I'm here now, like there, there are so many times I guess, that I thought my life was totally and completely over and, it was never the case. Sure, life could be sour for a bit, or you could be really stressed out, but it's not the end. Different things will change. People will be introduced to help you. Like you just keep showing up in whatever way you can. You won't be stuck in that place. It's been a nice thing to learn, as you get older. I just remember when I felt young, it felt so impossible sometimes, and I promise it's not, Miko Lee: I imagine that with Know my name. Many people came up with you, survivors came up and shared their stories with you, and I'm wondering if that was the same with your second book, if people came up and just told stories about, being a kid detective or what their, if it brought things up for them in a totally different realm. Chanel Miller: Oh yeah, absolutely. In the book, Magnolia's parents are Chinese and, , they're working at a laundromat and a customer comes in and there's, microaggressions happen and, I think with microaggressions you can always. Justify them in your head and say, it's not as bad as explicit violence or something, where it's not a truly a crime. And so you kind of push them to the side, push them to the side, but over time, like they do really stick with you and they're so hurtful and they accumulate and they're not okay to begin with. And I wanted my little character, Magnolia to. Just feel that anger that I often suppress and be like, it's not okay for people to talk to you like that. Like we are allowed to say something about it. It's dehumanizing and it's unacceptable. I wanted to give her the opportunity to confront that emotion and really express what, how it made her feel. Miko Lee: You're just starting your book tour right now. Is that right? For the Moon Without Stars. Chanel Miller: My book comes out January 13th. I'll go on a two week book tour. I'll have two stops in the Bay area. One at, book passage in Cord Madera. One in Los Altos at a church. It's sponsored by Linden Tree Books. We're just doing the event offsite, so if you're in the bay and wanna come say hello, please do that. Miko Lee: Yay. Excited to hear about that. I'm curious, I'm really curious what kind of stories people will tell you about their kind of middle school bully experience or their standing up to bullies and wanting to be in the popular crowd and what's that like? It's such a common middle school experience. Chanel Miller: I'm just really happy that people like have the opportunity to remember, 'cause it's not what we talk about every day. I just love that things are coming up for people and you're like, wow, I never would've thought about that or. I, I, that's why writing is so fun. You get to remember. Miko Lee: It's definitely not what we talk about every day, but definitely that middle school time really, helps shape who we are as adults. That's a really tough time because there's so many hormones going crazy in your body. So many changes that I think a lot of people have big feelings about middle school. Tell us what's next for you. Chanel Miller: I still love writing middle grade like this age is so sweet. It's so rich, emotionally rich. I would like to do something that's, you know, this one was more contemporary realism and I would love to do something that, not pure fantasy, but like breaks the rules of reality a little bit. Just really see where my imagination can go. A little magical realism perhaps. Yeah, absolutely. Miko Lee: I would just encourage you, I really love the Scott and Luna characters and seeing them patch their relationship up in high school as friends and how they can grow. Oh, I think would be a really sweet story also, and how they could explore maybe through magical realism. Some of the, book Doctors Zine World would be fun. Yeah. Yeah. I like those characters, is what I'm saying. I think there's more to come outta those characters and their friendship. Chanel Miller: Oh, that's really sweet. You don't wanna say goodbye to them yet. Miko Lee: Yeah, that's right. Well, it has been a delight chatting with you. Thank you so much for sharing your stories and your work and it's very powerful. Appreciate chatting with you. Chanel Miller: I really appreciate the platform you provide and how you're making room for these genuine conversations. So thank you so much. Jalena Keane-Lee: Next up, listen to blues scholars ode to Yuri Kochiyama. That was Blue Scholars, Ode to Yuri Kochiyama. Miko Lee: Yuri Koyama said, we are all part of one another, and that relates so well to my conversation with author, organizer and teacher Kazu Haga. Welcome, Kazu Haga to Apex Express. I'm so glad to have you with us. Kazu Haga: Yeah, thanks so much for having me. Miko Lee: I'm gonna start with a question that I ask all of my guests because I'm a curious person, and my question is, who are your people and what legacy do you carry with you? Kazu Haga: Oh, wow. Well, when you ask the second question, the immediate response is that I am Japanese. There's a lot of important legacies that come with that. Of course there's so much of my Japanese ancestry that I'm proud of and want to continue to deepen in and understand better. But I'm also aware that, you know, being Japanese, I come from colonizer people, right? And I'm so aware of the. Harm that my ancestors caused to so many people, whether dating back all the way to indigenous. I knew people in Japan, or a lot of the violence that my ancestors committed during the war to Zan Korean communities and Chinese communities and Filipino communities. I feel like in addition to all the beauty and the amazing things that I love about Japanese culture, that's a legacy that I carry with me and a lot of my work has to do with trying to understand what it means to carry that legacy and what it means to try to heal from that legacy and how I take that approach into my own personal life as well as into my activist work. Miko Lee: Thank you so much for recognizing that history and sharing a little bit about your path. I can see so much of how that turns up in your work. So I've had the pleasure of reading your two latest two books. I'm sure there'll be many more to come, I hope. Can you speak a little bit about what inspired you to create healing resistance? Kazu Haga: Yeah, so healing resistance is my interpretation of a set of teachings called kingian non-violence, and it's a philosophy that was based on the teachings of Dr. Martin Luther King. And I have the great privilege to have been mentored by a lot of elders who work very closely with Dr. King and were some of the most instrumental leaders in the civil Rights movement. I started my kind of activist career back in 1999 or something like that when I was 18, 19 years old. And for the longest time, the word non-violence didn't have a lot of meaning to me. But when I was 28 years old, I think I took this two-day workshop on this philosophy called King Non-Violence, and that two-day workshop just completely changed my life forever. I thought after 10 years of doing nothing but social justice movement building work, that I had some idea of what the word non-violence meant and some idea of who Dr. King was. But that two day workshop taught me that I knew nothing about what the word non-violence meant. Since I took that workshop, I feel like I've been on this never ending journey to better understand what it means to practice non-violence and incorporate that as a value into my life. And so healing resistance is, yeah, just my spin on the teachings of Dr. King told through the stories of my life experiences. Miko Lee: I really appreciated how you wove together your personal journey with your, understanding of movement building and how you incorporated that in. I'm wondering, I think it was in this book, but I read both of your books close to back to back, so I might be mixing them up, but I wonder if you could talk a little bit about the salt protestors that happened in India and the two years of training that it took them to be able to stand up and for our listeners, just like really back up and explain what that protest was about, and then the kind of training that it took to get there. Kazu Haga: It was actually more than two years. So, you know, everyone, or a lot of people know about the Salt March. It's the thing that I think a lot of people look to as the thing that really sparked the Indian Independence Movement, similar to the Montgomery Bus boycott in the US Civil Rights Movement. It's when a group of people marched across India all the way to the ocean. Engaged in an act of civil disobedience was, which was to go into the water and make their own salt. Salt is something that had been heavily controlled and taxed by the British Empire, and so the people who lived even on the coast of the ocean were not allowed to make their own salt. And so it was an act of civil disobedience to break a British colonial law saying that we are reclaiming this ancestral cottage industry for ourselves. And one of the reasons why it was so powerful and drew so many millions of people out into the street was because when Gandhi envisioned it. He didn't just put out an open call and said, anyone who wants to join the March can join. Ultimately, that's where they landed. But when the March started, he selected, I think it was about 76 of his followers, and he chose these 76 people and said, you all are gonna start the Salt March. And he chose those 76 people because they had lived in Astrom. And did spiritual practice and engaged in creative nonviolent direct action together for 16 years before they embarked on the salt march. So it was 16 years of kinda like dedicated residential spiritual training , and nonviolent direct action training that allowed these people to become the type of leaders that could draw out millions and millions of people into the street. And so it's one of the things that I really learned about the legacy of nonviolence is the importance of training and understanding that preparing ourselves spiritually to lead a movement that can transform nations is a lifetime of work. And to not underestimate the importance of that training and that rigor. Miko Lee: Thank you so much for correcting me. Not two but 16 years and a really a lifetime to, that's right. To develop the skills. I wonder if you've been following the Buddhist monks that are walking across the US right now. Kazu Haga: Yeah. And the dog, right? Miko Lee: Yeah. Whose dog and that dog. And I wonder what your thoughts are on that. Kazu Haga: I've really come to this place where I understand injustice and state violence, not as a political issue, but as a manifestation of our collective trauma. Like all the forms of state violence and injustice that we see, they happen because collectively as nation states and as communities and as a species, we have unresolved trauma that we haven't been able to heal from. And I think if we can see injustice less as a political issue and more as a manifestation of collective trauma, then perhaps we can build movements that have the sensitivity to understand that we can't just shut down injustice that when you're responding to a trauma response, what you need to do is to try to open things up. Things like spiritual practice and spiritual worldviews, like what, however that word spiritual lands on people. I think that there's a broad understanding of spirituality that doesn't have to include any sort of religious stigma. But when we ground ourselves in spiritual practice, when we ground ourselves in this larger reality that we belong to something so much larger than ourselves as individuals, then a lot more is possible and we're able to open things up and we're able to slow things down in response to the urgency of this moment, which I think is so necessary. When I look at these Buddhist monks spending however months it's gonna take for them to reach Washington dc the patience. The rigor and the slowness. How every step is a prayer for them. And so all of those steps, all of that effort is I think adding to something that has the possibility to open something up in a way that a one day protest cannot. So I'm really inspired by that work. Miko Lee: And it's amazing to see how many people are turning out to walk with them or to watch them. And then on the same hand, or the other hand, is seeing some folks that are protesting against them saying, that this is not the right religion, which is just. Kind of shocking to me. Grew up in a seminary environment. My dad was a professor of social ethics and we were really taught that Jesus is a son of God and Kuan is a daughter of God. And Muhammad, all these different people are sons and daughters of God and we're all under the same sky. So it seems strange that to me, that so many folks are using religion as a tool for. Pain and suffering and injustice and using it as a justification. Kazu Haga: Yeah. It's sad to hear people say that this is the wrong religion to try to create change in the world because I think it's that worldview that is at the heart of what is destroying this planet. Right. It's, it's not this way. It has to be that way and this binary right. Wrong way of thinking. Miko Lee: Yeah. Kazu Haga: But yeah. The first spiritual book I ever read when I was 16 years old was a book by Thích Nhất Hanh called Living Buddha, living Christ. Yes. And in that book he was saying that the teachings of the Buddha and the teachings of Jesus Christ, if you really look at the essence of it, is the same thing. Miko Lee: That's right. Yeah. This brings us to your book, fierce Vulnerability, healing from Trauma Emerging Through Collapse. And we are living in that time right now. We're living in a time of utter collapse where every day it seems like there's a new calamity. We are seeing our government try to take over Venezuela right now and put police forces into Minnesota. It's just crazy what's going on. I wonder if you can just talk a little bit about this book. Clearly it's the Times that has influenced your title and [00:34:00] in influenced you to write this book can be, share a little bit more about what you're aiming to do. Kazu Haga: Yeah, and you know, it's also Greenland and Cuba and Colombia and Panama, and it's also the climate crisis and it's also all of these other authoritarian regimes that are rising to power around the co, around the world. And it's also pandemics and the next pandemics. And we are living in a time of the poly crisis. A time that our recent ancestor, Joanna Macy calls the great turning or the great unraveling so we can get to the great turning where all of these systems are in a state of collapse and the things that we have come to, to be able to rely on are all unraveling. And I think if we are not grounded in. Again, I use this word spirituality very broadly speaking, but if we are not grounded in a sense that we are connected to something so much larger than ourselves as individuals, I think it's so easy to just collapse and get into this trauma response state in response to all of the crises that we are facing, and so fierce vulnerability. It's at the intersection of spiritual practice, trauma healing, and nonviolent action, and understanding that in response to all of these crises that we are facing, we need powerful forms of action. To harness the power necessary to create the transformations that we need to see. And at the same time, can we see even forms of nonviolent resistance as a form of, as a modality of collective trauma healing? And what are the practices that we need to be doing internally within our own movements to stay grounded enough to remember that we are interdependent with all people and with all life. What does it take for us to be so deeply grounded that even as we face a possible mass extinction event that we can remember to breathe and that we can remember that we are trying to create beauty, not just to destroy what we don't like, but we are trying to affirm life. What does that look like? And so if fierce vulnerability is an experiment, like we don't have all the answers, but if I could just put in a plug, we're about to launch this three month. Experiment called the Fierce Vulnerability Kinship Lab, where we'll be gathering across the world. Participants will be placed in small teams, that are regionally based, so you can meet with people in person, hopefully, and to really try to run a bunch of experiments of what is it gonna take to respond to state violence, to respond to these crises in a way that continues to affirm life and reminds us that we belong to each other. Miko Lee: That sounds amazingly powerful. Can you share how people can get involved in these labs? Kazu Haga: People can check it out on my website, kazu haga.com, and it'll link to the actual website, which is convene.community. It's K-I-N-V-E-N-E. It's a combination of the idea of kinship and community. It's gonna be a really cool program. We just announced it publicly and France Weller and Ma Muse and Kairo Jewel Lingo, and it's gonna be a lot of great teach. And we're trying to just give people, I know so many people are yearning for a way to respond to state violence in a way that feels deeply aligned with their most sacred beliefs and their value systems around interdependence, and peacemaking and reconciliation, but also recognizes that we need to harness power that we need to. Step out of the comfort of our meditation cushions and yoga centers and actually hit the streets. But to do so in a way that brings about healing. It's our way of creating some communities where we can experiment with that in supportive ways. Miko Lee: What is giving you hope these days? Kazu Haga: My daughter and the community that I live in. Like when I look up at the world, things are in a state of collapse. Like when I watch the news, there's a lot of things that are happening that can take away my hope. But I think if we stop looking up all the time and just start looking around, if I start looking around in, not at the vertical plane, but at the horizontal plane, what I see are so many. Amazing communities that are being birthed, land-based communities, mutual aid networks, communities, where people are living together in relationship and trying to recreate village like structures. There are so many incredible, like healing collaboratives. And even the ways that we have brought song culture and spirit back into social movement spaces more and more in the last 10, 15 years, there are so many things that are happening that are giving birth to new life sustaining systems. We're so used to thinking that because the crisis is so big, the response that we need is equally big. When we're looking for like big things, we're not seeing movements with millions of millions of people into the in, in the streets. We're not seeing a new nonprofit organizations with billions of dollars that have the capacity to transform the world because I think we keep looking for big in response to big. But I think if we look at a lot of wisdom traditions, particularly Eastern Traditions, Daoism and things like that, they'll tell us that. Perhaps the best way to respond to the bigness of the crises of our times is to stay small. And so if we look for small signs of new life, new systems, new ways of being in relationship to each other and to the earth, I think we see signs of that all over the place. You know, small spiritual communities that are starting up. And so I see so much of that in my life, and I'm really blessed to be surrounded by a lot of that. Miko Lee: I really appreciate how you walk the walk and talk, the talk in terms of teaching and living in a collective space and even how you live your life in terms of speaking engagements and things. Can you share a little bit about the gift economy that you practice and what's that about? Share with our audience what that even means. Kazu Haga: Yeah. I love this question. Thank you. So the gift economy to me is our attempts at building economic structures that learn from how natural ecosystems share and distribute its resources, right? It's an alternative model to the market system of economics where everything is transac. If you look out into nature, nothing is transactional. Right? All of the gifts that a mycelial network gives to the forest, that it's a part of the ecology that it's a part of. It's given freely, but it's also given freely because it knows that it is part of a deeply interdependent ecosystem where it will also receive everything it needs to be nourished. And so there's a lot that I can say about that. I actually working on, my next book will be on the Gift Economy. But one of the main manifestations of that is all of the work that I do, I try to offer as a gift. So I don't charge anything for the work that I do. The workshops that I organize, you know, the Convene three month program that I told you about, it's a three month long program with world renowned leaders and we are asking people to pay a $25 registration fee that'll support the platform that, that we're building, the program on. And. There's no kind of set fee for the teachers, myself, Francis Weller, mam, all these people. And people have an opportunity to give back to the ecosystem if they feel called and if they're able to try to sustain, to help sustain our work. But we really want to be able to offer this as a gift. And I think in the market economy, a three month virtual training with well-known teachers for $25 is unheard of. Of course $25 doesn't sustain me. It doesn't sustain all of the teachers that are gonna be part of this, but I have so much faith that if we give our work freely and have faith that we are doing the work that we're meant to be doing, that the universe will come together to sustain us. And so I am sustained with the generosity of a lot of [00:42:00] people, a lot of donors, a lot of people who come to my workshop and feel called to give, not out of a sense of obligation, but because they want to support me in my work. Miko Lee: Thank you for sharing and I was so impressed on your website where you break down your family's whole annual budget and everything that you spent funds on. Everybody talks about transparency, but nobody really does it. But you're actually doing it. And for reals, just showing something that's an antidote to the capitalist system to be able to say, okay, this is us. This is our family, this is how we travel, this is what we do, and. I found it really charming and impressive in our, it's hard to rebel against a system where everything has been built up so that we're supposed to act a certain way. So appreciate you. Absolutely. Yeah. Showing some alternatives and I didn't know that's gonna be your next book. So exciting. Kazu Haga: Yeah, I just started it. I'm really grateful that I have a partner that is okay with sharing all of our family's finances transparently. That helps because it is a big thing, you know? Yeah. But one of the things that I really learned. But the gift economy is that if there isn't information, if there isn't transparency about what the system's needs are, then it becomes dependent on every individual to figure out. How much they want to give to that system. And I think the gift economy is trying to break outta that the model of individualism and understand that we are interdependent and we live in this rich ecosystem of interdependence. And so if people's needs aren't transparent, then it's hard for people to figure out how they want to engage in that relationship. Miko Lee: Can you share a little bit more the example of Buddhist monks and how they have the basket and. Share that story a bit for our audience. Kazu Haga: Yeah. So historically, in a lot of, particularly south and southeastern, Asian countries, Buddhist monks, they go around, they walk their community every morning, begging, quote unquote for alms. They ask for donations, and the people in that village in that town will offer them bread or rice or whatever it is. That's kind of the food that, that monks and monastics eat. And so if a Buddhist monk is walking around with a bowl and you see that their bowl is already full, you have a sense, oh, this monastic might not need any more food, but the next monastic that comes along might. And so it's this transparent way of saying, oh, this person's needs are met, so let me hold on to the one piece of bread that I have that I can donate today and see if the next person will need it. And so in that way. If I share my finance transparently, you know, if my financial needs for the month or for the quarter are met, then maybe people who attend my workshops will feel like, oh, I don't have a lot of money to give. Maybe I don't need to give to support Kazu Haga, but maybe I can support, the facilitator for the next workshop that I attend. And so, in that way, I'm hoping that me being transparent about where my finances are will help people gauge how they want to be in relationship with me. Miko Lee: Thank you. I appreciate it. You talk a lot about in your work about ancestral technology or the wisdom, our ancestral wisdoms and how powerful that is. It made me think about the day after the election when Trump was elected. I happened to be in this gathering of progressive artists in the Bay Area and everybody was. Incredibly depressed. There was even, should we cancel that day or not? But we pulled together, it was at the Parkway Theater in Oakland and there was an aone leader and she talked about the eighth fire and how we are in the time of the eighth fire and you write about the fires in your book, and I'm wondering if you can talk about the seven fires and the prophecy belt. Kazu Haga: Yeah. So through a strange course of events, I had the incredible privilege early on in my life when I was in my early teens, 11, 12, 13, 14 years old, to spend every summer going to the Algonquin Reservation, Anishnabe Nation, way up in Northern Quebec, and spend my evenings sleeping in the basement of Chief William Commander, who was the holder of the seven Fire Prophecies Wampum Belt. This is a prophecy that told the story of the seventh fire that we are in the time of the seventh fire. And this is a moment in the history of our species where we can remember what it means to be human and to go backwards and to reclaim our spiritual path. If we are able to do that, then we can rebuild a new world, the eighth fire and build a world of lasting peace. But if we are unable to do that and continue down this material journey, that will lead to a world of destruction. And this is, prophecies like this one and similar indigenous prophecies that speak the same exact things are the things that were. Just surrounded, that I was surrounded by when I was younger, and I'm so grateful that even though I didn't really believe this kind of stuff when I was younger, it was like the, you know, crazy hippie newey stuff that my mom was into. I'm so grateful to have been surrounded by these teachings and hearing these teachings directly from the elders whose lives purpose. It was to share these teachings with us because when I look out at the world now, it really feels like we are in a choice point as a species. Like we can continue to walk down one journey, one path, and I could very easily see how it would lead to a world of destruction. But we have an opportunity to remember who we are and how we're meant to live in relationship with each other and to the earth. And I have a lot of faith that if we're able to do that, we can build such a beautiful future for our children. And so I think this is the moment that we're in. Miko Lee: Yeah. Thank you so much. Can you share a little bit about your mom? It seems like she was a rule breaker and she introduced you to so many things and you're appreciating it later as an adult, but at the time you're like, what is this? Kazu Haga: Yeah. You know, she was. She grew up in Japan. We were all born in Japan, but she spent a year overseas in the United States as ex as an exchange student in high school. And she always tells me when she went back to Japan, she was listening to the Beatles, and she shaved her legs and she was this like rebellious person in Japan. But yeah, my mom is never been a political activist in the same way that, that I've become. But she's always been deeply, deeply grounded in spiritual practice. Miko Lee: Mm-hmm. Kazu Haga: And for various reasons have always had deep relationships with indigenous elders in North America and Turtle Island. And so I'm always grateful. I feel like she sowed a lot of seeds that when I was young, I made fun of meditation and I was not into spiritual practice at all. 45 years into my life, I find myself doing all the same things that, that she was doing when I was young, and really seeing that as the foundation of the work that I do in the world today. Miko Lee: And have you, have you talked with her about this? Kazu Haga: Oh yeah. I live with her, so we regularly Oh, I Miko Lee: didn't realize Kazu Haga: that.Yeah, yeah, yeah. So she's read the book and Yeah. We have a lot of opportunities to, to yeah, just talk and, and reminisce and, and wonder at. How life has a tendency to always come back full circle. Miko Lee: Mm. The paths we lead and how they intertwine in some ways. Definitely. Mm, I love that. I let you know before we went on air is that I'm also interviewing the author Chanel Miller in this episode. You shared with me that you are familiar with her work. Can you talk about that? Kazu Haga: Yeah, so, you know, I talk quite a bit in both of my books about how one of the great privileges that I have is to do restorative justice and trauma healing work with incarcerated people, mostly through the prisons in California. And one of the programs that I've had the privilege to be a part of is with the Ahimsa Collective, where we work with a lot of men who have an experience with sexual violence specifically, both as survivors of sexual harm and as perpetrators oftentimes. And in that program we actually used the letter that she wrote and published as an example of the power of what it could mean to be a survivor speaking their truth. And we used to read this letter in the groups with incarcerated people. And I remember the first time I ever read it, I was the one that was reading it out loud. I broke down into tears reading that, that letter, and it was so powerful. And it's one of those written statements that I think has helped a lot of people, incarcerated people, and survivors, oftentimes, they're both the same people, really heal from the scars that they've experienced in life. So yeah, I have a really deep connection to specifically that statement and her work. Miko Lee: Yeah, it's really powerful. I'm wondering, given that how you use art as a tool to heal for yourself. Kazu Haga: You know, I always wished I was a better poet or a better painter or something like that, but I do really feel like there are certain deep truths that cannot be expressed in just regular linear language. It can only be spoken in song or in dance or in poetry. There's something mystical. There's something that, that is beyond the intellect capacity to understand that I think can be powerfully and beautifully expressed through art. I think art and spiritual practice and prayer and things like that are very like closely aligned. And so in that way I, I try to touch the sacred, I try to touch spirit. I try to touch mystery in the things that I can't quite articulate. Just through conversation and giving in a lecture or a PowerPoint presentation, to, yeah, to touch into something more, more important. Miko Lee: And is your spiritual practice built into your every day? Kazu Haga: To the extent possible. One of the traditions that I have really learned a lot from and love is the Plum Village tradition founded by Thich Nhat Hanh. And they're so good at really reminding us that when we wash our dishes, that can be a spiritual practice, right? I'm the father of a young child. And so it's hard to actually sit down and meditate and to find time for that. And so, how can I use. My moments with my daughter when I'm reading her a book as a spiritual practice, how can I, use the time that I'm picking up the toys that's thrown all around the house as spiritual practice. So in that way, I really try to incorporate that sort of awareness and that reminder that I belong to something larger and everything that we do. Miko Lee: After hearing Ty speak one time, I tried to practice the chewing your food 45 times. I could not do it. Like, how does he do Kazu Haga: that? Some food is easier than others. If you eat oatmeal, it's a little harder, but Miko Lee: like that is some kind of practice I cannot do. Kazu Haga: But, you know, I have, a meditation teacher that years ago taught me every time you get inside your car. The moment that you turn the keys and turn on the ignition in your car, just take that moment and see if you can notice the texture of the keys and see if you can really feel your muscles turning to turn the key. And it's in these little moments that if we bring that intention to it, we can really turn what is like a, you know, a mindless moment into something with deep, deep awareness. Hmm. Miko Lee: Thank you for that. That's an interesting one. I have not heard that one before. Kazu Haga: Nowadays I just like push a button so it's even more mind less. Miko Lee: That's right. There's just a button Now. Keys, there's not even the time anymore to do that. That's right. What is it that you'd love folks to walk away with from being familiar with your work? You, there's so many aspects. You have different books that are out, you lead workshops, you're speaking, you are everyday walking through the world, sharing different things. What is one thing you'd love people to understand? Kazu Haga: Between both of my books and all the work that I do, so much of the essence is to try to help us remember. We belong to each other. I think the fear of isolation, the fear that we do not belong, is one of the most common fears that every human being has. Right? At some point in our lives, we felt like we don't belong. And while that is such a real fear, it's also a delusion. Like in an interdependent world, there is nothing outside of belonging, right? And so we already belong. We are already whole, we are already part of the vastness of the cosmos. There is so much power in remembering that we are part of the infinite universe, and I think the delusion that we do not belong to each other is like is the seed that creates the us versus them worldview, and it's that us versus them worldview that is at the heart of what is destroying our planet. In our efforts to create social change, how can we do so in a way that reminds us that even the people that are causing harm is a deeply critical interwoven web of relationships. That we are all in this web of relationship, that there's nobody outside of that, and how can we go about trying to create change in a way that reminds us of that? Miko Lee: Thank you. And my last question is, I'm wondering if there's something that you're learning from your child these days. Kazu Haga: Yeah, the, just the, the pure presence, right? That each moment is so deeply, deeply real, and each moment is to be honored. Like I am amazed at, we were eating asparagus the other day, and she was eating a whole bowl of asparagus, and she desperately needed me to get her the one piece of asparagus that she wanted. She was so frustrated that I couldn't find the one asparagus that she wanted, and so she was crying and screaming and throwing asparagus across the room, and then the moment I was able to find the one asparagus that she wanted, everything is fine. Everything is beautiful. She's smiling, she's laughing, and so just to. Not that we should be like throwing things around if we're not getting exactly what we want, but how can we honor our emotions every moment in a way that in that moment there is nothing outside of that moment. That sort of presence, is something that I really try to embody and try to learn from her. Miko Lee: Thank you so much for sharing with me. I really appreciate reading your books and being in community with you and, we'll put links to your website so that people Awesome. Thank you. Can find out more. And also, I really appreciate that you're having your books published by a small Buddhist press as and encouraging people to buy from that. Kazu Haga: Yeah. Shout out to ax. Miko Lee: Yes, we will absolutely put those links in our show notes. And thank you so much for joining us on Apex Today. Kazu Haga: Thank you so much for having me. Miko Lee: Thank you so much for joining me on this evening conversation with two different authors, Chanel Miller and Kazu Haga, and my little pitch is just to keep reading. Reading is such a critical and important way we learn about the world. I was just reading this thing that said the average Americans read 12 to 13 books a year. And when I checked in with friends and family, they said that could not be true. That they think they know many people who don't read any books. And I am just encouraging you all to pick up a book, especially by an Asian American Pacific Islander author, hear our perspectives, hear our stories. This is how we expand and understand our knowledge around the world. Grow closer to the people in both our lives and people around the world. So yea to reading, yea to Chanel Miller and Kazu Haga. And check out a local bookstore near you. If you wanna find out more information, please check out our website, kpfa.org, black slash programs, apex Express, where I will link both of these authors and how you can purchase their books at your local independent bookstore. Thank you very much. Goodnight. Please check out our website, kpfa.org. To find out more about our show tonight. We think 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, Nina Phillips, Preeti Mangala Shekar and Swati Rayasam Tonight's show was produced by me, your host, Miko Lee. Thank you so much for joining us. The post APEX Express – 1.15.26 – Chat with Authors appeared first on KPFA.

2026 might be just beginning, but your Afternoona's are looking at endings. In particular endings that didn't quite land for us so we took a stab at rewriting them. See if you agree :)And warning: Lia almost WAS ended the morning she recorded. Seriously. Amy doesn't need to use the "Amy Button" to shut down the story, but fair warning it's pretty gross.Ready to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for "thinky, thirsty and over thirty" takes on Bangtan life. ★ Support this podcast on Patreon ★

Dr. Bryant Lin is a primary care physician, educator, and researcher at Stanford University. In 2018, he founded CARE – the Center for Asian Health Research and Education. In 2023, CARE began a focused research effort investigating lung cancer in non-smoking Asians. In 2024, Dr. Lin was diagnosed with Stage 4 lung cancer, having never smoked in his life. After his diagnosis, Dr. Lin sprung into action. He began receiving care from Dr. Heather Wakelee – a Stanford oncologist specializing in lung cancer. Dr Wakelee is the Deputy Director of the Stanford Cancer Institute, the Division Chief of Medical Oncology, and a leader in the International Association for the Study of Lung Cancer. In this episode, we are privileged to be joined by both Dr. Lin and his oncologist, Dr. Wakelee.Over the course of our conversation, Dr. Lin describes the experience of receiving and living with a diagnosis that has been life changing for both him and his family. He details his remarkable efforts to leverage his diagnosis for the good of patients and rising medical professionals  — and explains how spiritual practices have helped sustain him through this difficult time. Dr. Wakelee shares her approach to first visits with patients facing daunting cancer diagnoses, how she approaches grief, and the unique privilege and challenge of treating a colleague. Together, the doctor and his physician explore the value of hope in cancer, the dangers of false hope, and the importance of maximizing meaning in life — however much time is left. In this episode, you'll hear about: 2:50 - Dr. Lin's experience of being diagnosed with stage 4 lung cancer despite having never smoked14:20 - Dr. Wakelee's approach to first visits with newly diagnosed lung cancer patients25:35 - Dr. Lin's experience of shifting from the mindset of “doctor” to the mindset of “patient” 30:30 - How a doctor's messaging can affect the patient's outlook on their diagnosis43:00 - The common themes prevalent across religions and spiritual orientations that support patients in the navigation of serious illness50:24 - Advice to doctors for finding deeper meaning in medicineListen to Dr. Lin's first appearance on The Doctor's Art. If you enjoyed this episode, please subscribe, rate, and review our show, available for free on Spotify, Apple Podcasts, or wherever you get your podcasts. If you know of a doctor, patient, or anyone working in health care who would love to explore meaning in medicine with us on the show, feel free to leave a suggestion in the comments or send an email to info@thedoctorsart.com.Copyright The Doctor's Art Podcast 2026

Episode 401: At the start of the twentieth century, Vancouver, B.C., was a fast-growing Pacific port. Most residents were white settlers of British or European descent, but Chinese and Japanese communities were already well established and growing. They lived, worked, and built businesses in neighbourhoods like Chinatown and Powell Street, playing a central role in the city's economy while being denied political rights and social acceptance. By 1907, economic anxiety and racial resentment had hardened into open hostility. Asian workers were blamed for falling wages and job insecurity, a message repeated by newspapers, politicians, and organized exclusionary groups. The riots that followed on September 7 were not sudden outbursts, but the result of years of public rhetoric that treated entire communities as threats. This episode examines how those ideas gave rise to violence on Vancouver's streets. Sources:The 1907 Racist Riots – Union Zindabad!The Asiatic Exclusion League Riot, 1907 — Published by BC Labour Heritage CentreThe Vancouver Anti-Asian RiotsCauses of the 1907 anti-Asian riots :The Lessons of the Anti-Asiatic Riot"Images" and "Issues" : the portrayal of Asians in the Vancouver Daily Province and the Vancouver Daily World, 1907 to 1908Anti-Asian Riots of 1907 - British Columbia - An Untold HistoryMayor Ken SimDavid LamChinese Immigration ActChinese Head Tax in Canada1907 Vancouver anti-Asian riotsAsian Labour History in British ColumbiaA White Man's Province by Patricia Roy | Internet ArchiveW.L. Mackenzie King's 1907 Report on Japanese Losses in Vancouver RiotsW.L. Mackenzie King's 1907 Report on Chinese Losses in Vancouver RiotsThe History of Canada Series: Trouble on Main Street: Mackenzie King Reason Race And The 1907 Vancouver Riots Learn more about your ad choices. Visit megaphone.fm/adchoices

No matter what happens next, remember that I tried to spare you this indignity. So, zip up your jacket, put that vape away and stop commenting on the Asians in the ad. It's INDUSTRY 2.0.As ‘Industry' returns for its fourth season, Bankole and Eyo are back to witness its increasing audacity. They discuss the continually growing ambitions of the show, the new storylines we're thrown into and of course, what our favourite ex-Pierpoint employees are up to. You can support us here.Also available on YouTube.Host: Bankole Imoukhuede Guests: Eyo NdemProduction by: Bankole Imoukhuede

Send us a text- On-Demand Programme Link - https://mailchi.mp/bb2a7b851246/kairos-centreWhat is 'Manly'? A conversation with Damian Andrews of SHAIR.Care Podcast (Australia) in 2023.Sex Addiction is handled very differently between the cultures. Shame plays out differently between cultures. 'Shame' in Asian culture, is very different to 'Shame' in Western European culture.An interesting article by Sam Louie, discusses Asian 'Shame' and 'Honour' as a cultural conundrum:"...Honoring his Korean heritage while also trying to honor his sense of autonomy growing up.  He saw getting help as bringing dishonor to his family and not an act of empowerment...Seeking help for addictions...is seen as a major umbrage to the Asian individual, family, and extended Asian community.....when it comes to addictions, there is scant attention given to Asians. Part of the limited attention lies in the age-old Asian custom of secrecy, silence, and shame. From an Asian addict's perspective, it's the ultimate blow of humiliation to be seen as weak since having an addiction goes against Asian social norms......The mere acknowledgement of an Asian person having a problem is going against cultural norms because it sends the implicit message to others that you have let them down....internal shame in Korea comes when a person has not lived up to the community's rules and expectations. This internal shame is very prevalent among Asians and Koreans. It functions to build group harmony and unity.”In addition, Asian shame is intricately tied to the fear of rejection and loss of both familial and cultural community support...is more profoundly associated with the fear that one's inadequacies will result in the loss of union with or expulsion from the group”. “Chinese parents readily discuss and disclose children's transgressions in front of strangers to induce shame and to socialize children to behave properly…given the greater valuation of shame in collectivist cultures compared to individualistic ones, it should not be surprising that in many East Asian and other collectivist contexts shame plays a more salient role in everyday life.”...in shame-based cultures, public humiliation, scorn, or censure are relied upon more heavily to keep individuals in obedience whereas the western notion of guilt and corrective behaviors comes from an individual's development of an internal conscience."Remember, 'Shame' means hide/hidden - don't get caught or be found out.Get some help from The Kairos Centre. See what you cannot see. Begin to change that which you begin to better understand.Help someone: https://igg.me/at/ThekairosCentreHelp is here for you: bit.ly/pornaddictionhelpGary McFarlane (BA, LLM, Dip, Certs), Accredited EMDR Practitioner.Key words: sex addiction, addicted, partner, porn addiction, recovery, sex drive, therapy, sex therapy, podcast, relationships, relationship counseling, relationship advice, addiction, couples, couples therapy, sex therapy, emdr, love addiction, behavior, psychology, codependency, sex life, neuroscience, sex ed, sober, sobriety, sexual dysfunction, relationship issues, sex coach, sexual, trauma, ptsd, sex science, The sex porn love Addiction Podcast, The Singles Partners Marrieds and Long Time Marrieds Podcast, Gary McFarlane, porn addiction, what neuroscience says, neuroscience, young adults, sex, sex addict, porn, Support the show

Think about the histories of your family or memories from your past. What if you recounted them with a dash of magic? What happens when we infuse our stories on film with some magical realism? Tonight's edition of APEX Express features three filmmakers who created magical realism short films centering AAPI women. Listen to directors Cami Kwan, Dorothy Xiao, and Rachel Leyco discuss their films and experiences behind the scenes with host Isabel Li. Cami Kwan: Website | Instagram | Seed & Spark Dorothy Xiao: Website | Instagram  Rachel Leyco: Website | Instagram   Transcript 00:01 [INTRO] Isabel: You're tuned into Apex Express on KPFA. Tonight's edition is all about stories. Think about the histories of your family or memories from your past. Now, what if you recounted them with a dash of magic? What happens when we infuse our stories on film with some magical realism? I'm your host, Isabel Li, and today we have three very special guests, Cami Kwan, Dorothy Chow, and Rachel Leyco. All of them are AAPI filmmakers who received the Julia S. Gouw Short Film Challenge grant from the Coalition of Asian Pacifics and Entertainment and have created short films featuring AAPI stories with magical realism. My first guest of the night is Cami Kwan, a Chinese-American director specializing in stop-motion animation who directed the short film Paper Daughter.  Hi Cami, welcome to APEX Express!  Cami: Hello, thank you so much for having me. Isabel: How do you identify and what communities do you consider yourself a part of?  Cami: So I identify as a queer Asian American woman um and I am a descendant of immigrants, of Chinese immigrants. um Then the communities that I am part of, part of the queer community, part of the Los Angeles community, part of the Chinese American and Asian American community, part of the mixed race community and part of the stop-motion animation and independent artist community.  Isabel: I'm so excited to talk to you about your upcoming short film, Paper Daughter, a gothic stop-motion animated Chinese-American fairy tale about a young woman grappling with the guilt of using the identity of a deceased girl to immigrate to the US via Angel Island in 1926, which is such a fascinating concept. Can you tell our listeners a little bit about how you came up with this story and the historical specificity behind it?  Cami: Absolutely, yeah. So like I mentioned, I'm the child of immigrants, descendants of immigrants rather. So my great grandparents immigrated to the US from China. My great grandfather came over in 1916 and my great grandma came over in 1926. And so I've always grown up knowing the story of Angel Island and knowing the story about the paper sons and paper daughters who had to find any way into the United States that they could. And so they were forced to, you know, take on the identities of other people. And those stories have always stuck with me, you know, like it's very personal. Angel Island means a lot to me and my family. And just the extreme measures that people have always had to take just for the chance at a better life have always been really meaningful to learn about. just the like, I'll use romances in like the art movement, like romantic. It's very romantic and kind of fairy tale-ish, the idea of having to take on a new identity and pretend to be somebody that you're not. And often those identities would be people who had passed away, and then those families had then sold those identities or given those identities to new people. And so it's so interesting the idea of being like the last person to know somebody so deeply, but you'll never get to meet them and you'll never be able to thank them or repay what they sacrificed for your future. And that's kind of how I feel as a descendant of immigrants. The sacrifice that my family made for me was made so long ago that there's no way for me to ever pay it back. And I didn't really get a say in whether I received that sacrifice or not. And I think a lot of descendants of immigrants kind of have to struggle with this. What does it mean for us to be given this new chance at the cost of somebody who came before us? And so that's all of that kind of rolled up into this 14-minute film. Isabel: You describe your film as being in a gothic style? Can you describe what this looks like and why gothic?  Cami: The subject matter is just so naturally gothic. It's dealing a lot with death and a lot with guilt and those big capital R romantic subjects and stuff. My day job, my day-to-day job is working in stop-motion animation directing mostly like children's series and mostly toy related stuff. And so I spent so much of my time in the happy brighter like birthday party storyline kind of like space. But what really made me want to be a filmmaker in the first place were all these like heavier themes, these bigger themes, films by Guillermo del Toro and like Tim Burton and Henry Selig and Hayao Miyazaki and all of those kind of have this like gothic edge to them. And so that's like a story that I've been a type of story I've been wanting to tell for about a decade now.  Isabel: Stylistically, how does this show up in your film? So I imagine darker colors or do you have a visual like preview for us?  Cami: it is a little bit in the darker color space, but it's still very colorful despite all that. It's moody more so than dark, I would say. um We have a lot of like light and dark themes, a lot of like shadow. stuff and um a lot of magical realism, which is where that fairy tale aspect kind of comes in, because you're dealing with things that are so abstract, like guilt and sacrifice and wearing the identity of somebody else, that there's no literal way to convey that. Well, there are literal ways to convey that, but none of those literal ways I feel fully convey the emotional weight of everything. And so we've gone in this very magical realism space where people are tearing information out of these booklets that contain information about the person they're supposed to be and creating these paper masks out of them. And so yeah, there's this whole like magical aspect that tends to be kind of darker. There's imagery of just like being consumed by the identity that you're just supposed to temporarily wear. And there's a lot of like, yeah, there's a lot of darkness in those themes, I think.  Isabel: Wow, that's so interesting. I'd love to learn more about stop motion. What does stop motion make possible that isn't as easily accomplished through other forms of filmmaking? Cami: Yeah, I think the reason why I'm drawn to stop motion, what I stop motion makes possible is like a universality of just like a human experience because with other kinds of animation and other kinds of filmmaking, like there is kind of like an opacity to like how it's made. There's this this veneer, this magic to it, and there's that magic to stop motion too. But the difference between all of those and stop motion is made out of like everyday materials. It's made out of fabric. using paper. We're using clay. We're using materials that people have encountered in their day-to-day lives. And like, that's the one thing that we are all guaranteed to have in common is that we live in a material world and we encounter these textures and materials around us. so by like taking such a specific story and trying to convey such universal themes, it really like behooves us to be using like um a medium that is as universal as stop motion is. So I think that's like the big thing that stop motion unlocks for us. Plus also story-wise, like it's very paper centered, paper daughter, they're tearing paper strips, they're making paper masks. So like physically using these paper textures adds a lot to our world. um And I think working in stop motion gives you a degree of control that live action doesn't give you because we're creating. all of our characters, all of our sets by hand, which gives us so much of a say over what they look like and what they convey based on how they're constructed and stuff. And that's just a degree of communication that nothing else brings.  Isabel: I love that this is a magical realism film and you mentioned Guillermo del Toro. I know that in your campaign trailer, you featured Pan's Labyrinth, which is my all-time favorite movie.  Cami: Me too! Isabel: Yeah! How exactly did you come up with this specific blend of history and fantasy for your film?  Cami: I think that it's almost a natural human instinct to kind of have history and fantasy. Like, that's all that histories are, just stories told to us. And it's just being less literal about it and really leaning into the metaphors that we might use to convey the emotional realities of those histories, right? And so I feel like Del Toro does that a lot with his work. And Miyazaki as well does a lot of that with his work. So much of it deals with unpacking like World War II and things like that. And that's something that I've always just personally been drawn to. Even as a kid, my dream jobs were archaeologist or animator. And so here I kind of get to like do a little bit of both of those, know, like using the magic of animation to make history feel a lot more present and tangible and like emotionally relevant, which is It's really quite poetic to be able to be telling this story right now because it's going to mark the 100 year anniversary of my great grandmother's immigration to the US. I think we are due for an examination of immigration in our country. And I'm very interested to see how people respond to the questions that this raises of how different is the immigrant experience 100 years later. Have we gotten better? Have we gotten worse? Like I would posit it's perhaps worse now than it was then, but I'm really hoping to like, yeah, bring that reality into a more approachable space. And I feel like having that blend of magic and history just makes it a little bit more approachable than telling it in a literal way, you know? Isabel: Those are some great questions to ask. And on that same note, I'm interested in the specificity of Angel Island as well. What types of research did you do to produce your film?  Cami: Oh, gosh, I read every book I could find about it. have… How many books were those? Oh, my gosh, I want to say, like, not as many as I want there to be, you know? Like, Angel Island is not as well covered in history as places like Ellis Island, and there's a lot. to unpack as to why that may be, especially like the racial aspect of it. But I probably read about a dozen different books to prepare for this film. One of the most concrete and useful books that I read is a book called Island, and it's a collection of the poems that are carved into the walls of the men's barracks that remain on Angel Island. And those poems are a huge part, perhaps, the reason why Angel Island has even been preserved as a historical landmark. And so um the three authors went to great pains to replicate these poems, translate them into English, and provide a lot of historical context for the different topics of the poems. And there's a lot of like first-hand testimony from people who immigrated through Angel Island that they interviewed and included in this book. And so I do think that that book, Island, is like the primary source of most of my research for it. Everything else is more like quantitative history and quantitative data. Oh, also The Chinese in America by, I believe it's Iris Chang, that it's not just about Angel Island, but I read that and that gave me a much better understanding about like the place that Chinese immigrants have in American history. Because when I was a kid, like I really only ever learned about great grandma came over through Angel Island and now we're American and we live in America. But our history, as far as I was ever taught, begins and ends with us entering the United States. And so reading um the Chinese in America gave me a much broader understanding about, like, why did we leave China in the first place? And like, what has it meant for us to be in America as Chinese people since then? Yeah, all that came out of like in 2020 and 2021 when the rise of anti-Asian hate crimes were kind of coming about. I personally had to have a huge reckoning with like my racial identity and like how that has impacted like my experience growing up as a mixed-race person who's pretty perceivably Asian and all that stuff. So it was a really whole circle broad situation. Oh, I want to do a quick shout out to the Angel Island Immigration Station Foundation. They were very generous with their time and they answered a lot of my questions and sent me a lot of archival images from Angel Island. So I want to thank them so much for their help in the research process of this.  Isabel: Oh, wow. How fascinating. Did you have any expectations on how the production process was going to go? And now that you're on the other side of it, what are your reflections?  Cami: I had no expectations as to whether we were going to get outside funding or not. Like I, I'm not an experienced or adept grant applicant. Like, it was really just because this was the right kind of project to fit with those kinds of grants. So I had no expectations there. So I am beyond thrilled to have received the support from Cape and Janet Yang and Julia S. Gouw and Shorescripts that we've received, like beyond thrilled for that. So that exceeded all of my expectations. um But as far as how the actual production has gone, the fabrication and the animation and the post-production, that's all stuff that I'm extremely familiar with. Again, that is my day-to-day life, that is my job, that is like what I have done for the last eight years at my studio, Apartment D.  So that all went pretty much as I hoped and expected that it would, but here on the other side, the one thing that has surprised me about it was how much love all of the artists put in this project because like we've said so much in this conversation, there's so much specificity to this. This is about my great grandma. This is about my family and my feelings about being a descendant of immigrants. It's so specific that I wasn't sure how emotionally it would resonate with anybody else that wasn't me or wasn't part of the AAPI community, you know?  But every single person — doesn't really even matter if they were Asian, doesn't really even matter if they have a specific connection to immigration — every artist that I asked to join me on this project, I immediately understood what it meant and understood what we were trying to say. And they put so much love into it. And like, we all put a lot of love into everything we do. It's stop motion. It's like, you don't do this unless you love it, you know, because you certainly are not doing it for the money or anything. um everyone was just so…I'm gonna say careful, but I don't mean careful like cautious. I mean careful like full of care. And I did not expect that and I am so grateful for it. Yeah, looking back, it's just so precious and so tender and like I'm so fortunate to have had the crew with me that I had to make this film.  Isabel: That's so lovely. What are you most excited about upon completing your film?  Cami: I'm just excited to share it with the world. I'm so proud of it. It is truly, and I'm not just saying this because it's my baby, but it is very beautiful and it is very special. For a lot of us, one of the first times that we've been able to be in charge of our own departments or to make the decisions that we wanna make and tell things, do things, show things the way that we think they should be done. And so it's kind of significant for many of us to have this film come out and to be received. What I want people to take away from it is an appreciation and a gratitude for everything that has had to happen for us to be where we are now. And I also really want people to take away the unconditional love that has occurred for us to be in the country that we have and to be the people that we are. Every single person is where they are. doesn't matter if you're in America or anywhere else, like we are all here because of the sacrifices that were made by the people who came before us. And those were all made out of unconditional love. And that's like, I want people to come away from this film remembering that our country is built on the unconditional love and sacrifice from people who came before us. And then wanting to give that unconditional love and sacrifice to everybody who's gonna come after us. Isabel: Such an amazing message. And I know that there's still lots to do and you still have a lot to celebrate with your upcoming film and with the festival circuit with Paper Daughter. But looking ahead, do you have any plans of what you want to do after the short film?  Cami: Yeah, I would love to bring it into a feature. There was so much that we had to cut out to make this film. On one hand, I'm glad that we cut out what we did because I think the film as it is, is like so tight and so like airtight and good and perfect and sparse in a really nice way, but we don't even get to delve into life before Angel Island. It begins and ends on the island, and I would love to explore the stories that brought this all about and the stories that come after. So bringing this up into a feature version and getting that in front of people would be amazing. And I have a couple other short film and feature film and script ideas that I would like to start working on as well. I've kind of really, I'm really grooving on the like Asian early Chinese American history. um So most of them are going to be set in California and focus on like Chinese immigrants and their role in the founding of America. um I'm really excited for the like, after all the film festivals, I really want this film to end up in classrooms. And I even just the other day like I have a friend who's a third and fourth grade teacher and she showed it to her class and then the students asked me questions about Angel Island and about animation. if this can play any part in helping to spread the story of Angel Island and the people that immigrated through there, like that's all that I could ever want from this. So I'm really excited for that.  Isabel: That's wonderful. I'll put your website, social media and seed and spark page for Paper Daughter up on kpfa.org so our listeners can learn more about this stop motion film and get updates for how they can watch it. I can't wait to see it when it comes out. And Cami, thank you so much for joining me on Apex Express today.  Cami: Of course, thank you so much for having me. It was a great, great time talking with you.  Isabel: You just heard Cami Kwan talk about her film Paper Daughter. On Apex Express tonight, we have two more special guests who made magical realism short films. Next up is Dorothy Xiao, who made the film Only in This World. She's a Los Angeles-based award-winning filmmaker who likes to create grounded family dramas with a hint of fantasy.  Hi, Dorothy. Welcome to APEX Express.  Dorothy: Hi. Thanks for having me!  Isabel: Of course! Thank you for coming here. My first question for you is actually quite broad. How do you identify and what communities are you a part of?  Dorothy: Oh, that is a good question. I think in a broader sense. I would say, obviously, I identify as an Asian American. um But I think, like, for me, because I grew up in the 626 or the San Gabriel Valley, I grew up with a lot of people who looked like me. So I think I didn't truly identify as being Asian or had awareness of my identity until later on when I went to college. And then I took Asian American Studies classes and I was like, oh, wow, I'm Asian. Or like, what does it mean to be Asian? You know, like, I think I, at that time, prior to recognizing and understanding what it meant, and also even to be a minority, because at that, like I said, growing up in 626, even going to UCLA, where I'm surrounded by a lot of Asians, I never really felt like a minority. But I think it was really after graduating where I, depending on the spaces that I would enter into, especially in the film industry, I was learning like, oh, yeah, I am a minority and this is what it feels like. And prior to that, I think I just identified as being a daughter of immigrants. And that still is very strongly the case just because I grew up listening to so many stories that my parents would tell me, like coming from China, growing up like they grew up in China during a completely different time. I can't even imagine what it would be like living in the way that they did, you know, during the Cultural Revolution, under communism, in an intense way where they were starving, all this political stuff. But yeah, a second gen or for a lot of people, first generation, daughter of immigrants, of parents who decided that they wanted to make a better life for their kids out here in the States. I think that I want to stand by me saying that I don't feel like I am, I don't really want to identify as only just single categories all the time, just because within each community, could be, you could have nuances, right? Because I am a woman, but I'm also like a woman who doesn't want children, you know, and there was just so many different things of how I identify. So hard for me to categorize myself like that. But they are, there are tidbits of different communities. Like I still identify, identify as Asian American. I identify as a daughter of immigrants. I identify as a female filmmaker and yeah. And a business owner, I guess. Yeah.  Isabel: Right. Yes. Thank you for that nuanced answer. You know, it's so fascinating because I was reading about your work and you have worked in animal research administration and an afterschool program and even web development for nonprofits. How did you get into writing and directing?  Dorothy: Yeah. So after graduating college, I was definitely in a place where many, I'm sure, fresh grads understand what we call the quarter life crisis, where we don't know what we wanna do with our lives. And I was working at UCLA because that was the only job that I could get out of college for an animal research administration office. And really, I worked for them as a student. So I was like, well, it makes sense to have that be my full-time job, because you're in a place where you don't have skills. So how do you get a job if you don't have skills? That weird silly catch-22 situation. So I studied psychology in undergrad because my goal was to become a therapist. I wanted to work with Asian and Asian immigrant communities to help them with mental health because there's such a stigma attached to it. And being somebody who found mental health really important and also found that it was a really great way to understand myself. I wanted to work with, I guess, the people of my community. But at that time, I realized that there's still a stigma attached to mental health and it's really hard to get people to even go to therapy. Like living with my parents, it's really difficult. I cannot ever convince them to go. um And so I had pivoted into, or at least I discovered this filmmaking competition and ended up just like making a film for fun with a couple of friends, random people that um were not in film at all. And I had a lot of fun and I realized that we could actually create stories talking about things that are very similar to mental health or could provide that catharsis and validation that you could probably get in a session, in a therapy session. And it's not clinical at all. It's not as clinical. So, you know, on all those different jobs that you mentioned, they're all day jobs, know, animal research administration and then working for an after school program. That was me still trying to figure out how to be a filmmaker on my weekends. I still needed a day job. I didn't have the luxury of going to film school. So I would work at different places that gave me the flexibility of having a day job. But then also I had free time during the weekend to just make films with my friends, make friends films with people like my mom, who was one of my first actors earlier on. Love my mom. She did not do the greatest in my film, but I love her for being there for me. But yeah, like the different organizations or just jobs that I worked for were all really good in terms of providing me management skills and also communication skills because I worked in different industries, you know, and so at the end of the day, it all culminated in me at my current place. Like I am a freelance filmmaker and I also run my own video production company. So um becoming a writer, I mean, being a writer director is my main identity as a filmmaker. However, I don't think you could be a good writer-director if you don't have life experience. And having all those different jobs that I've had provided me with a lot of varied life experience and I interacted with a lot of different people, many different personalities.  Isabel: Yeah, no, I love that. So you grew up in Alhambra, which I'm familiar with because I too grew up in the San Gabriel Valley. How would you say that growing up in Alhambra has shaped you as an artist?  Dorothy: Alhambra is really special, I feel like, because in the San Gabriel Valley, there are many cities like this. You have Chinese people who can actually get by without ever having to learn English. And the same goes for Latin communities as well. And, you know, I have aunts and uncles who lived in Alhambra for years and never learned how to speak English. So I think it's like, what's so special about it, it feels like a safe space for a lot of immigrant communities. And then my parents being immigrants from China. living in Alhambra was a place where they could feel safe and feel connected to the people that they left behind in another country. And so being a child of immigrants, a daughter of like an Asian American, like a Chinese American growing up in Alhambra, I definitely felt like I grew up with a lot of people who were similar to me. know, we were like a lot of times the first American born children of our families even, and it was, we had to essentially understand what it meant to be Asian versus American and all of that.  But I think like being in Alhambra, I never felt like I wasn't seen, or at least I never felt like I was a minority. I think I mentioned this earlier, in that growing up in Alhambra, you do see a lot of people who look like you. And I have a lot of friends in the film industry who have moved out to California because they grew up in towns where they were like one, the only person, the only Asian person in their school or whatever. And I didn't have that experience. So for me, it was really special just being able to have a whole group of friends where there's a bunch of Asians. And we all spoke different languages. Like I had a lot of friends who were Cantonese speakers, but I'm a Mandarin speaker, but it was just really cool. It was like going to your friends' places and then you have aunties. So it's almost like having more family. You could feel like you have more aunts and uncles that will feed you all the time because that is the way they show love, right?  Isabel: Oh, certainly. I think there's so many stories in multicultural places like Alhambra. And speaking of which, you did in your film Only in This World. It's about an empty nester who has to face her ex-husband's mistress in order to summon her daughter back from the afterlife, which is featured in the 2025 Silicon Valley Asian Pacific Film Festival in Sunnyvale. Congratulations on such a beautiful film. I will say that I am a huge fan of magical realism, and Only in This World has some magical elements to it. So I'd love to get to know, how did you come up with this specific plot and characters that make up this film? Dorothy: Yeah, and thank you for wanting to talk about this one. It's a special story to me just because it is, I think it's the first film that I've made where I just decided to incorporate elements of where I grew up. And so Only in This World is inspired by my mom and her Tai Chi group at our local park, so Alhambra Park. My mom would go to do Tai Chi every morning for years. And in Alhambra, actually, as I mentioned, because there are so many immigrant communities, many of the immigrant communities tend to stay together with the people who speak their language. So Chinese people usually stick together with the Chinese speakers, Spanish speakers stick together with the Spanish speakers. You don't see a lot of mingling or intersectionality. But one of the special things that I saw with my mom's Tai Chi group was that they were not just Chinese people or Asian people, but there were Latino people in their group as well. And so even though they couldn't speak the same language, they would show up and still do Tai Chi every morning because it was a matter of doing something together. And so I love that a lot. And I wanted to tell a story about just older women who are finding friendship because I think that's really important in older age and in these groups because you see that a lot of the people in these Tai Chi groups are even the ones, not just Tai Chi groups, but there are dancers in the park, you know, like you'll see them in the mornings, not just in Alhambra, but in Monterey Park, all the different parks, open spaces, they'll have little dance groups.  A lot of the people who are part of those groups happen to be seniors, and I think it's just because they don't have work, they don't have children, they're lonely. And so…I think it's really important to be aware that where friendship or loneliness is actually an epidemic in the senior community. And it's really important to providing good quality of life is to just have them have that connection with other people. And seeing that in my mom, because my mom is getting older, having her be part of that community was what kept her happier. And so, yeah, and also my mother-in-law is Colombian. And she's done Tai Chi before as well with her group in Rosemead. And so I just was like, well, I'm part of a multicultural family. I want to tell a multicultural family story. Yeah, in terms of the magical realism element, I thought a lot about just how my family, if our house has ever burned down, the things that they would take out are our photos, the print four by six, like, you know, just the print photos because they're just so precious to them. There's something about hard copy pictures that is so special that digital photos just can't take over. Like there is an actual energy to how a photo is made or even like back then when we used to use film, there's energy that's required to actually create photos. And so, you know, I wanted that to be the power that powers this magical scanner where energy is taken from the picture and then you have the ability to bring someone you love back from the afterlife. And I really love grounded magical realism because I think it just makes difficult things a lot easier to understand when you add a little bit of magic to it, a little bit of fantasy.  Isabel: Yeah, magical realism is such a special genre. What part of the production process that you find the most profound?  Dorothy: I think it was just really my gratitude in how much my family came together for me and also just like the people of this team, know, like there were, I think one major situation that I can think of that I always think is really funny was, um so we filmed at my mother-in-law's house and my husband, Diego, was also working on set with me. He is not in the film industry. He's a software engineer manager. He's like in tech, but he is one of my biggest supporters. And so…when we were like, yeah, can we film at your mom's house? He was like, okay. But he had to end up being the, quote unquote, location manager, right? Because the house was his responsibility. And then, and he was also my PA and he was also DIT. Like he would be the one dumping footage. He did everything. He was amazing. And then ah one day we found out that his neighbor was actually doing construction and they were hammering. It was like drilling stuff and making new windows. They were doing new windows. And we were just like, oh, like, how do we get them to, like, not make noise? And so, and they don't speak English. And so we were like, oh crap, you know. So like, unfortunately, my producers and I don't speak Spanish, like we're all just English speaking. And then I did have Latinos working on my set, but they, you know, they had other jobs. I wasn't going to make them translate and do all that other stuff. So then Diego so kindly went over and talked to them and was like, essentially we set up. They were totally cool about it. They were like, yeah, okay, you're making a film. then whenever you're rolling sound, we'll just like prevent, like not hammer. And then so Diego is sitting outside with a walkie and talking to the first AD and other people inside the house, because we're all filming inside. don't know what's going outside. And then so like, we would be rolling, rolling. And then um the workers, I think his name was Armando, are like…whenever we cut, Diego would hear it through the walkie and he'd be like, Armando, okay, you're good to go. You can drill. Armando would drill. And then when we're going, and we'd be like, I'm going for another take. And then Diego would be like, Armando, please stop. So it was so nice of them to be willing to accommodate to us. Because you hear a lot of horror stories of LA productions where neighbors see you're filming something and they'll purposely turn on the radio to make it really loud and you have to pay them off and whatever. And in this case, it wasn't it was more like, hey, like, you know, we're making a movie and they were so supportive and they're like, yeah, totally. This is so cool. We will definitely pause our work, our actual work and let you roll down during the brief period. So we're really grateful. We definitely brought them donuts the next day to thank them. But that was just something that I was like, oh yeah, like I don't think I could have pulled that off if I didn't have Diego or if the fact, if it wasn't for the fact that these were the neighbors, know, that we were filming at someone's house and the neighbors already had a relationship with the people who lived here.  Isabel: Wow, that's really adaptable. And I'm so glad that went well for you. Dorothy, you've directed 13 films by now. Have you ever seen one of your films resonate with an audience member that you've interacted with in the past?  Dorothy: So there was this one short I had done a couple years ago called Tarot and it came at a time when I was struggling with the idea of whether or not I wanted to have kids and many of my friends are off having their first or second kids, you know, and so I never really wanted to be a mom, but then I have a partner who I can see being a great father, so I'm more open to the idea of being a mother, but it was still something I was conflicted about. And so I put this all into a short film, just my feelings of how my identity would change if I were to become a mom, because I've read so much about that. I found a Reddit thread one day where people were just talking about how being a mother is hard. And they openly stated how much they hated it. And it's okay to feel that way. And I wanted to put those feelings into this film to just put it out there like, hey, like if you don't like being a mom, even though you love your kid, you could still hate having that identity and be lost about, and it's okay to be lost or not sure about who you are. And so it was a really short film and it ended kind of open ended. It was like five minute film, so it didn't have like a full ending, but it was an open ended ending. And then afterwards I had a bunch of people come up. I had people who were parents, not just mothers, like even, or like fathers who had just had their first kid who were coming up and telling me like, oh, I totally identify. I understand that struggle of learning about who your new identity is after you've had a kid. And then I had people who were child free who were coming to me and saying like, yeah, this is a similar feeling that I've had about whether or not I should have any kids. Because, you know, as women, we have a biological clock that ticks. And that's something I feel frustrated about sometimes where it's really because of my body that I feel pressured to have a kid versus wanting to have one because I want one. And so that was a story I wanted to, or just something I wanted to put into a film. Yeah, and I also had another person come up and tell me that they were like, this was something I felt, but I never really openly talked about. And so I resonated a lot with this and it just helped basically articulate or helped me identify like, oh, I totally feel this way. And so that was really validating to me as a filmmaker because my goal is to reach others who don't feel comfortable talking about certain things that they tend to hide because I have a lot of those types of thoughts that I might feel ashamed or embarrassed to share. But then I put it into a story and then it makes it more digestible and it's like, or it's more, it's entertaining. But then like the core message is still there. And so people watch it and if they feel that they can connect to it, then I've done my job because I have resonated with somebody and I've made them feel seen. And that's ultimately what I wanted to do when I wanted to be a therapist was I just wanted to make people feel seen. I wanted to make them feel connected to other people and less lonely because that's something that I also have struggled with. Yeah, so filmmaking is my way of putting something small out there that I feel and then finding other people who feel the same way as me. And then we can feel validated together. Isabel: Ah yes, that is the power of film, and Dorothy's work can be viewed on her website, which I'll be linking on kpfa.org, as well as her social media, so you can get new updates on what she is working on. Dorothy, thank you so much for joining me on APEX Express today!  Dorothy: Thank you! Thank you for having me, it was so great to meet you!  Isabel: That was Dorothy Xiao, our second guest for tonight's edition of Apex Express, featuring magical realism AAPI filmmakers. Now time for our final guest of the night, Rachel Leyco, who is a queer, award-winning Filipina-American filmmaker, writer, actress, and activist. We'll be talking about her upcoming short film, Milk & Honey.  Hi Rachel, it's such an honor to have you here on APEX Express. Rachel: Hi, thank you so much for having me.  Isabel: How do you identify and what communities do you consider yourself a part of?  Rachel: Yeah, I identify as a queer Filipina-American. Isabel: So we're here to talk about your short film, Milk & Honey, which is about an ambitious Filipina nurse who leaves her family behind in the Philippines to chase the American dream in the 1990s and facing conflicts and hardships along the way. How did you come up with this specific 90s immigration story?  Rachel: Yeah. So Milk and Honey is inspired by my mom's immigrant story. you know, that's really her true story of coming to America in the early 1990s as a very young Filipina nurse while, and also a young mother and leaving behind her daughter, which was me at the time. um you know, following her journey in the film though fictionalized, a lot of the moments are true and there's a lot of exploration of assimilation, cultural barriers, loneliness and the emotional cost of pursuing the American dream.  Isabel: Yeah, when I read that synopsis, I immediately thought of this short film could totally be something that's feature length. How did you sort of this story to something that is like under 15 minutes long?  Rachel: Yeah, so I wrote the short film script first. And actually, you know, this is a proof of concept short film for the feature film. I actually wrote the feature film script after I wrote the short because there was just so much more I wanted to explore with the characters and the story. It definitely couldn't fit into a short film, though I have that short film version. But there was just so much richness to my mom's story that I wanted to explore, so I expanded into a feature. So I do have that feature film version, which I hope to make one day. Isabel: And you mentioned that this film is inspired by your mom's story. Is there any other sort of research that you did into this story that really helped you write? Rachel: Yeah, one of the main reasons I wanted to write the story, I mean, there's many reasons, but one is because there, if you ask the average American or the general public, they won't really know why there are so many Filipino nurses in the healthcare system. Because if you walk into any hospital, you'll see a Filipino nurse, more than one for sure. ah so I was really curious about the history. ah Having my mom as a nurse, my sister's also a nurse, I have a lot of healthcare workers around me. I grew up with that. I, you know, growing up, I also didn't really know or learn Filipino American history because it's not taught in schools. And I, you know, I took AP US history and didn't learn anything about, you know, my culture and our history. It's, not in the books at all. And it wasn't until like my early twenties that I was really curious about my roots and my upbringing and what it means to be Filipino-American specifically. And so um I really went into like a deep dive of just researching Filipino-American history. And specifically last year, I had been wanting to tell a story about a Filipino nurse because of my proximity to it with my mother. And you know, myself being an artist, being a filmmaker in the industry, there's so many medical shows out there, like, know, Grey's Anatomy, that's been long running, but very, very few, and rarely do we see Filipino nurses at the forefront and at the center of those stories. um You know, rarely are they series regulars. You know, sometimes they'll feature a Filipino nurse for like one episode or two and, you know, a recurring or a side character, but Filipino nurses are never the main character, never the series regular. And so that was another big driving force for why I wanted to make this story. And, you know, really making my mom's character the center of it. And so as far as like research, too, I definitely interviewed my mom and I asked her to just tell me her her entire story and specifically why she even wanted to move to the United States because she could have stayed in the Philippines or she could have moved somewhere else. um she saw a newspaper or her friend actually at the time when she was in a nursing school, a friend of hers saw an ad in the newspaper that America was sponsoring nurses. And so she had it in her mind already like, oh, yeah, I've heard of America. I've heard of the United States that it's, you know, there's better opportunities for me there. And at the time she had just had me. And so she had, you she's a young mother. She's trying to take care of her baby, her newborn. And so, you know, she had her eyes set on moving to the United States and that's kind of how her journey happened. And on top of that, I also did my own research on you know, our history, I watched this really amazing documentary um by Vox. It's on YouTube. It's all about why there are so many Filipino nurses in America. And it really just ties back to U.S. colonization. And after World War II, was so many, there was big nursing shortage in the United States. you know, white Americans did not want to, you know, fill that role. So they turn to Filipino women to fill the gap.  Isabel: Yeah, was there something special about the production process that looking back, you would want to replicate in the future or that really speaks to you?  Rachel: Absolutely. um Yeah, mean, definitely this experience and a lot of the people that I brought on to this project, I want to continue to make films with them and continue to make art with them because um I'm just so proud of the team that we put together. Everyone was so passionate and they knew how important the story was. They also had their own special connection to the material that they brought so much heart and passion into the film. that really comes through in the project. so like a lot of the people I brought onto this film, I want to continue to make art with them forever. That's one thing that I'm really, really grateful for, because I got to work with some really awesome people that I had never worked before or I had been wanting to work with. And so it was such a great opportunity that was given to me to be able to connect with such amazing and talented AAPI creatives in my circle.  Isabel: Yeah, I saw on your Instagram page for the film that you shot this film in both Los Angeles and Austin, Texas. Have you ever done a production where you had to sort juggle two different sets in two very different locations? And how was that entire process?  Rachel: Yeah, that was really, it was really fun. It was my first time being able to film in two different cities, let alone like two different states, really. A lot of my past projects have just been, you know, shooting it with the resources that I had that were available to me. You know, usually like my past short film, Thank You for Breaking My Heart, that I did last year, we shot all of it in one location, which was of course like, know, that is something that's really impressive in and of itself, of course. But, you know, because of the bigger budget that we had for Milk and Honey, I really wanted to challenge myself with this. And I really advocated for filming a part of the film in Texas because it is set in Texas. I was raised there. That's where my mom was placed when she, because how the process goes is, you know, she applied for the nursing sponsorship and then they placed them in certain areas. And so she was placed in El Paso, Texas at the time. And so that's where I also grew up. So I set the film there and I really advocated for filming in Texas because I wanted the film to have that feeling of the environment and atmosphere of Texas. um And so we shot some exteriors there for like this really fun Texas montage where you can really like feel that the character is there in, you know, in that heat, the Texas heat. So that was really, that was really fun. And I, you know, we shot, we shot two days in LA and we shot half a day in Austin, Texas. And we hired a second unit in Texas, because, you know, again, like, even though we had a really good budget, was still, you know, it was still pretty small. So I wasn't able to, you know, fly my LA crew over there. um So what we did was we just hired a second unit crew in Austin, Texas, and they were amazing. And most of them were queer, non-binary filmmakers. And it was just such a fun, intimate crew that you know, we just breezed by and had such a great time shooting that.  Isabel: That's wonderful. As a director, what inspires you and what are some of your filmmaking influences?  Rachel: Yeah, I mean, I'm constantly inspired by, you know, new films, filmmakers that I've seen, em particularly for Milk and Honey. I um so the film is, you know, this grounded drama, but there are a lot of moments of magical realism that I mix into it. love magical realism. love one of my favorite movies is Eternal Sunshine of the Spotless Mind. It's such a beautiful film, also very grounded, but it's filled with all of this, you know, magical realism, surrealism. And so I infused that into, you know, Milk and Honey, which was really fun and a challenge to execute. But yeah, and some other filmmakers and creatives that I'm inspired by are Ava Duvernay. think her work is just incredible and also just an incredible artist overall. I love the kind of work that she does because it comes from such a deep place. And I love that she can combine art with politics and social justice as well. Isabel: I also love that you said in your one of your project funding descriptions that you use your art as your act of revolution, which is so relevant given that, you know, in our current state of, you know, our administration is silencing and suppressing voices of our immigrant communities. And how do we as filmmakers, as artists, what does that revolution and representation mean to you as a filmmaker and artist?  Rachel: I truly believe that that art is our act of revolution and just merely creating the art is that act in and of itself. We don't have to do more than that as from, in my opinion, as an artist, because the mere fact of us existing as artists, existing, myself existing and creating the work and having the work exists out there and putting it out. The most powerful thing that an artist can do is to make their art and share it with the world. And after that, just let it go, you know, forget about how it's going to be received. Forget about like, you know, the critics and, and, and the, you know, self doubt you may have and all of those things, because yeah, it's going to come. I think especially in the landscape of, like you said, of where we're at right now with our current administration and you know, just who knows what's going to happen in the next few years, but also in the face of like AI and technology and all of that, I think all we can really do as artists is to, in order for us to change the system is we have to be the change, right? And in order for us to be that change is just to continue to tell our stories and stay authentic to ourselves. Because I think that's also what a lot of people out there are really craving right now. People are craving authentic, real stories by people that we really don't get to see or hear their stories very often. And so um that for me is something that fuels me and my artistry every day.  Isabel: Very well said and a great reminder to all of us artists out there to keep making our art. What do you hope for audiences to take away when they watch your film?  Rachel: What I hope for audiences to get out of watching the film, well, one, at the core of it is a mother-daughter story. And I also did it to honor my mother and her sacrifices and her story. So I hope that, one, audiences will, you know, maybe reflect on their relationship with their mother and… um think of ways to honor their mother and their family and their ancestry as well. And another thing is to really think about what the American dream means to you, because that was another driving force for me with the film is it's called Milk & Honey because a lot of immigrants coined Milk & Honey as America's milk and honey as this like land of abundance, land of opportunity and you know, this is a, this is a place for creating a better life for ourselves. But I, for me, as I've grown up and as an adult now, really looking at like, well, what does the American dream mean to me? Is that still true to me? Do I still think the U S is a place where I can, where I can build a better life? Is it a place of abundance and something in the film, a big theme in the film is where Cherry's character scrutinizes that dream and thinks for herself, like, is the American dream worth it? And what does the American dream actually mean to me? What is the definition of that? So I think that's a big thing I would love audiences to also take away from it, you know, asking themselves that question. Isabel: That's a great thought to end on. I'll be including Rachel's social media and website on kpfa.org as usual so you can see if Milk and Honey will be screening in a film festival near your city during its festival run. Well, Rachel, thank you so much for joining me on APEX Express today. Thanks so much for having me. I really enjoyed it. Please check our website kpfa.org to find out more about magical realism in AAPI stories and the guests we spoke to. We thank all of you listeners out there. Keep resisting. Keep organizing. Keep creating and sharing your visions with the world. Your voices are important. APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Cheryl Truong, and Isabel Li. Tonight's show was produced by me, Isabel Li. Thanks to the team at KPFA for their support. Have a great night. The post APEX Express – 1.08.26 – Magical Realism and AAPI Short Films appeared first on KPFA.

Happy New Year, everyone! Today, we're taking a look back at 2025 to see (for us) which K-Dramas were hits, which were misses, and what scenes from our favorite dramas of the year still live rent free in our minds. K-Pop Recs of the Year:"What it Sounds Like" by Huntrix (Ejae, Rei Ami, & Audrey Nuna)"Background" by Jin"Killin' It Girl" by J-Hope (feat. GloRilla)"CHEST" by JUST BReady to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for "thinky, thirsty and over thirty" takes on Bangtan life. ★ Support this podcast on Patreon ★

In this episode, we delve into the intricate world of the Chicago Outfit’s informants, featuring insights from my late friend, Cam Robinson, and Paul Whitcomb, a well-respected expert on the mob. This special compilation draws from past interviews and shorts that once highlighted various informants who operated during the notorious 1980s era of organized crime in Chicago. Through a series of concise segments, we explore the lives of key players who chose to turn against the Outfit, revealing the complex motivations and consequences of their decisions. We kick things off by revisiting the tale of Paul “Peanuts” Pansko, an influential figure leading the Polish faction of the Outfit. Pansko's criminal activities, including a racetrack heist, not only placed him in dangerous territory but also set into motion a chain of events that would later link to the infamous Family Secrets trial. It's during this journey that we outline how interconnected the informants’ narratives are, showcasing how Pansko’s actions inadvertently unraveled parts of the organization.   The discussion shifts to more dramatic stories, including Mario Rainone. Rainone's infamous decision to cooperate with the authorities opened the door to significant revelations about Lenny Patrick, one of the highest-ranking Outfit members to switch sides. Rainone's tapes ultimately led to the dismantling of major sections of the Outfit’s operations, including political connections that had long shielded them from legal repercussions.   We also explore the tale of Ken “Tokyo Joe” Eto, a Japanese mobster who thrived within the Outfit’s ranks. His attempts at self-preservation after surviving an assassination effort highlighted the stark realities faced by those who navigated the perilous landscape of organized crime. As he eventually became a witness for the prosecution, Eto’s insights illuminated the internal workings of one of Chicago’s most feared organizations. The episode further examines dramatic betrayals and deadly encounters that shaped the Outfit’s legacy. From the chilling events surrounding the murders of the Spilotro brothers, orchestrated by their own associates for reasons steeped in loyalty and betrayal, to the grim fate that met informants like Al Toco and the impact of domestic discord on organized crime, each tale is a window into the bleak realities faced by both mobsters and informants alike. As we round out the episode, we reflect on the cultural dynamics surrounding informants, particularly how personal relationships and family ties heavily influenced their decisions to cooperate. It becomes clear through the interviews that while fear of retribution often compels loyalty, the specter of betrayal looms large within the mob. This multifaceted examination blends personal stories with historical context, providing a deeper understanding of the Chicago Outfit’s complexity and its operatives. Join us in this retrospective journey through the shadows of organized crime as we pay homage to those who bravely shared their stories, revealing the inner workings of a criminal empire that continues to fascinate and terrify in equal measure. Hit me up on Venmo for a cup of coffee or a shot and a beer @ganglandwire Click here to “buy me a cup of coffee” Subscribe to the website for weekly notifications about updates and other Mob information. To go to the store or make a donation or rent Ballot Theft: Burglary, Murder, Coverup, click here To rent ‘Brothers against Brothers’ or ‘Gangland Wire,’ the documentaries click here.  To purchase one of my books, click here. Transcript [0:00] Well, hey, guys, after listening to Bob Cooley, one of the more damaging sources and witness and informant to the Chicago Outfit outside of the Calabrese family, [0:13] Nick and his nephew, Frank Jr., I got the rest of the Chicago Outfit informants on tap here. No, not really. They’re not coming in. But I did do a story. I did a series of shorts a few years, or I don’t know, two or three years ago, maybe. [0:32] I interviewed my late friend, Cam Robinson, rest in peace, Cam. So you get to hear from him again. And Paul Whitcomb, who is a Chicago outfit expert, he’s been on this. They used to have some kind of a round table show up there. I don’t know if they still have it or not with the Seiferts. But anyhow, I got these guys to sit down with me and talk about all the different informants in Chicago during the, it was during the 80s. So this is just kind of a series of shorts that I put up before. They’re six or eight minutes long, I think, each one of them, that they talk about different informants. This kind of threw it together as another little bonus episode we’ve done. And I went to Chicago, if you notice, after Johnny Russo, which I apologize for in a way, I don’t know. I mean, the guy’s got some crazy-ass stories, doesn’t he? Who am I to say that he didn’t do it? But most people know that he didn’t do most of that stuff. Anyhow, so I threw up another Chicago right away about the guy that had the race wire that they killed, James Reagan. [1:38] Then i had this interview that i’d been doing during those last couple weeks with bob cooley who’s appeared uh out of nowhere and he’ll maybe see him on some other shows now he’s he’s wanting to do shows he tells me so after hearing bob cooley talk i thought well i’m doing do one more i want to just throw it up as an extra uh from some of my old chicago outfit stuff and that’ll finish me off on the Chicago outfit for a while. I hadn’t, I hadn’t been in Chicago, uh, doing shows about Chicago for quite a while. And, and I didn’t want to, uh, neglect you guys. You know, I get a lot of books written about New York and I’ve got all these authors that are wanting to do these books about New York. Uh, not so much about Chicago. So if you got anybody that, you know, wants to, got a book and wants to come on the show, uh, talking about the outfit, why steer them to me. So anyhow, just sit back and relax and enjoy. [2:37] My late, great friend, Cam Robinson. One more look at Cam, for those of you who remember him, and Paul Whitcomb. And we’re going to talk about famous snitches from Chicago. Thanks, guys. Well, let’s move along now to, this is kind of interesting, Paul Peanuts Panczko, who was the leader of the Polish branch of the outfield. Is that what you would call Peanuts Panczko, the leader of the Polish branch? If the Polish branch is the Panczko family, which you could easily say there were three brothers, then yeah, that wouldn’t be right. We haven’t really done a show on them. I don’t know a whole lot about them other than they were released at all. So we said non-Italian, Peckerwood, as we call them at Kansas City, professional criminals who did a lot of business with different outfit people. And he did a robbery of a racetrack. I think it’s the Balmoral Racetrack. It’s the name of it. James Duke Basile and then Panczko was in trouble for that and he convinced Basile to come in and they did some talking remember anything about that situation, you know in a lot of ways you. [3:50] Panczko could be considered one of the first dominoes that eventually led to the Family Secrets trial. Panczko, as you said, led to Dookie Bazile, who they had done robberies together. Bazile led them to Scarpelli, who was a much higher guy. I mean, there’s debate, but he was, because there was a making ceremony at this time, but Scarpelli was pretty highly ranked. I mean, he was a known killer, and he was up there. He was in the wild bunch. But Scarpelli then did tell them about a lot of the things that Frank Calabrese had done. [4:28] He wasn’t known as well as Scarpelli had brought him up to be. And a lot of those things dominoed into what would eventually lead to family secrets years later. [4:42] Scarpelli, I think, did not know so much about Nick, but he did know about Frank. And so a lot of that information sort of filled in the gaps. And even though Frank Calabrese Jr. Led them led them to Nick They A lot of seeds were planted And can be traced back to Pianus Pansico Um. [5:01] So it is kind of an interesting line. Basile, he wore a wire on Scarpelli and not even talking about a lot of these things. It’s not the FBI knew about that. They were in a car together. Right. If I remember right, he even talked about a mob graveyard. They went up there and they found two or three bodies. One of them was connected. It wasn’t anybody really important, but one of them was connected to Harry Aleman. So it was a pretty important wearing of a wire on Scarpelli, who then came at himself for a while. And that’s what led to the family secrets. He talked about Frank Calabrese. Is that what you’re saying? Yeah, that’s right. And some of those bodies in that graveyard were 10 years apart, which was interesting. I’ve got, it’s on the map that I created, but some of those bodies, there was years in between them. So it was something they were going back to and they believed that there were a lot of things there they did not find. Yeah, because they built a health care facility or something. They built some big building over where there would have been bodies. Right. Right. And the fascinating thing about this is Scarpelli, like, just like Cam said, this guy was a serious killer. He was a muscle builder. He was a terrifying guy. I mean, he had almost inhuman physical strength. Yeah. And when he flipped, he was completely debriefed by the FBI and the DOJ and then decided to try and change his mind. [6:27] But before he could do that He hung himself in the bathroom Of the Metropolitan Correctional Center With his hands behind his back And a bag over his head, Who was he in prison with? Who was he in MCC with, Paul? Was it anybody? He did happen to be in the MCC with the German at the time. He bound his hands behind his back and put a bag over his own head. He did. He did. And so the outfit continues to somehow persuade people to take their own lives rather than testify against them. [7:07] It’s a hell of a way to die by suicide it is by suicide at least they didn’t have arrows in his back, not as far as we know yeah it was terrible he cut his own head off I saw a cartoon once that the homicide guy liked to go ahead and maybe real suckle of suicide because then you could just walk away from it so there’s a dead body laying there with a bunch of arrows at his back and a homicide detective standing over him with a hand and pencil and says, hmm, suicide, huh? [7:44] Got the inside joke. It worked homicide. You see how those guys sometimes will try to make something into a suicide that probably is a homicide. On the other hand, we had one, we had a mob guy, he wasn’t really a mob associate, who had gone to Vegas. He lost a lot of money and they found his body in his car at the airport parking lot after coming back from Vegas and they found out later lost a lot of money and the car was parked up against the fence and he was shot in the head and there was no gun in the car you know found so just assume that somebody shot him in his head the car kept going and rolling up against the fence. [8:25] But this one detective, I remember Bob Pence is his name. He was dumb. And he started, he went back over and he dusted that car for prints again. And he got some more evidence out of it. And then he went back to the airport and he looked and started asking questions. And he found out later that somebody who had a pickup truck parked there had a week later, three or four days later, come back and got his truck. When he got home he found a pistol inside the bed of his truck and he called the airport or he called somebody turned it in Pinson found that pistol that was a pistol that that shot the guy so Pinson's theory was he was rolling along in his car he shot himself in the head and then he flipped that pistol out is with a reaction he flipped it out and went in the bed in that pickup and then it rolled on up against the fence and they ruled it a suicide wow damn that’s not that different than Scarpelli I mean the fbi to this day insists it was suicide yeah well, Oh, well, right. All right. Let’s move along to Mario. John, the arm. Rainone. [9:41] Is that correct, Cam? That yeah, that’s Rainone. Yeah. So tell us about that. I know we talked about this, you know, a little bit about this one. [9:50] This is kind of a funny one. He was he was sent to kill a building inspector. Raynaud was with the Grand Avenue crew and so he’s en route to kill this guy and this is one of those mob blunders and he sees a couple guys following him and it’s Rudy Fredo and Willie Messino and he recognizes him when he’s driving over there and it’s important to point out who these guys are, Cam, not to interrupt you Willie Messino, was the right hand man and bodyguard for Tony Accardo for 30 years I mean, he was serious, serious business. Rudy Frayto, you know, the chin, but Massino was serious news. If you saw Willie Massino, you knew he were in for trouble. Yeah, he wasn’t there as backup to do anything except clean up after Rainone, including Rainone. So Rainone saw the writing on the wall. He pulls up and he goes straight to the FBI. [10:54] And he informs, he talks to them and gives them his information. And later on, he sort of regrets doing so, denies that he ever did. Uh, there were, there were, uh, articles written about him. There’s a, there’s a Chicago Tribune writer, John Cass, and Ray Nolan had a back and forth with him writing letters. This is how these mob guys in Chicago operate, talking about, I’m, I ain’t no beefer. And, uh. Once he was out of prison in 2009, he was busted several more times. If you can believe it, he stayed in the criminal life. He was robbing a liquor store with another guy. And the guy he was robbing with, this is why I jump ahead a little bit, was a guy named Vincent Forliano. He claimed that he didn’t even know Fratto or Messino. These were guys he didn’t know, so he never would have informed against them. The guy he was robbing the liquor store with and he was committing other robberies with, Vincent Forliano, was Fredo’s son-in-law. [11:56] So he was committing robberies with a guy related to the guy, but he didn’t know who they were. And to say that somebody didn’t know, as Paul said, Willie Messino, is just ludicrous. Anybody in the criminal atmosphere, period, knew who Willie Messino was because you were probably paying money to it. to exist. And this is extremely important because Rainone, at the time this happened, Rainone cooperated long enough to record conversations with Lenny Patrick. That’s right. That’s right. And that set dominoes in place that would lead to the fall of the outfit. Even though he tried to take back his cooperation, to say he never cooperated, I’ve heard those tapes that were played in trials that I participated in, so I I know better. Uh, and that’s why they call him Mario flip flop Rainone because he, uh, would cooperate and uncooperate and then cooperate. But he is the one who got Lenny Patrick on the hook. Yeah. [13:00] Interesting, interesting. Let’s just continue on with this Lenny Patrick because we weren’t going to talk about him. That’s a good lead hand to talk about another, really one of the most important informants that year who testified. [13:13] Can you talk about the domino that led to the end? Rainone really, really flipped the domino that kicked over. Go ahead, Paul. Well, Lenny Patrick was the highest, and even to this day, remains the highest ranking member of the outfit to ever turn state’s evidence. The guy was a capo in all but name. He had been in charge of Rogers Park, the gambling. He was essentially the head of the Jewish arm of the mafia, kind of the Meyer Lansky figure of Chicago. And when the Lawndale neighborhood moved north to Rogers Park, he moved with them, and he had his own crew. He reported directly to Gus Alex, who was, of course, at the very top, and Sam Carlisi. And he was dealing with Marcello and Carlesi in a number of different outfit ventures, loan sharking. He personally had been staked by Carlesi with a quarter million in cash to put out on the street. And he was involved in extortions Bombings of theaters All these things directly at the command of Sam Carlisi Who was then the boss of bosses of the Chicago outfit So when Rainone got him on tape They set up what was the beginning of the end for the outfit And I think people need to understand who Gus Alex is also For people outside of Chicago Gus Alex was. [14:40] Basically, I guess you could call him the equivalent of maybe the consigliere in Chicago. When you look at Chicago, the triumvirate in the 70s, once a guy like Paul Ricca died and several major outfit leaders died in the early 70s. [14:58] Tony Accardo decided that the outfit would be led by himself, by Joy Iupa, and the political wing and all of the non-Italians and all of the grift and a lot of aspects would be led by Gus Alex. So he was essentially on the same level as Joey Iupa, and he was responsible for much more for things of greater import than Joey Iupa. I mean, controlling the political arm and all the payoffs and all of that is much, much more than the streets and the murders. So all the politics and all the anything that had to do was definitely fell under gus alex and he was part of a ruling triumvirate he was a non-italian part of a ruling triumvirate with iupa and uh acardo so he was the the leader top of the outfit and he had been for years going back to going back to the 30s and the 40s 40 he had come up under, the Murray the Camel Humphreys and had made those connections he was the most connected guy in the Chicago outfit, so for a guy like Lenny Patrick to be. [16:15] Rollover against is essentially the political leader, national political leader and political leader of Chicago. This was absolutely crippling to the outfit. That was he wiped out the entire political arm of the Chicago outfit. After Lenny Patrick brought down Gus Alex, this became a basically a street crime organization. It was that those political contacts. I mean, I think that’s a fair statement, right, Paul? Those political contacts and judges, I mean, that was all but eliminated with Gus Alex going away. You’re absolutely right, Cam. And he not only took out Gus Alex, but he took out the boss of the Italians, too. That’s right, yeah. Both of them at the same time. He wiped out the outfit, and you put it beautifully by saying it became a street crime organization. You think about the division of labor and it started with IUP and IUP and. [17:19] La Pietra, Jackie Cerone, they had all the gambling, a lot of the sports gambling, but they also had the skim from Las Vegas, and they ran all that stuff, while Gus Alex, along with Lenny Patrick, ran all that politics, and you can’t have a mob organization if you don’t have cover politically. That’s why even in Kansas City, we’re pretty clean here, but we still never had any real mob prosecutions. [17:47] And it certainly had very few, if any, little, if any mob prosecutions at Cook County. And you couldn’t even get convicted of a real crime, murder, assault, or something. It’s just a straight-out crime. You weren’t even trying to do a RICO, I think, on anybody. So it was, you know, they just operated with impunity. Well, you took out that whole gambling side. That was all the money coming in. And then shortly thereafter, you take out the political side, who then turns back and gets the new boss on the gambling side and loan sharking and all that. [18:23] I’ll tell you, by 1990, the outfit’s gone. It really is. It still exists to a degree, but Sam Carlisi was the last traditional old line boss of the outfit. you, that, in my opinion, that ever ruled. After that, it was never the same. Yeah, I think a guy like Gus Alex, you know, like you said, Gary, you had Aiuppa who was dealing with gambling, but I think that’s a lot of, there’s a lot of optics to that, you know, and you’ve got all these cities who have got characters who are not Italian, Gus Alex in Chicago, and, you know, as Paul said, Meyer Lansky, who was New York, and you had Mashie Rockman in Cleveland, and these characters not italians so they know when to step back and let and let the italians talk but that doesn’t mean that they’re not running things it’s just for the optics of city to city where the italians have to see that they’re dealing with italians they don’t walk in the room it doesn’t mean that behind the scenes they’re not pulling the levers they just because of of the uh uh criminal um. [19:34] The the criminal view of of non-italians in that world sort of sort of their own prejudices these guys don’t always walk in the room when they’re dealing with other cities gus alex is is sitting down with anybody in chicago but you go to kansas city you go to new york, you know meyer lansky would leave the room when they were when they were talking you know italian to Italian. And the same thing with Gus Alex or Mace Rockman or any of those other guys who are not Italian. It was just an optics city to city. It doesn’t mean that they weren’t pulling the levers. Is it Yehuda or Jehuda, Cam? Jehuda. I’ve always heard of Jehuda. Yeah, Jehuda. So he kind of dealed with the IRS that year. [20:23] He must have had some. The IRS was really strong working the mob in Chicago. I’ve noticed several references to IRS investigations. We did not have that in Kansas City, and the IRS did a little bit, but they were not as strong as they were up in Chicago. [20:38] Yeah, he met with an agent, Tom Moriarty, who’s been around and worked Chicago for a long time. He was a pretty well-known guy up here. But Bill Jehota worked under Ernest Rocco Infelice, who was a real powerhouse going back a long time. And out in Cicero, and his crew, a lot of these crews had their own little names, and they called the good shit Lollipop. He was a huge gambling enterprise, you know. And they bought a house up in Lake County, which is north of the city. It’s funny, this house they bought was actually the family that had lived in it. The son had murdered the family. It was a murder house before the outfit bought it. and uh they bought it used it as a as a gambling den and and after that moved out they used it for prostitution and they would park cars at a nearby motel that they ran and then then have a uh a, valet service that drove him to this this gambling house and there was also quite a few uh murders that uhJahoda witnessed i’m sure he took no part in it he just happened to be standing outside of the house when they when they these murders were committed there was a uh was it hal smith and um. [21:57] Oh i can’t remember the they killed somebody else in this home and they burnt these were guys who didn’t want to pay his tree tags, and they were gamblers who refused to give in. And he brought down this entire crew. I mean, Rocco and Felice was… There’s a famous picture of the day after the Spolatros were killed. And it was really the upper echelon of the up that you’ve got. You’ve got little Jimmy Marcello. You’ve got the boss, Sam Wings-Carlesi. You’ve got the street boss, Joe Ferriola. And you’ve got Rocco and Felice, who’s right there. These are the four top guys, basically, in the outfit as far as at this time, the Cicero crew had risen to the top. That was the powerhouse crew. And so he was involved in those discussions because he was such a powerhouse out there with Ferriola being the street boss. So he was, it really can’t be thatJahodatestimony that eventually brought down this crew was really, it really crippled that crew for a long time. Well, those people that went down in that trial have only in the last five years come out of prison. Yeah, we’ve actually had been talking to somebody. We’ve had the… [23:13] Opportunity to meet he brought down uh uh robert um to go beat um bellavia and another guy who doesn’t like to be mentioned who runs a pretty successful pizza pizza chain up in lake county and uh these guys went down for a long time the beat was down for 25 years and he just came out. [23:39] So and billJahoda have if you read his testimony it is kind of kind of odd that he was standing outside of the building and just looked in the window and they were committing a murder and he just he he places himself outside of the house witnessing a murder through the window which is convenient when you’re the one testifying against murderers it certainly is yeah. [24:03] So so that was he was involved in the gambling so that makes sense then the irs got him and millions of dollars millions of dollars a month they were bringing and he met uh, i don’t remember paul and you did he he contacted moriarty right or did moriarty reach out to him because he was under investigation i i thought Jahoda was was worried about himself so he reached out to them i can’t remember the details i think you’re right yeah i i think he was worried about his own his own safety gary and he reached out to moriarty and they met up at a hotel just outside the city on the uh up in the northwest and uh they talked about things i actually found the location and on the little map you can find where where they met each other but he they met each other in disgust and they would meet different locations and and jahuda wore a wire and some of those some of those wiretaps are they really make for that. [25:05] That those conversations come right out of the movie just i love what we’re doing out here and i love my job and and you actually where i’m going to make you trunk music i mean you really hear these things that that you see it right in the movies i mean you you can’t write the dialogue that these guys are actually using it’s it’s it’s you know it it comes straight out of a book i mean You’ve got, you’ve got, uh, this is the toughest dialogue you’ll ever hear. Interesting. How’d you buy it? Where’d you find that at? Is that, uh, it’s probably not the audio in probably anywhere. No book or something. Yeah. You can, if you look up, if you look up different, different, you know, you go on newspapers.com or you go in different, uh, I believe, uh, I’ve got, um, uh, mob textbook by, um, Howard Abedinsky. I’ve got a couple of copies of his, of his textbook, organized crime. And he’s got some clips of it. This guy who owns a pizza shop up north is talking about how he loves his job. He loves what he does. And it’s funny to hear he talk about smashing somebody and loving what you do. Really? I’ve heard a few conversations like that back at the station house. [26:25] I don’t care. It’s on both sides. Is that what you’re saying? When you live in that world. Those guys can go either direction. [26:37] Well, let’s talk about ex-Chicago cops. Speaking of cops, let’s talk about, Vince Rizza, his daughter actually appeared on that Chicago Mob Housewives, or they tried to do a show. And Frank Schweiss’ daughter was on it. And Pia Rizza, who has gotten some notoriety as a model or something, I can’t remember. And she really, she was tight. She would not talk about her dad at all. I read an interview of her. She would just talk about her dad at all. But he came in and he testified against Harry Aleman, of all people, and linked him to the murder of this bookie, Anthony Ritlinger. Remember that one? [27:22] Go ahead, Paul. No, that one I’m not very up on, Cam. I’m sorry. So, Ritlinger, I believe he didn’t want to pay his street tax, if I’m right, Gary. Yeah, you’re right. He had been warned. Rattlinger had been warned that he needs to pay, he needs to pay, and he was making a good deal of money. And Ratlinger was he was brought in just the normal course of action with the wild bunch because he was a wild bunch murder I’m a little rusty but here it comes so he was a wild bunch killing, he was brought in he was warned it was the typical Harry Ailerman and if I’m remembering correctly and people correct me if I’m not it was Butch Petruccelli they sat him down. [28:11] Usually it would be Butch and, um, uh, Borsellino who would do the talking, uh, Tony Borsellino, and they would do the talking. And then afterwards, Butch Petruccelli would just sit down and glare. So he was a pretty scary guy. And he had that, uh, uh, Malocchio, the, the evil eye, and he would just glare at people. And that would send the message and Rattlinger didn’t, didn’t listen. He was making too much money, he’s not going to pay any damn Degos, that kind of line. And so he, of course, fell victim to these guys. And I believe he may have been trunk music. I think I remember this one, Matt, but I can’t remember. Yeah, I got this one. He went to a restaurant. That’s right. That’s right. And he had already, his daughter lived with him. I’m not sure about the wife, but he had warned his family to take all kinds of extra cautious. He knew something was coming. And it was, you know, after reading that thing, it’s, It’s kind of like, well, we talked about Spilotro taking off their jewelry. Ken Eto did this similar kind of a thing and told his wife he may not be coming back. [29:22] I tell you, another guy that did the same thing was Sonny Black. That’s right. It came out about Joe Pistone, the Donnie Brasco story. He did the same thing. He went to a sit-down or a meeting, and he took off his jewelry, I believe left his billfold, when he went to the meeting. this. Ken Eto was the same way. Ken Eto, I think, thought he could talk his way out. I think all of them thought they could talk their way out of it. So Rettlinger went out by himself and sat in a prominent place in this local restaurant that was really well known up there in the north side. It’s north of downtown Chicago, and I can’t remember the name of it. [30:02] And he just sat there and pretty soon a car pulls up and two guys run in kind of like a Richard Cain kind of a deal and just start popping. And that was a Harry Aleman deal. That’s right. He did, I believe. There’s an old guy who married the girlfriend of Felix Adlericio, I believe. He and this woman are sitting out in front of their brownstone, and Aleman and some other dude pull out and get out when guys walk up to him and shoot him and kill him. [30:31] And so that was – Yeah, that was Petrocelli and Aleman walked up, And he had been, he had been dating, uh, uh, Aldericio’s, Alderico’s girlfriend. Now that’s the famous hit from beyond the grave. Because we’re going to go on the old Samuel’s just sitting in the lawn chair thinking he’d got it made. That’s right. You know, Gary, you and I did the show on the outfit, uh, a long time ago. No, I’m sorry. On the wild bunch, a long time ago. So a lot of those, and they did so much work back in the day. A lot of those run together, but yeah, you’re now, uh, now that you’re right, writing her was he was eating in a restaurant. I’m, Uh, I can’t remember the name. It may have been, been Luna’s, but he was, went out in public. He thought he’d be safe. And like you said, a lot of these guys have a six cents because they come up on the street and they know these things. And, uh, like a guy like Sammy and Reno knew it was coming. He was dodging them for a long time, but they, they know that their time is coming. Eventually they just, they stay ahead of it for a while and figure they can fight their way out or talk their way out. And yeah, they, he was blown away right in public. Like it was similar to the, I remember it being similar to the, to the Richard Cain murder. And this was in, it was right around the same time. It was, it was in the mid seventies, 75, 74, 75, 76. It might’ve been 75 that writing or happened right, right in the middle of the restaurant. [31:58] I’ve been a lot cheaper to pay the street tax, I reckon. You know, and it wasn’t, I don’t recall that they’re asking for so much, but once these murder started happening yeah i think it was it wasn’t like it was half or 75 i think they just wanted it was you know it might have been a quarter it might have just been a flat fee across the board but once that street tax was was instituted i mean we’ve talked about this before gary that was when the wild bunch was out there that was that was they really didn’t play around When Ferriola told these guys, get everybody in line, [32:31] they really cracked down and they weren’t playing at all. You pay or you die. And guys like Alem and Patrick Shelley, whether it was right in public or whatever, in the outfit in the 70s, Paul, you know this from Richard Cain and several others. They just write in public would just blow you away. and writing her was just was almost textbook just like the Richard Cain it was it was right in the right in the restaurant yeah I’ll tell you I’ll tell. [33:05] I was conflating him with Hal Smith. Okay. I’ll tell you something about those mob hits. When they kill somebody in public like that in a public way, more than likely it’s because whoever the victim is has been alerted, and they can’t get anybody to get close to them. They will already try to send somebody around to get them isolated, and when they can’t get them isolated, then they want them bad enough. They’ll just lay, as Frank Calabrese, I heard him say once, well, lay on them. And I thought, oh, that’s interesting. Well, lay on them. I read that somewhere else. They use that term when you’re following somebody and you’re trying to set them up, or yet they lay on them. Calabrese even said, you know, you’re like, get an empty refrigerator box and hide inside of it. I mean, it’s just like the kind of stuff we used to do at the intelligence unit to run surveillances on people. And so they’ll lay on them for a while until they can get you somewhat isolated. And if they can’t, then they’ll just take you out in public. It might be to send a message, but I don’t think so because it’s so risky to get somebody in public. You can have a young, all-fitty cop in there that you didn’t even notice, and he comes out blazing. And, you know, it’s just not worth it. Even if you take him out, he’s probably got to get you. [34:21] So it’s kind of a last resort. A desperation. Yeah, it’s desperation because they can’t get you isolated. [34:28] You look at some of these public murderers, guys like Richard Cain or Ridinger, like you said, who was on the watch. Sam Annarino, who was right on Cicero. [34:39] A guy like Chris Carty, who was years later. I mean, these are guys who would have been smart enough and street smart enough to be on the watch, to watch their step, to know what was going on. With the exception of a guy like Michael Cagnoni, who just happened to be difficult to get, and he probably might have had an idea that something was happening, but I think just he was a family guy, and so it was hard to isolate. They blew him up on the interstate, but I think that in general, that’s a good point, Gary. These guys, if they just run up and blow away, it’s just a last resort. That’s an excellent point. I have always been in that camp of, oh, that must be sending a message. But you, with your experience, I think you’re exactly right. One thing, guys, I think we’re mixing up Sambo Cesario with Sam Annarino. I was thinking when they – yeah, you’re right, Paul. I was thinking, though, when they blew away Sam Annarino in the parking lot with his family, though, they had been trying to get him for several months. And they finally just went after him in the parking lot, called in a robbery, and blew him away in the furniture store parking lot. That was what I meant. Yeah, Gary was referring to Sambo earlier. I just meant they had been trying to get Sam Annarino for a long time, and when they couldn’t, they just got him in the parking lot. [36:08] Well, interesting. You know, no matter how much terror these guys strike in the heart of their underlings, in the end, they still will turn once in a while. And I think people don’t really not turn because they’re afraid of getting killed so much if they don’t turn because they don’t want to have their family suffering the disgrace of them being a rat or a snitch. I think that’s more important to be a man and go out like a man in this subculture and believe me I’ve lived in a subculture where being a man and being a tough guy is more important than anything else, I think that’s the most important thing that keeps people from coming in you’re like a wimp you’re a puss, you can’t take it, can’t handle it you know what I mean you can’t handle five years I could do five years standing on my head or a tray like the dude told me so uh you know but even even with all that and still there’s a certain percentage that will end up coming in sure and usually there are people that either don’t care about their family like lenny patrick yeah or that don’t have close family so that they don’t have it so much of that pressure that you’re talking about gary because you make a really valid point that that that cultural value is so strong yeah yeah it’s it’s. [37:36] In a lot of these small towns, you see in Detroit where they’re all family tied in and everything, you don’t see informants. I think they’ve had one. Kansas City, as you said, Gary, you don’t see. But then you look at a place like Rochester where they’re all just lower tier mob guys. Everybody was informing on everybody because they really weren’t as upper echelon sort of mob guys. So I think that, like you said, once you get that culture seeped in, you’ve got those families and all, there’s a lot of factors. But if it’s a deep-rooted mob town, you really don’t see a lot of real informants. [38:11] So, guys, now we’ve got one that I did a show on. I did a couple of shows on him. I talked to the FBI agent who brought him in and dealt with him for quite a while. Ken Tokiojo Eto. He survived a murder attempt. When that didn’t happen for him with the outfit, what happened after that? [38:32] I believe his attempted assassins got killed themselves. So tell me a little bit about Tokyo Joe Eto. There’s a photograph I have from the late 50s, early 60s And it shows Joe Ferriola And a couple of other heavyweights Hanging around with a young Ken Eto, And a lot of people didn’t know who Ken Eto was But he ran the Japanese game, Gambling, Bolita And lots of money Poured into the outfit through Tokyo Joe As they called him And there was a rumor that perhaps Tokyo Joe was going to turn under a little bit of pressure. And so Jasper Campisi put three slugs in the back of his head. [39:22] Miraculously, he survived three slugs at point blank range. And if he wasn’t going to turn state’s evidence before, he certainly had a powerful incentive to do so now. He seems to insist As I’ve heard that he was not His intention was not It’s hard to say at this point But he says he had no intention Of flipping and that he’s not sure What the evidence was against him But he was not going to flip until, It was Yeah. [39:55] I’m drawing a blank, Paul. Who was it that sent? It wasn’t the saint. It was Vincent Solano. He was kind of Vincent Solano, who was a union guy and a made guy up there. He kind of had which one. [40:11] He was a capo. And which crew was it? Do you remember? He was on the north side. North side crew. North side crew. And actually, Ken went to Vince Solano and had a talk with him. Said you know what i can do this he was looking at a tray i had a dude tell me what’s that pressure and tried to get him to talk and he said uh he said what am i gonna get out of this a tray he said man i can do a tray standing on my head and i threw him right then that’s right gotta talk to me so uh and that’s all he had to do but solano for some reason uh who knows what was in his head because uh ken Eto had made him a lot of money a lot of money and he was a tough little dude he had he had survived he had been put in the uh concentration camps if you will during the internment camps yeah internment camps and then came as a young man up chicago and been around for a long time by the time this all came down he’d been with him for a long time and made him a lot of money and all kinds of different gambling operations but particularly the bolita. [41:13] So uh it just didn’t make sense i heard one thing that these guys in chicago got the idea Yeah, to keep the noise down, they were loading their own rounds with lighter loads of powder. I don’t know. They had like a hit car up there. The guys in Chicago were pretty sophisticated or tried to be. And so they used these lighter loads. And when it went into his head, it just didn’t penetrate his skull. I remember I was at the hospital once, and there was a young guy who had gotten shot in the head. And they said that the bullet was not a good bullet because it went in under his skin and then went under his scalp, along his skull, and then lodged up on his forehead. [41:56] Wow. And so Eto was kind of the same way. Those bullets were probably lodged up underneath his scalp. He pulled himself to a neighboring, I believe it was a pharmacy that was right there, a corner store. And then that guy went to help him. I think he had to dial a call of 911 or whatever. 911 was in place then. He had to call for help for himself from a phone booth. You know, he saved his own life by being smart and playing dead. Yeah, that’s right. And you look at Chicago, it’s a city of neighborhoods, and you’ve got the Mexican town, and you’ve got the different towns, and you’ve got Chinatown where there’s so much money and so much gambling. And while Haneda was Japanese and there’s obviously division between Japanese and Chinese, it would be much easier for him to go in and then some of these outfit guys and because of different things going on back in the 50s, 60s, and 70s. But he could go into neighborhoods and represent the outfit in ways in different communities that the outfit wouldn’t go into or a lot of these made guys. [43:12] And that gave him entry into a lot of communities. In the Asian community, there’s a lot of gambling that he was able to tap into. He was smart enough to see that as a route that maybe the Italian guys didn’t, just like Lenny Patrick, who we’ve talked about in other episodes, had that access into the Jewish communities and other Jewish gangsters. There’s a lot of gambling there. If you can get somebody who has an in to different communities, that’s really a way to go and that’s part of why he made so much money. A game like BolEto wouldn’t normally be and that’s huge in the Hispanic communities and huge with Asians also. You know in kansas city that’s interesting that you should point that out camp we had a um large vietnamese community moved in after the the boat peoples when it started and they moved in through the same church uh. [44:09] Sacred Heart Church and Don Bosco Center that the Italians moved in, the Sicilians moved into back in the turn of the century, the same neighborhoods. And Italians are getting successful and they’re moving out the suburbs and the Vietnamese are moving in and creating the Vietnamese restaurants and Vietnamese shops. And they brought, they have a love for gambling. Like you said, they have huge love for gambling. They don’t drink so much or do so many drugs, but they do love to gamble, it seemed to me like. [44:36] And so they had their own book. he was called the king a guy a friend of mine told me a story uh there’s a mob book he got on the periphery that neighborhood’s got a joint and he he was running a sports book and he had a lot of action going in and out of his joint so this one vietnamese guy had a big debt owed to the king so he goes down and talks to this guy’s name was Larry Strada, he ends up getting killed by some other uh mobsters in a deal they thought he was going to testify but i just needed to hear are there, this young, middle-aged Vietnamese guy goes down to the Caddyshack, Larry Strada’s bar. And he starts telling him about the king. He said, man, he said, the king, you take all your business. He said, he got all business down here. He take all your business. He said, you know, you need to do something about the king. He said, you know, we’re close to the river here. And then he made a motion across his throat like he was cutting his throat. So he was trying to get out of his gambling debt to convince this Italian, La Cosa Nostra bookie to go back and kill me yeah king piano. [45:42] You know i’ve heard a lot of stories and some of them are true some are not that one had to ring a truth to it it had a definite ring of truth that that got to do that playing them against each other yeah you bet and you know another thing about tokyo joe and you know he could testify But Ben Solano had Campizé and Gattuso killed right away. Found them in the trunk of their car, I think. Maybe at the airport, even. [46:09] Chicago trunk music, but they have some saying like that. And so Solano knew that they could testify against him, and they didn’t want to go down for attempted murder, more than likely, and he just didn’t take a chance. So he had them killed, and I can’t remember if he went down behind this or not. But another thing Tokyo Joe was able to do, I mean, he certainly could expose all the inner workings of what he knew about to the FBI, which gives you a lot of tips on where to go, who to work on, and maybe where to throw up microphones or some wiretaps. But he also traveled around he came to Kansas City during the skimming trial because they’re working on the Chicago hierarchy. So they just fly him into town. They show him that picture, the last separate picture where everybody’s in the picture. And they say, now, who’s that? Oh, that’s Aiuppa. Okay, then who’s that? Oh, that’s Vince Solano. Yeah, he reports to Aiuppa. You know, and who’s that guy? I can’t remember the other people at all. So the nation said that Joe is up hard. Oh, yeah, he reports to this guy. So to show the organization of the mob in Chicago and that it is an organization that gives orders to have other people carry it to make the RICO case, that he was a storyteller for that. And he didn’t know anything about the skim at all. But he was a storyteller on getting the mob name and the organization in front of a jury. That’s huge, as you know, Paul. [47:35] Absolutely. We had a similar arrangement during the Carlesi trial about how [47:40] the Carlesi crew operated and who was who, and to tell the story. Yeah. You have to make it a story. Let’s take a look at Betty Toco, which, uh, this is pretty interesting. There was a, um, I’m not sure. Albert Toco was your husband. Remind me what his position was at the outfit at that time. So Al Toco was, there’s sort of a division on who was the leadership of, who was the central leader of Chicago Heights. There’s Dominic Tuts Palermo and Al Toco, who was really a powerhouse in Chicago Heights. And Tuts Palermo was definitely highly connected and across the pond too, also in Italy. But uh Toco was involved in the in the chop shop wars really really heavily involved and he had a lot of connections in chicago too he was involved with lombardo and a lot of these chop shops throughout chicago he had a lot of partnerships and so this was a 30 million dollar a year racket stolen cars chop shops international car rings uh car rings throughout stolen car rings throughout the country. Toco was responsible for burying the Spolatro brothers. It was very sectioned off. Each crew had a part in their murder. And then Chicago Heights was responsible for the burial. [49:02] And they were down in Enos, Indiana. They got kind of turned around a little bit. They were down a farm road. They were burying them in a freshly tilled field. And the road where they’re on, there’s a little side road that you would drive down. There’s very little down there. I’ve, I’ve seen it, but a car happened to come down middle of night and they were in a, there’s a, there were a couple of feet off of a wooded area and they see this car coming down and they sort of all panicked and before they had a chance to cover the area or really do anything, it just looked like a freshly dug, it really just looked like freshly dug mound. And so they all fled and three of Toco’s guys went one way and he went the other. They had the car in both radios. [49:46] He’s wandering around barefoot, and he calls his wife finally. She shows up, and he’s screaming and yelling. And he runs to Florida, and he’s waiting for permission to come back from Joe Ferriola. He’s worried he’s going to get killed because they find the Spallachos immediately because the farmer sees his field all messed up, freshly tilled ground, and it looks really suspicious, like somebody had been poaching deer and burying the carcass. Uh but Toco was a tyrant to his wife he was he was horrible to her he was he was when you think of what a mob guy was that was Toco you know tipping the guy who mows his lawn the kid who mows his lawn hundred bucks and wandered around town everybody knows him but he’d come home and unlike a lot of these guys he was he was a real you know a real. [50:36] Real bastard to his wife you know and for years she put up with this sort of abuse and finally after this this happened and it was in the news and all he finally pushed her too far and she began informing on him and and he was arrested later on he was in his jail cell talking about all the murders he had committed and and this and that about his wife and uh his his uh uh A cellmate repeated everything that he said to try and lessen his sentence. So really, Toco got buried by his big mouth and his terrible behavior. He initially fled to Greece before he was arrested, and they extradited him back from Greece. So this is, I mean, Toco is like deep in mob behavior. [51:22] I mean, fleeing the country and all. I mean, it doesn’t get much more mafia than Al Toco. I hesitate to use that word with Chicago, but that was, Al Toco was running deep. and that Betty Tocco’s testimony eventually led to the trial of Al Tocco. And that was really a blow to the Chicago Heights crew that nowadays, I mean, they continued on and had a few rackets, but after the eventual trial that stemmed from that, it really wasn’t, there’s not much activity now. I’m in that area and there’s just, there’s really nothing here. [51:59] Interesting. Now, so Tony and Michael Spilotro had been lured to somebody’s house on the promise that Michael was going to be made. It’s my understanding. I believe that’s what Frank Collada had reported. And some other people, not part of the Chicago Heights crew, killed him. How did that go down? And how did they pass off the body? You guys, is there anything out there about that? Wasn’t that the family secrets trial, maybe? It was. And, of course, it’s been popularly portrayed in the movie Casino. And it’s surprisingly accurate Except for the fact That where they were beaten But what happened was Little Jimmy Marcello called them. [52:41] And said Sam, meaning Sam Carlisi, the boss, wanted to see them. And they knew that that was ominous because of what was going on beyond the scope of this show. But they took off the jewelry. They left. They told their wives, if we’re not back by 930, it’s not good. They really did not suspect that it was to make Michael. That’s what Collada said. You’re absolutely right about that, Gary. But I don’t think that’s correct at all. They knew that it was bad. And they went. He took a pistol, which was against the rules. They hit him a pistol. Tony hit a pistol on his brother, which you do not do when you go to see the boss. And they were picked up by, by Marcello and taken to a house. I, uh, was it Bensonville? Yeah. Up in Bensonville. Uh, in, in the basement, they walked down the stairs and all of a sudden they looked into the eyes of Carlici and, uh, DeFranzo and everybody, the whole, all the couples were there to spread the, the, uh, liability around and they were beaten to death with, with fists and feet, uh, in, in that basement and then transported to that burial ground, which coincidentally was just maybe a couple hundred yards away from Joey Aupa’s farm. [54:00] Right. So I guess that they must have had, uh, Toco standing by, because I don’t believe he was in that basement. I like that. He must have had him standing by to go grab the bodies and take them out. Really interesting. He should have had the old Doug before he got there. You know, that’s what they always say. First you dig the hole then you go do the murder right and i don’t think he had it done before he got there yeah i don’t i really that’s a good that’s a good point gary i really don’t know and nobody’s ever come forward to say what the status of the hole was beforehand uh you know it was a deep it was a deep it was it was a pretty deep hole uh but they may have had a dug ahead of Tom, but, but, uh, cause they knew the location and it’s pretty obscure location. So they had clearly been there before. And, and, you know, everybody knew that that was, I, I hope was, I got it right. Farm. And, uh, So they may have had it dug, and they just did a shoddy job covering it up. [55:05] But I also haven’t heard the specific details about how they handed it off to Toco. I don’t recall seeing that in Calabrese’s testimony. Yeah, it was Nick Calabrese that testified about that. It brought up the light. He named the killer. So he may not have gone that far, probably having Toco and having his wife testify that he did do this. that she picked him up out there. It was just a piece of the entire prosecution on the spot, which it really never was a trial or anything on that. I don’t believe. Another odd thing is he, I believe he ranted and raved the entire car ride back. And from where he was, you would run up with, It’s now turns into Indianapolis. So it’s a good car ride from where they were to Chicago Heights. I believe he ranted and raved about the guys and his crew and the burial and everything, the entire car ride, which was not something most guys would do in front of their wives. But I really, especially when he treated like that. Right. And complained about how long it took her to get there and everything. So she was able to verify a lot of what Calabrese was saying from the final end of it. Interesting. A friend of mine was in the penitentiary, and he said, there’s a guy in there who called himself a verifier. He said, what do you mean? He said, I’m a professional verifier. What he was, he was an informant. That’s what he was, but he called himself a verifier. [56:33] A girl would come to him and say, well, I heard this, this, and this. Is that true or not? He’d say, well, that’s true. That’s not true. [56:40] I guess that’s a more preferable term. Yeah, she was a verifier. Well, that was great. I really appreciate having that on there and Paul. And I really, I still miss Cam. Every time I get ready to do a Chicago show, I think, oh, I want to get Cam or Rochester. [56:58] We did one about Rochester. We did one about Utica. I did several other shows about other families. And he was a good guy and a real great researcher and a real expert on the outfit and other mafia families. So rest in peace, Cam and Paul. I hope to talk to you again one of these days. Guys, don’t forget, I got stuff to sell out there. Just go to my website or just search on my name for Amazon. I can rent my movies about the skim in Las Vegas, about the big mob war between the Savella brothers and the Spiro brothers in Kansas City. Then one about the great 1946 ballot theft in which the mob… Rigged election, helped Harry Truman rig an election. It’s a little harder to find than mine. You need to put ballot theft and Gary Jenkins. I think you’ll find it then. The other two, Gangland Wire and Brothers Against Brothers, Sabella Spiro, were a little bit easier to find. Had to put it up a different way because Amazon changed the rules, but I got them up there. So thanks a lot, guys.

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's show features Asian Refugees United and Lavender Phoenix in conversation about art, culture, and organizing, and how artists help us imagine and build liberation. Important Links: Lavender Phoenix: Website | Instagram Asian Refugees United: Website | Instagram | QTViệt Cafe Collective Transcript: Cheryl: Hey everyone. Good evening. You tuned in to APEX Express. I'm your host, Cheryl, and tonight is an AACRE Night. AACRE, which is short for Asian Americans for Civil Rights and Equality is a network made up of 11 Asian American social justice organizations who work together to build long-term movements for justice. Across the AACRE network, our groups are organizing against deportations, confronting anti-blackness, xenophobia, advancing language justice, developing trans and queer leaders, and imagine new systems of safety and care. It's all very good, very important stuff. And all of this from the campaigns to the Organizing to Movement building raises a question that I keep coming back to, which is, where does art live In all of this, Acts of resistance do not only take place in courtrooms or city halls. It takes place wherever people are still able to imagine. It is part of how movements survive and and grow. Art is not adjacent to revolution, but rather it is one of its most enduring forms, and tonight's show sits in that very spirit, and I hope that by the end of this episode, maybe you'll see what I mean. I;d like to bring in my friends from Lavender Phoenix, a trans queer API organization, building people power in the Bay Area, who are also a part of the AACRE Network. This summer, Lavender Phoenix held a workshop that got right to the heart of this very question that we're sitting with tonight, which is what is the role of the artist in social movements? As they were planning the workshop, they were really inspired by a quote from Toni Cade Bambara, who in an interview from 1982 said, as a cultural worker who belongs to an oppressed people, my job is to make the revolution irresistible. So that raises a few questions worth slowing down for, which are, who was Toni Cade Bambara? What does it mean to be a cultural organizer and why does that matter? Especially in this political moment? Lavender Phoenix has been grappling with these questions in practice, and I think they have some powerful answers to share. So without further ado, I'd like to introduce you to angel who is a member of Lavender Phoenix. Angel: My name is Angel. I use he and she pronouns, and I'm part of the communications committee at LavNix. So, let's explore what exactly is the meaning of cultural work.  Cultural workers are the creators of narratives through various forms of artistic expression, and we literally drive the production of culture. Cultural work reflects the perspectives and attitudes of artists and therefore the people and communities that they belong to. Art does not exist in a vacuum. You may have heard the phrase before. Art is always political. It serves a purpose to tell a story, to document the times to perpetuate and give longevity to ideas. It may conform to the status quo or choose to resist it. I wanted to share a little bit about one cultural worker who's made a really big impact and paved the way for how we think about cultural work and this framework. Toni Cade Bambara was a black feminist, cultural worker, writer, and organizer whose literary work celebrated black art, culture and life, and radically supported a movement for collective liberation. She believed that it's the artist's role to serve the community they belong to, and that an artist is of no higher status than a factory worker, social worker, or teacher. Is the idea of even reframing art making as cultural work. Reclaimed the arts from the elite capitalist class and made clear that it is work, it does not have more value than or take precedence over any other type of movement work. This is a quote from an interview from 1982 when Toni Cade Bambara said, as a cultural worker who belongs to an oppressed people, my job is to make revolution irresistible. But in this country, we're not encouraged and equipped at any particular time to view things that way. And so the artwork or the art practice that sells that capitalist ideology is considered art. And anything that deviates from that is considered political, propagandist, polemical, or didactic, strange, weird, subversive or ugly. Cheryl: After reading that quote, angel then invited the workshop participants to think about what that means for them. What does it mean to make the revolution irresistible? After giving people a bit of time to reflect, angel then reads some of the things that were shared in the chat. Angel: I want my art to point out the inconsistencies within our society to surprised, enraged, elicit a strong enough reaction that they feel they must do something. Cheryl: Another person said, Angel: I love that art can be a way of bridging relationships. Connecting people together, building community. Cheryl: And someone else said. Angel: I want people to feel connected to my art, find themselves in it, and have it make them think and realize that they have the ability to do something themselves. Cheryl: I think what is rather striking in these responses that Angel has read aloud to what it means to make art that makes the revolution irresistible isn't just aesthetics alone, but rather its ability to help us connect and communicate and find one another to enact feelings and responses in each other. It's about the way it makes people feel implicated and connected and also capable of acting. Tony Cade Bambara when she poses that the role of cultural workers is to make the revolution irresistible is posing to us a challenge to tap into our creativity and create art that makes people unable to return comfortably to the world as is, and it makes revolution necessary, desirable not as an abstract idea, but as something people can want and move towards  now I'm going to invite Jenica, who is the cultural organizer at Lavender Phoenix to break down for us why we need cultural work in this political moment. . Speaker: Jenica: So many of us as artists have really internalized the power of art and are really eager to connect it to the movement.  This section is about answering this question of why is cultural work important.  Cultural work plays a really vital role in organizing and achieving our political goals, right? So if our goal is to advance radical solutions to everyday people, we also have to ask ourselves how are we going to reach those peoples? Ideas of revolution and liberation are majorly inaccessible to the masses, to everyday people. Families are being separated. Attacks on the working class are getting worse and worse. How are we really propping up these ideas of revolution, especially right in America, where propaganda for the state, for policing, for a corrupt government runs really high. Therefore our messaging in political organizing works to combat that propaganda. So in a sense we have to make our own propaganda. So let's look at this term together. Propaganda is art that we make that accurately reflects and makes people aware of the true nature of the conditions of their oppression and inspires them to take control of transforming this condition. We really want to make art that seeks to make the broader society aware of its implications in the daily violences, facilitated in the name of capitalism, imperialism, and shows that error of maintaining or ignoring the status quo. So it's really our goal to arm people with the tools to better struggle against their own points of views, their ways of thinking, because not everyone is already aligned with like revolution already, right? No one's born an organizer. No one's born 100% willing to be in this cause. So, we really focus on the creative and cultural processes, as artists build that revolutionary culture. Propaganda is really a means of liberation. It's an instrument to help clarify information education and a way to mobilize our people. And not only that, our cultural work can really model to others what it's like to envision a better world for ourselves, right? Our imagination can be so expansive when it comes to creating art. As organizers and activists when we create communication, zines, et cetera, we're also asking ourselves, how does this bring us one step closer to revolution? How are we challenging the status quo? So this is exactly what our role as artists is in this movement. It's to create propaganda that serves two different purposes. One, subvert the enemy and cultivate a culture that constantly challenges the status quo. And also awaken and mobilize the people. How can we, through our art, really uplift the genuine interests of the most exploited of people of the working class, of everyday people who are targets of the state and really empower those whose stories are often kept outside of this master narrative. Because when they are talked about, people in power will often misrepresent marginalized communities. An example of this, Lavender Phoenix, a couple years ago took up this campaign called Justice for Jaxon Sales. Trigger warning here, hate crime, violence against queer people and death. Um, so Jaxon Sales was a young, queer, Korean adoptee living in the Bay Area who went on a blind like dating app date and was found dead the next morning in a high-rise apartment in San Francisco. Lavender Phoenix worked really closely and is still connected really closely with Jaxon's parents, Jim and Angie Solas to really fight, and organize for justice for Jaxon and demand investigation into what happened to him and his death, and have answers for his family. I bring that up, this campaign because when his parents spoke to the chief medical examiner in San Francisco, they had told his family Jaxon died of an accidental overdose he was gay. Like gay people just these kinds of drugs. So that was the narrative that was being presented to us from the state. Like literally, their own words: he's dead because he's gay. And our narrative, as we continue to organize and support his family, was to really address the stigma surrounding drug use. Also reiterating the fact that justice was deserved for Jaxon, and that no one should ever have to go through this. We all deserve to be safe, that a better world is possible. So that's an example of combating the status quo and then uplifting the genuine interest of our people and his family. One of our key values at Lavender Phoenix is honoring our histories, because the propaganda against our own people is so intense. I just think about the everyday people, the working class, our immigrant communities and ancestors, other queer and trans people of color that really fought so hard to have their story told. So when we do this work and think about honoring our histories, let's also ask ourselves what will we do to keep those stories alive? Cheryl: We're going to take a quick music break and listen to some music by Namgar, an international ethno music collective that fuses traditional Buryat and Mongolian music with pop, jazz, funk, ambient soundscapes, and art- pop. We'll be back in just a moment with more after we listen to “part two” by Namgar.    Cheryl: Welcome back.  You are tuned in to APEX express on 94.1 KPFA and 89.3 KPFB B in Berkeley and online at kpfa.org.  That song you just heard was “part two” by Namgar, an incredible four- piece Buryat- Mongolian ensemble that is revitalizing and preserving the Buryat language and culture through music. For those just tuning in tonight's episode of APEX Express is all about the role of the artist in social movements. We're joined by members of Lavender Phoenix, often referred to as LavNix, which is a grassroots organization in the Bay Area building Trans and queer API Power. You can learn more about their work in our show notes. We talked about why cultural work is a core part of organizing. We grounded that conversation in the words of Toni Cade Bambara, who said in a 1982 interview, as a cultural worker who belongs to an oppressed people, my job is to make revolution irresistible. We unpacked what that looks like in practice and lifted up Lavender Phoenix's Justice for Jaxon Sales campaign as a powerful example of cultural organizing, which really demonstrates how art and narrative work and cultural work are essential to building power Now Jenica from Levner Phoenix is going to walk us through some powerful examples of cultural organizing that have occurred in social movements across time and across the world. Speaker: Jenica: Now we're going to look at some really specific examples of powerful cultural work in our movements. For our framework today, we'll start with an international example, then a national one, a local example, and then finally one from LavNix. As we go through them, we ask that you take notes on what makes these examples, impactful forms of cultural work. How does it subvert the status quo? How is it uplifting the genuine interest of the people? Our international example is actually from the Philippines. Every year, the Corrupt Philippines president delivers a state of the nation address to share the current conditions of the country. However, on a day that the people are meant to hear about the genuine concrete needs of the Filipino masses, they're met instead with lies and deceit that's broadcasted and also built upon like years of disinformation and really just feeds the selfish interests of the ruling class and the imperialist powers. In response to this, every year, BAYAN, which is an alliance in the Philippines with overseas chapters here in the US as well. Their purpose is to fight for the national sovereignty and genuine democracy in the Philippines, they hold a Peoples' State of the Nation Address , or PSONA, to protest and deliver the genuine concerns and demands of the masses. So part of PSONA are effigies. Effigies have been regular fixtures in protest rallies, including PSONA. So for those of you who don't know, an effigy is a sculptural representation, often life size of a hated person or group. These makeshift dummies are used for symbolic punishment in political protests, and the figures are often burned. In the case of PSONA, these effigies are set on fire by protestors criticizing government neglect, especially of the poor. Lisa Ito, who is a progressive artists explained that the effigy is constructed not only as a mockery of the person represented, but also of the larger system that his or her likeness embodies. Ito pointed out that effigies have evolved considerably as a form of popular protest art in the Philippines, used by progressive people's movements, not only to entertain, but also to agitate, mobilize and capture the sentiments of the people. This year, organizers created this effigy that they titled ‘ZomBBM,' ‘Sara-nanggal' . This is a play on words calling the corrupt president of the Philippines, Bongbong Marcos, or BBM, a zombie. And the vice president Sara Duterte a Manananggal, which is a, Filipino vampire to put it in short, brief words. Organizers burnt this effigy as a symbol of DK and preservation of the current ruling class. I love this effigy so much. You can see BBM who's depicted like his head is taken off and inside of his head is Trump because he's considered like a puppet president of the Philippines just serving US interests. Awesome. I'm gonna pass it to Angel for our national perspective. Angel: Our next piece is from the national perspective and it was in response to the AIDS crisis. The global pandemic of HIV AIDS began in 1981 and continues today. AIDS is the late stage of HIV infection, human immunodeficiency virus, and this crisis has been marked largely by government indifference, widespread stigma against gay people, and virtually no federal funding towards research or services for everyday people impacted. There was a really devastating lack of public attention about the seriousness of HIV. The Ronald Reagan administration treated the crisis as a joke because of its association with gay men, and Reagan didn't even publicly acknowledge AIDS until 19 85, 4 years into the pandemic. Thousands of HIV positive people across backgrounds and their supporters organize one of the most influential patient advocacy groups in history. They called themselves the AIDS Coalition to Unleash Power or ACT up. They ultimately organize and force the government and the scientific community to fundamentally change the way medical research is conducted. Paving the way for the discovery of a treatment that today keeps alive, an estimated half million HIV positive Americans and millions more worldwide. Sarah Schulman, a writer and former member of ACT Up, wrote a list of ACT UPS achievements, including changing the CDC C'S definition of aids to include women legalizing needle exchange in New York City and establishing housing services for HIV positive unhoused people. To highlight some cultural work within ACT Up, the AIDS activist artist Collective Grand Fury formed out of ACT Up and CR and created works for the public sphere that drew attention to the medical, moral and public issues related to the AIDS crisis. Essentially, the government was fine with the mass deaths and had a large role in the active killing off of people who are not just queer, but people who are poor working class and of color. We still see parallels in these roadblocks. Today, Trump is cutting public healthcare ongoing, and in recent memory, the COVID crisis, the political situation of LGBTQ people then and now is not divorced from this class analysis. So in response, we have the AIDS Memorial Quilt, this collective installation memorializes people who died in the US from the AIDS crisis and from government neglect. Each panel is dedicated to a life lost and created by hand by their friends, family, loved ones, and community. This artwork was originally conceived by Cleve Jones in SF for the 1985 candlelight March, and later it was expanded upon and displayed in Washington DC in 1987. Its enormity demonstrated the sheer number at which queer folk were killed in the hiv aids crisis, as well as created a space in the public for dialogue about the health disparities that harm and silence our community. Today, it's returned home to San Francisco and can be accessed through an interactive online archive. 50,000 individual panels and around a hundred thousand names make up the patchwork quilt, which is insane, and it's one of the largest pieces of grassroots community art in the world. Moving on to a more local perspective. In the Bay Area, we're talking about the Black Panther Party. So in October of 1966 in Oakland, California, Huey Newton and Bobby Seale founded the Black Panther Party for self-defense. The Panthers practiced militant self-defense of black communities against the US government and fought to establish socialism through organizing and community-based programs. The Black Panthers began by organizing arm patrols of black people to monitor the Oakland Police Department and challenge rampant rampant police brutality. At its peak, the party had offices in 68 cities and thousands of members. The party's 10 point program was a set of demands, guidelines, and values, calling for self-determination, full employment of black people, and the end of exploitation of black workers housing for all black people, and so much more. The party's money programs directly addressed their platform as they instituted a free B Breakfast for Children program to address food scarcity Founded community health clinics to address the lack of adequate, adequate healthcare for black people and treat sickle cell anemia, tuberculosis, and HIV aids and more. The cultural work created by the Black Panther Party included the Black Panther Party newspaper known as the Black Panther. It was a four page newsletter in Oakland, California in 1967. It was the main publication of the party and was soon sold in several large cities across the US as well as having an international readership. The Black Panther issue number two. The newspaper, distributed information about the party's activities and expressed through articles, the ideology of the Black Panther Party, focusing on both international revolutions as inspiration and contemporary racial struggles of African Americans across the United States. Solidarity with other resistance movements was a major draw for readers. The paper's international section reported on liberation struggles across the world. Under Editor-in-Chief, David Du Bois, the stepson of WEB Du Bois, the section deepened party support for revolutionary efforts in South Africa and Cuba. Copies of the paper traveled abroad with students and activists and were tra translated into Hebrew and Japanese. It reflected that the idea of resistance to police oppression had spread like wildfire. Judy Juanita, a former editor in Chief Ads, it shows that this pattern of oppression was systemic. End quote. Paper regularly featured fiery rhetoric called out racist organizations and was unabashed in its disdain for the existing political system. Its first cover story reported on the police killing of Denzel Doel, a 22-year-old black man in Richmond, California. In all caps, the paper stated, brothers and sisters, these racist murders are happening every day. They could happen to any one of us. And it became well known for its bold cover art, woodcut style images of protestors, armed panthers, and police depicted as bloodied pigs. Speaker: Jenica: I'm gonna go into the LavNix example of cultural work that we've done. For some context, we had mentioned that we are taking up this campaign called Care Not Cops. Just to give some brief background to LavNix, as systems have continued to fail us, lavender Phoenix's work has always been about the safety of our communities. We've trained people in deescalation crisis intervention set up counseling networks, right? Then in 2022, we had joined the Sales family to fight for justice for Jaxon Sales. And with them we demanded answers for untimely death from the sheriff's department and the medical examiner. Something we noticed during that campaign is that every year we watch as people in power vote on another city budget that funds the same institutions that hurt our people and steal money from our communities. Do people know what the budget is for the San Francisco Police Department? Every year, we see that city services and programs are gutted. Meanwhile, this year, SFPD has $849 million, and the sheriff has $345 million. So, honestly, policing in general in the city is over $1 billion. And they will not experience any cuts. Their bloated budgets will remain largely intact. We've really been watching, Mayor Lurie , his first months and like, honestly like first more than half a year, with a lot of concern. We've seen him declare the unlawful fentanyl state of emergency, which he can't really do, and continue to increase police presence downtown. Ultimately we know that mayor Lurie and our supervisors need to hear from us everyday people who demand care, not cops. So that leads me into our cultural work. In March of this year, lavender Phoenix had collaborated with youth organizations across the city, youth groups from Chinese Progressive Association, PODER, CYC, to host a bilingual care, not cops, zine making workshop for youth. Our organizers engaged with the youth with agitating statistics on the egregious SFPD budget, and facilitated a space for them to warm up their brains and hearts to imagine a world without prisons and policing. And to really further envision one that centers on care healing for our people, all through art. What I really learned is that working class San Francisco youth are the ones who really know the city's fascist conditions the most intimately. It's clear through their zine contributions that they've really internalized these intense forms of policing in the schools on the streets with the unhoused, witnessing ice raids and fearing for their families. The zine was really a collective practice with working class youth where they connected their own personal experiences to the material facts of policing in the city, the budget, and put those experiences to paper.   Cheryl: Hey everyone. Cheryl here. So we've heard about Effigies in the Philippines, the AIDS Memorial Quilt, the Black Panther Party's newspaper, the Black Panther and Lavender Phoenix's Care Cop zine. Through these examples, we've learned about cultural work and art and narrative work on different scales internationally, nationally, locally and organizationally. With lavender Phoenix. What we're seeing is across movements across time. Cultural work has always been central to organizing. We're going to take another music break, but when we return, I'll introduce you to our next speaker. Hai, from Asian Refugees United, who will walk us through, their creative practice, which is food, as a form of cultural resistance, and we'll learn about how food ways can function as acts of survival, resistance, and also decolonization. So stay with us more soon when we return.   Cheryl: And we're back!!. You're listening to APEX express on 94.1 KPFA, 89.3 KPFB in Berkeley. 88.1. KFCF in Fresno and online@kpfa.org. That was “Juniper” by Minjoona, a project led by Korean American musician, Jackson Wright.  huge thanks to Jackson and the whole crew behind that track.  I am here with Hai from Asian Refugees United, who is a member QTViet Cafe Collective. A project under Asian Refugees United. QTViet Viet Cafe is a creative cultural hub that is dedicated to queer and trans viet Liberation through ancestral practices, the arts and intergenerational connection. This is a clip from what was a much longer conversation. This episode is all about the role of the artist in social movements and I think Hai brings a very interesting take to the conversation. Hai (ARU): I think that what is helping me is one, just building the muscle. So when we're so true to our vision and heart meets mind and body. So much of what QTViet Cafe is, and by extension Asian refugees and like, we're really using our cultural arts and in many ways, whether that's movement or poetry or written word or song or dance. And in many ways I've had a lot of experience in our food ways, and reclaiming those food ways. That's a very embodied experience. We're really trying to restore wholeness and health and healing in our communities, in our bodies and our minds and our families and our communities that have been displaced because of colonization, imperialism, capitalism. And so how do we restore, how do we have a different relationship and how do we restore? I think that from moving from hurt to healing is life and art. And so we need to take risk and trying to define life through art and whatever means that we can to make meaning and purpose and intention. I feel like so much of what art is, is trying to make meaning of the hurt in order to bring in more healing in our lives. For so long, I think I've been wanting a different relationship to food. For example, because I grew up section eight, food stamps, food bank. My mom and my parents doing the best they could, but also, yeah, grew up with Viet food, grew up with ingredients for my parents making food, mostly my mom that weren't necessarily all the best. And I think compared to Vietnam, where it's easier access. And there's a different kind of system around, needs around food and just easier access, more people are involved around the food system in Vietnam I think growing up in Turtle Island and seeing my parents struggle not just with food, but just with money and jobs it's just all connected. And I think that impacted my journey and. My own imbalance around health and I became a byproduct of diabetes and high cholesterol and noticed that in my family. So when I noticed, when I had type two diabetes when I was 18, made the conscious choice to, I knew I needed to have some type of, uh, I need to have a different relationship to my life and food included and just like cut soda, started kind of what I knew at the time, exercising as ways to take care of my body. And then it's honestly been now a 20 year journey of having a different relationship to not just food, but health and connection to mind, body, spirit. For me, choosing to have a different relationship in my life, like that is a risk. Choosing to eat something different like that is both a risk and an opportunity. For me that's like part of movement building like you have to. Be so in tune with my body to notice and the changes that are needed in order to live again. When I noticed, you know, , hearing other Viet folks experiencing diet related stuff and I think knowing what I know also, like politically around what's happening around our food system, both for the vie community here and also in Vietnam, how do we, how can this regular act of nourishing ourselves both be not just in art, something that should actually just honestly be an everyday need and an everyday symbol of caregiving and caretaking and care that can just be part of our everyday lives. I want a world where, it's not just one night where we're tasting the best and eating the best and being nourished, just in one Saturday night, but that it's just happening all the time because we're in right relationship with ourselves and each other and the earth that everything is beauty and we don't have to take so many risks because things are already in its natural divine. I think it takes being very conscious of our circumstances and our surroundings and our relationships with each other for that to happen. I remember reading in my early twenties, reading the role of, bring Coke basically to Vietnam during the war. I was always fascinated like, why are, why is Coke like on Viet altars all the time? And I always see them in different places. Whenever I would go back to Vietnam, I remember when I was seven and 12. Going to a family party and the classic shiny vinyl plastic, floral like sheet on a round table and the stools, and then these beautiful platters of food. But I'm always like, why are we drinking soda or coke and whatever else? My dad and the men and then my family, like drinking beer. And I was like, why? I've had periods in my life when I've gotten sick, physically and mentally sick. Those moments open up doors to take the risk and then also the opportunity to try different truth or different path. When I was 23 and I had just like crazy eczema and psoriasis and went back home to my parents for a while and I just started to learn about nourishing traditions, movement. I was Very critical of the us traditional nutrition ideas of what good nutrition is and very adamantly like opposing the food pyramid. And then in that kind of research, I was one thinking well, they're talking about the science of broths and like soups and talking about hard boiling and straining the broth and getting the gunk on the top. And I'm like, wait, my mom did that. And I was starting to connect what has my mom known culturally that now like science is catching up, you know? And then I started just reading, you know, like I think that my mom didn't know the sign mom. I was like, asked my mom like, did you know about this? And she's like, I mean, I just, this is, is like what ba ngoai said, you know? And so I'm like, okay, so culturally this, this is happening scientifically. This is what's being shared. And then I started reading about the politics of US-centric upheaval of monocultural agriculture essentially. When the US started to do the industrial Revolution and started to basically grow wheat and soy and just basically make sugar to feed lots of cows and create sugar to be put in products like Coke was one of them. And, and then, yeah, that was basically a way for the US government to make money from Vietnam to bring that over, to Vietnam. And that was introduced to our culture. It's just another wave of imperialism and colonization. And sadly, we know what, overprocessed, like refined sugars can do to our health. And sadly, I can't help but make the connections with what happened. In many ways, food and sugar are introduced through these systems of colonization and imperialism are so far removed from what we ate pre colonization. And so, so much of my journey around food has been, you know, it's not even art, it's just like trying to understand, how do we survive and we thrive even before so many. And you know, in some ways it is art. 'cause I making 40 pounds of cha ga for event, , the fish cake, like, that's something that, that our people have been doing for a long time and hand making all that. And people love the dish and I'm really glad that people enjoyed it and mm, it's like, oh yeah, it's art. But it's what people have been doing to survive and thrive for long, for so long, you know? , We have the right to be able to practice our traditional food ways and we have the right for food sovereignty and food justice. And we have the right to, by extension, like have clean waters and hospitable places to live and for our animal kin to live and for our plant kin to be able to thrive. bun cha ga, I think like it's an artful hopeful symbol of what is seasonal and relevant and culturally symbolic of our time. I think that, yes, the imminent, violent, traumatic war that are happening between people, in Vietnam and Palestine and Sudan. Honestly, like here in America. That is important. And I think we need to show, honestly, not just to a direct violence, but also very indirect violence on our bodies through the food that we're eating. Our land and waters are living through indirect violence with just like everyday pollutants and top soil being removed and industrialization. And so I think I'm just very cognizant of the kind of everyday art ways, life ways, ways of being that I think that are important to be aware of and both practice as resistance against the forces that are trying to strip away our livelihood every day. Cheryl: We just heard from Hai of Asian refugees United who shared about how food ways function as an embodied form of cultural work that is rooted in memory and also survival and healing. Hai talked about food as a practice and art that is lived in the body and is also shaped by displacement and colonization and capitalism and imperialism. I shared that through their journey with QTV at Cafe and Asian Refugees United. High was able to reflect on reclaiming traditional food ways as a way to restore health and wholeness and relationship to our bodies and to our families, to our communities, and to the earth. High. Also, traced out illness and imbalance as deeply connected to political systems that have disrupted ancestral knowledge and instead introduced extractive food systems and normalized everyday forms of soft violence through what we consume and the impact it has on our land. And I think the most important thing I got from our conversation was that high reminded us that nourishing ourselves can be both an act of care, an art form, and an act of resistance. And what we call art is often what people have always done to survive and thrive Food. For them is a practice of memory, and it's also a refusal of erasure and also a very radical vision of food sovereignty and healing and collective life outside of colonial violence and harm. As we close out tonight's episode, I want to return to the question that has guided us from the beginning, which is, what is the role of the artist in social movements? What we've heard tonight from Tony Cade Bambara call to make revolution irresistible to lavender Phoenix's cultural organizing here, internationally to Hai, reflections on food ways, and nourishing ourselves as resistance. It is Really clear to me. Art is not separate from struggle. It is how people make sense of systems of violence and carry memory and also practice healing and reimagining new worlds in the middle of ongoing violence. Cultural work helps our movements. Endure and gives us language when words fail, or ritual when grief is heavy, and practices that connect us, that reconnect us to our bodies and our histories and to each other. So whether that's through zines, or songs or murals, newspapers, or shared meals, art is a way of liberation again and again. I wanna thank all of our speakers today, Jenica, Angel. From Lavender Phoenix. Hi, from QTV Cafe, Asian Refugees United, And I also wanna thank you, our listeners for staying with us. You've been listening to Apex Express on KPFA. Take care of yourselves, take care of each other, and keep imagining the world that we're trying to build. That's important stuff. Cheryl Truong (she/they): Apex express is produced by Miko Lee, Paige Chung, Jalena Keane-Lee, Preeti Mangala Shekar. Shekar, Anuj Vaidya, Kiki Rivera, Swati Rayasam, Nate Tan, Hien Nguyen, Nikki Chan, and Cheryl Truong  Cheryl Truong: Tonight's show was produced by me, cheryl. Thanks to the team at KPFA for all of their support. And thank you for listening!  The post APEX Express – January 1, 2026 – The Role of the Artist in Social Movements appeared first on KPFA.

Get in Babes, We're Going to the Cottage. Amy, Lia, and Megan take a departure from Seoul and dive headfirst in Canada to talk about our new obsession, the queer hockey romance TV series, Heated Rivalry, based on the Game Changers book series by Rachel Reid. This isn't a deep dive, and instead we discuss all the ways that the show's creator Jacob Tierney nails the romance novel conventions and gives us the best romance adaptation we have ever seen. Also, we learn rivalry is a hard word to say out loud repeatedly.Books mentioned:Hamartia by Scarlett DrakeShow Me Wonders by Riley NashThe Gentleman's Guide to Vice and Virtue by Mackenzi LeeReady to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for "thinky, thirsty and over thirty" takes on Bangtan life. ★ Support this podcast on Patreon ★

Friends in Bangtan...Well, we've made it. Half the world is already in 2026, and your hosts today (Lia and Megan) are almost there. 2026 = BTS Year. For many ARMY, it will be our first big OT7 comeback. It's time to start adjusting eyes and blinking around at this new purple-hued world. Join us for a quick recap on the most famous cat reveal in history (3 cats hard launched this month), and a round up on member news. Also, it's been noted Namjoon can't stop/won't stop referencing Ddaeng. Is our spoiler king coming through with a new year treat? Get in the clown car, baby. Time to ride.Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Check out our sister pod www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest members of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Want to find more great BTS content? Head over to Afternoona Army for more takes on Bangtan life and links to our social media.

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. 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. APEX Express and Lavender Phoenix are both members of AACRE, Asian Americans for Civil Rights and Equality. AACRE focuses on long-term movement building, capacity infrastructure, and leadership support for Asian Americans and Pacific Islanders committed to social justice.   To learn more about Lavender Phoenix, please visit their website. You can also listen to a previous APEX Express episode honoring Lavender Phoenix's name change.    Miata Tan: ​[00:00:00] Hello and welcome. You are tuning in to APEX Express, a weekly radio show uplifting the voices and stories of Asian Americans. I am your host, Miata Tan. And before we get started, I wanted to let you know that this show was recorded on December 16th, 2025. Things may have changed by the time you hear this. I also wanted to take a moment to acknowledge [00:01:00] some recent gun violence tragedies, not only in the US but globally. As you might be able to tell from my accent, I'm Australian.  Over the weekend, 15 people were killed in Sydney, on Bondi Beach in a mass shooting. The likes not seen in 30 years. . Australia's gun control laws are different to the US in a number of ways that I won't get into right now, but this massacre is one of the few we've seen since the nineties. In the US we've also seen the shooting at Brown University where two of their students were killed by a still active shooter. It's strange. Guns and weapons are horrific. Tools used to take the life of people every day globally. An everyday occurrence now brings a degree of complacency. Although you personally might not have been [00:02:00] impacted by these recent shootings, the wars going on abroad, or government attacks on immigrant communities, and ICE deportation cases taking place here in America, the impact of horrific acts of violence have ripple effects that spread across this country and world. Careless violence motivated by hate for another be that racially charged conflicting ideologies. It's all awful. And I, and I guess I wanted to acknowledge that here at the top of this episode. Profound hatred and judgment toward others is not only incredibly sad, it's self-defeating. And I don't mean to sound all preachy and I understand it's December 25th and perhaps you're sick of the sound of my voice and you're about to change the station. In all honesty, I, I would've by [00:03:00] now. It's easy to tune out suffering. It's easy to tune out violence, but if you're still listening. Today, as many of us are gathering for the holiday ,season, whether or not you believe in a higher power or acknowledge that big guy in a red suit that brings kids presents, I invite you to sit with some of these thoughts. To acknowledge and reflect on the violence that exists around us, the hatred and dehumanization. We as humans are capable of feeling toward one another. Let's just sit here for a moment with that uncomfortability. Now. Think, what can I do today to make another's life [00:04:00] just that tiny bit brighter? Okay. Now to reintroduce myself and this show, my name is Miata Tan and this is APEX Express. A show that honors Asian American communities far and wide, uplifting the voices of artists, activists, organizers, and more. We have two incredible guests today from Lavender Phoenix, a Bay Area based organization supporting queer and trans Asian and Pacific Islander youth. I really enjoyed my conversation with these two, and I'm sure you will as well. And a quick note throughout both of these conversations, you'll hear us referring to the organization as both Lavender Phoenix and it's very cute nickname Lav Nix. Without further ado, here's [00:05:00] my conversation with Yuan Wang, the outgoing director at Lavender Phoenix.   Miata Tan: Yuan, thank you so much for joining us today. Would you be able to share a little bit about yourself with our listeners to get started?  Yuan Wang: Yeah. I'm so excited to be here. , My name is Yuan. My pronouns are she, and they, and I'm actually the outgoing executive director of Lavender Phoenix. You're catching me on my second to last week in this role after about four years as the executive director, and more years on our staff team as an organizer and also as a part of our youth summer organizer program. So this is a really exciting and special time and I'm really excited to reflect about it with you.  Miata Tan: Yay. I'm so excited. I'd love for you to give us an overview of Lavender Phoenix and the work that y'all do, what communities you support,  Yuan Wang: Lavender Phoenix was founded about 21 years ago, and we are based in the Bay [00:06:00] Area. We're a grassroots organization that builds the power of transgender non-binary and queer Asian and Pacific Islander communities right here in the Bay. Right now our work focuses on three major Areas. The first is around fighting for true community safety. There are so, so many ways that queer, trans, and more broadly, uh, working class communities in the San Francisco Bay Area. Are needing ways to keep ourselves and each other safe, that don't rely on things like policing, that don't rely on things like incarceration that are actually taking people out of our communities and making us less safe. The second big pillar of our work is around healing justice. We know that a lot of folks in our community. Struggle with violence, struggle with trauma, struggle with isolation, and that a lot of the systems that exist aren't actually really designed for queer and trans API people, to thrive and feel connected. And [00:07:00] so, we've been leading programs and campaigns around healing justice. And the last thing is we're trying to build a really principled, high integrity leaderful movement. So we do a ton of base building work, which just means that, everyday queer and trans API people in our community can come to Lavender Phoenix, who want to be involved in organizing and political work. And we train folks to become organizers. Miata Tan: And you yourself came into Lavender Phoenix through one of those programs, is that right?  Yuan Wang: Yeah. Um, that is so true. I came into Lavender Phoenix about seven or eight years ago through the Summer organizer program, which is kind of our flagship youth organizing fellowship. And I was super lucky to be a part of that.  Miata Tan: How has that felt coming into Lavender Phoenix? Like as a participant of one of those programs? Yeah. And now, uh, over the past few years, being able to [00:08:00] lead the organization?  Yuan Wang: Yeah. It feels like the most incredible gift. I share this a lot, but you know, when I had come into Lavender Phoenix through the summer organizer program, I had already had some experience, doing organizing work, you know, doing door knocking, working on campaigns. but I really wanted to be in a space where I felt like I could be all of myself, and that included being trans, you know, that included. Being in a really vulnerable part of my gender transition journey and wanting to feel like I was around people all the time who maybe were in a similar journey or could understand that in a really intimate way. I really found that at Lavender Phoenix. It was pretty unbelievable, to be honest. I remember, uh, the first day that I walked in. There were members and volunteers leading a two hour long political education that was just about the histories of trans and non-binary people in different Asian and Pacific Islander communities. So just being in a room [00:09:00] full of people who shared my identities and where, where we were prioritizing these histories was really, really exciting. I think for the years it's just been so amazing to see Lavender Phoenix grow. The time when I joined, we had a totally different name. It was API equality, Northern California, or we called ourselves a pink and we were really focused on projects like the Dragon Fruit Project, which was a, a series of more than a hundred oral histories that we did with elders and other members members of our community. Things like the Trans Justice Initiative, which were our first efforts at really building a community that was trans centered and that was, was building trans leaders. And now those things are so deeply integrated into our work that they've allowed us to be focused on some more, I think what we call like issue based work, and that that is that community safety, healing justice work. That I mentioned earlier. So, it's just been amazing to witness multiple generations of the organization that has shaped [00:10:00] me so much as a person.  Miata Tan: That's really nice. Seven, eight years that, that whole  Yuan Wang: Yeah, I joined in 2018 in June, so you can maybe do, I think that's about seven and a half years. Yeah. I'm bad at math though.  Miata Tan: Me too. So you've been executive director since late 2021 then? This, these few years since then we've seen a lot of shifts and changes in our I guess global political culture and the way conversations around racial solidarity issues mm-hmm. as you've navigated being executive director, what, what has changed in your approach maybe from 2021 till this year? 2025?  Yuan Wang: Wow, that's such an interesting question. You're so right to say that. I think for anyone who's listening, I, I imagine this resonates that the last four years have [00:11:00] been. Really a period of extraordinary violence and brutality and grief in our world. And that's definitely true for a lot of folks in Lavender Phoenix. You mentioned that we've been living through, you know, continued pandemic that our government is providing so little support and recognition for. We've seen multiple uprisings, uh, in the movement for black lives to defend, you know, and, and bring dignity to the lives of people who were killed and are police. And obviously we're still facing this immense genocide in Gaza and Palestine bombings that continue. So I think if there's, if there's anything that I could say to your question about how my approach has changed. I would say that we as a whole, as an organization have had to continue to grow stronger and stronger in balancing our long-term vision. Intensifying urgent needs of right now and [00:12:00] balancing doing the work that it takes to defend our people and try to change institutions with the incredible and at times overwhelming grief of living in this moment. Yeah, you know, in this past year, um. Have been members of our community and, and our larger community who have passed away. Uh, I'm sure there are some listeners who know, Alice Wong, Patty by architects of the disability justice movement that Lavender Phoenix has learned so much from who have passed away. And we've had to balance, you know. Like one week there's threats that the National Guard and that ICE will be deployed and even higher numbers to San Francisco and, and across the Bay Area. And oh my gosh, so many of us are sitting with an incredible personal grief that we're trying to hold too. So, I think that's been one of the biggest challenges of the last few years is, is finding that balance. Yeah. I can say that some of the things that I feel proudest of are, [00:13:00] you know, just as an example, in our healing justice work, over the past four years, our members have been architecting a, a trans, API peer counseling program. And, through that program they've been able to provide, first of all, train up. So many trans API, people as skilled, as attentive, as loving peer counselors who are then able to provide that. Free, uh, accessible peer mental health support to other people who need it. So I think that's just one example. Something that gives me a lot of hope is seeing the way that our members are still finding ways to defend and love and support each other even in a time of really immense grief.  Miata Tan: That's really beautiful and it's important that you are listening to your community members at this time. How do you, this is kind of specific, but how do you all gather together? Yeah, Yuan Wang: yeah. You know, I feel really lucky 'cause I think for the last 10 years we, Lavender Phoenix as a whole, even before I was a part of it, has been [00:14:00] building towards a model of really collective governance. Um, and, and I don't wanna make it sound like it. You know, it's perfect. It's very challenging. It's very hard. But I think like our comrades at Movement generation often say, if we're not prepared to govern, then we're not prepared to win. And we try to take that, that practice really seriously here. So, you know, I think that, that getting together. That making decisions with each other, that making sure that members and staff are both included. That happens at like a really high strategic level. You know, the three pillars of our theory of change that I mentioned earlier, those were all set through a year of strategy retreats between our staff, but also a. 10 to 15 of our most experienced and most involved members who are at that decision making. The same comes for our name, uh, Lavender Phoenix. You know, it was, it was really our core committee, our, our member leaders who helped decide on that name. And then we invited some of our elders to speak about what it meant for them, for us to choose Lavender Phoenix, because it was an homage to the work [00:15:00] so many of our elders did in the eighties and nineties. It also looks like the day-to-day, because a lot of our work happens through specific committees, whether it's our community safety committee or healing justice committee. Um, and those are all committees where there's one staff person, but it's really a room of 5, 10, 15 members who are leading community safety trainings. The peer counseling program, training new members through our rise up onboarding, um, and setting new goals, new strategic targets every single year. So, it's always in progress. We're in fact right now working on some challenges and getting better at it, but we're really trying to practice what governing and self-determination together looks like right in our own organization. Miata Tan: And a lot of these people are volunteers too.  Yuan Wang: yeah, so when I joined the organization there were two staff, two mighty staff people at the time. We've grown to nine full-time staff people, but most of our organization is volunteers. [00:16:00] Yeah. And we call those folks members, you know, committed volunteers who are participants in one of our committees or projects. Um, and I believe right now there's about 80 members in Lavender Phoenix.  Miata Tan: Wow. It's wonderful to hear so much growth has happened in, um, this period that you've been with Lavender Phoenix. The idea of empowering youth, I think is core to a lot of Lavender Phoenix's work. What has that looked like specifically in the last few years, especially this year? Yuan Wang: Yeah, the  Miata Tan: challenges.  Yuan Wang: That's a great question. I think, um, you know, one of those ways is, is really specifically targeted towards young people, right? It's the summer organizer program, which I went through many years ago, and our previous executive director was also an alumnus of the summer organizer program, but that's, you know, an eight to 10 week fellowship. It's paid, it's designed specifically for young trans and queer API people who are working class, who grew up in the [00:17:00] Bay to organize with us and, and really. Hopefully be empowered with tools that they'll use for the next decade or for the rest of their life. But I'll also say, you know, you mentioned that Lavender Phoenix has grown so much in the last few years, and that is such a credit to folks who were here 10 years ago, even 15 years ago, you know, because, the intergenerational parts of our work started years before I was involved. You know, I mentioned earlier the Dragon Fruit Project where we were able to connect so, so many elders in our community with a lot of younger folks in our community who were craving relationships and conversations and like, what happened in the eighties? What happened in the nineties, what did it feel like? Why are you still organizing? Why does this matter to you? And we're actually able to have those conversations with folks in, in our community who. Have lived and fought and organized for decades already. So I think that was like one early way we started to establish that like intergenerational in our work.[00:18:00]  And a lot of those folks have stayed on as volunteers, as supporters, some as members, and as donors or advisors. So I feel really lucky that we're still benefiting in terms of building the leadership of young people, but also intergenerational reality overall because of work that folks did 10 years ago. Miata Tan: That's really important. Having those, those ties that go back. Queer history is so rich, especially in the, in the Bay Area. And there's a lot to honor.  With the intersection between queer and immigrant histories here, I wonder if you have anything that comes to mind. Yuan Wang: I think that queer and immigrant histories intersect in the lives of so many of our, our members and, and the people who are inspiration too. You know, I'm not sure that. I think a lot of listeners may not know that Lavender Phoenix is as a name. It's an homage to Lavender, Godzilla, [00:19:00] and Phoenix Rising, which were two of the first publications. They were newsletters launched back in the eighties by groups of. Uh, trans and queer API, folks who are now elders and who were looking around, you know, learning from the Black Power movement, learning from solidarity movements in the Bay Area, and saying we really need to create spaces where. Trans and queer Asian Pacific Islanders can talk about our journeys of migration, our family's journeys as refugees, our experiences with war, and then also about love and joy and finding friendship and putting out advertisements so that people could get together for potlucks. So yeah, I think, um, there's so much about the intersection of immigrant and queer and trans journeys that have been. Just even at the root of how we name ourselves and how we think of ourselves as an or as an organization today.  Miata Tan: I think today, more than ever all of these [00:20:00] communities feel a little more than a little under threat,  Yuan Wang: we could say so much about that. I think one thing that we're really paying attention to is, uh, we're seeing in different communities across the country, the ways in which the right wing is. Uh, kind of wielding the idea of trans people, uh,  the perceived threat that trans people pose. As a wedge issue to try to build more more power, more influence, more connections in immigrant communities and in the process like really invisiblizing or really amplifying the harm that immigrant, trans and queer. People experience every single day. So I think something that we're thinking about on the horizon, you know, whether it's, uh, partnering with organizations in California or in the Bay Area or across the country who are doing that really critical base building work, power building work in immigrant communities is trying to ask, you know. How do we actually proactively as [00:21:00] progressives, as people on the left, how do we proactively have conversations with immigrant communities about trans and queer issues, about the, uh, incredibly overlapping needs that trans and queer people in all people who are marginalized right now have in these political conditions? Um, how can we be proactive about those combinations and making those connections so that, we can kind of inoculate folks against the way that the right wing is targeting trans people, is fear mongering about trans people and trying to make inroads in immigrant communities. Yeah. That's one thing on our radar for the future. Miata Tan: That's so important. Kind of, breaking down those, those stereotypes Yuan Wang: totally breaking down stereotypes, breaking down misinformation. And yeah, it reminds me of a few years ago Lavender Phoenix held a few conversations with a partner organization of ours where there were some younger folks from our organization who are talking to some older immigrant members of that organization and we're just [00:22:00] connecting about, the sacred importance of, parenting trans and queer kids right now of, you know, and, and just having conversations that actually humanize all of us rather than buying into narratives and stories that that dehumanize and, and that flatten us. Yeah. Um, so that we can defend ourselves from the way that the right wing is trying to hurt immigrant communities and trans and queer communities. Miata Tan: the youth that you work directly with each week. Is there anything as you reflect back on your, your time with Laxs that really stand out, things that folks have said or led conversations in?  Yuan Wang: Oh my gosh. Yeah. I mean, I, I could, I could celebrate things that I've witnessed every single year. You know, we the young people in the summer organizer program experience so, so much in, in many ways it's kind of like the faucets, like all the way on, you know, like there's, [00:23:00] they're learning so much about skills and values and projects and, you know, just as some examples this last summer, we had a team of summer organizers who helped lead an event that was about COVID safety and disability justice, where people actually got together to build DIY air filters that could hopefully, you know, make them feel safer in their own homes. And, um, in previous years we've had summer organizers work on the peer counseling program. There's so much that folks have done. I think what I actually hear year after year is oftentimes the thing that sticks out the most, it isn't necessarily just the project, it isn't necessarily like the hard skill training. It's people saying every single week during our team check-ins, someone shared an affirmation with me. I felt more seen. It's people saying, you know, I didn't expect that we were gonna do a three hour training. That was just about why it's so important [00:24:00] to ask for help and why that can be so, so difficult for, um, for queer and trans young folks. It's folks saying, you know, even speaking for myself actually. I remember being a summer organizer and one of, uh, my close friends now one of our elders, Vince spoke on a panel for us and, talked about what it was like to be young during the height of the hiv aids crisis, you know, when the government was neglecting to care for folks and so many members of our community were dying without care, were, were passing away without support. And all of the lessons that Vince took from that time holds now, decades later that still make him feel more hopeful, more committed, more full as a person. Um, that meant so much to me to hear when I was 21 and, still feeling really scared and really lonely, about the future. So I think it's those, I, I wouldn't even call them like softer skills, but the [00:25:00] incredible st. Sturdiness and resilience that building long-term relationships creates that seeing people who show you a potential path, if it's been hard to imagine the future. And that building the skills that make relationships more resilient. I feel like it's those things that always stand out the most to a lot of our young people. And then to me, I see them grow in it and be challenged by those things every single year. I feel really good. 'cause I know that at the end of the summer organizer program, there's a group of young, queer and trans API rising leaders who are gonna bring that level of rigorous kindness, attentive attentiveness to emotions, um, of vulnerability that creates more honesty and interdependence. They're gonna be taking that to an another organization, to another environment, to another year in our movement. That makes me feel really happy and hopeful.  Miata Tan: Yes. Community.  Yuan Wang: Yeah.  Miata Tan: . [00:26:00] Looking towards that bright future that you, you shared just now Tina Shelf is coming on as the executive director. What are your hopes for 2026 Yuan Wang: yeah. You know, I'm, I'm so excited that we're welcoming Tina and we're really lucky because Tina joined us in August of this year. So we've had a good, like five months to overlap with each other and to really, um, for all of us, not just me, but our staff, our members, to really welcome and support Tina in onboarding to the role. I feel incredibly excited for Lavender Phoenix's future. I think that in this next year, on one hand, our Care Knock Cops campaign, which has been a huge focus of the organization where uh, we've been rallying other organizations and people across San Francisco to fight to direct funding from policing to. To protect funding that's being threatened every year for housing, for healthcare, for human services that people really [00:27:00] need. I think we're gonna see that campaign grow and there are so many members and staff who are rigorously working on that every single day. And on the other hand, I think that this is a time for Lavender Phoenix to really sturdy itself. We are in we're approaching, the next stage of an authoritarian era that we've been getting ready for many years and is in other ways as so many folks are saying new and unprecedented. So I think, um, a lot of our work in this next year is actually making sure that our members' relationships to each other are stronger, making sure that, responsibility, is shared in, in, in greater ways that encourage more and more leadership and growth throughout our membership so that we are more resilient and less res reliant on smaller and smaller groups of people. I think you're gonna see our program and campaign work continue to be impactful. And I'm really hopeful that when we talk again, maybe in two years, three years, five years, we're gonna be [00:28:00] looking at an organization that's even more resilient and even more connected internally.  Miata Tan: It's really important that y'all are thinking so long term, I guess, and have been preparing for this moment in many ways. On a personal note, as you are coming to an end as executive director, what's what's next for you? I'd love to know.  Yuan Wang: Yeah, that's such a sweet question. I'm going to, I'm gonna rest for a little bit. Yeah. I haven't taken a sustained break from organizing since I was 18 or so. So it's been a while and I'm really looking forward to some rest and reflection. I think from there. I'm gonna figure out, what makes sense for me in terms of being involved with movement and I'm, I'm certain that one of those things will be staying involved. Lavender Phoenix as a member. Really excited to keep supporting our campaign work. Really excited to keep supporting the organization as a whole just from a role that I've never had as a volunteer member. So, I'm just psyched for that and I can't [00:29:00] wait to be a part of Lavender Phoenix's future in this different way.  Miata Tan: Have fun. You'll be like on the other side almost. Yeah,  Yuan Wang: totally. Totally. And, and getting to see and support our incredible staff team just in a different way.  Miata Tan: One final question As you are sort of moving into this next stage, and this idea of community and base building being so incredibly important to your work and time with Lavender Phoenix, is there anything you'd like to say, I guess for someone who might be considering. Joining in some way or Yeah. Where they could get involved, but they're not, not quite sure. Yuan Wang: Yeah, absolutely. Um, I think that if you are a queer and trans, API person who is looking for community, um, looking to channel what you care about into action, looking to be with other people who care about you Lavender Phoenix is here. [00:30:00] And I think that there is no more critical time. Than the one we're in to get activated and to try to organize. ‘Cause our world really needs us right now. The world needs all of us and it also really needs the wisdom, the experience, and the love of queer and trans people. So, I will be rejoining our membership at some point and I'd really like to meet you and I hope that we get to, to grow in this work and to, um, to fight for our freedom together. Miata Tan: Thank you so much. We, this was a really lovely conversation.  Yuan Wang: Yeah, thank you so much And also welcome Tina. Good luck. [00:31:00] [00:32:00] [00:33:00]  Miata Tan: That was the Love by Jason Chu, featuring Fuzzy. If you're just joining us, you are tuned into APEX Express on 94.1 KPFA, 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno and [00:34:00] online@kpfa.org. I am your host, Miata Tan, and today we are joined by the Lavender Phoenix team at a transitional point in the organization's story. Our next guest is Tina Shauf-Bajar, the incoming director of this local organization, supporting queer and trans Asian and Pacific Islander Youth. As a reminder throughout this conversation, you'll hear us referring to the org as both Lavender, Phoenix and Lani.     Miata Tan: Hi Tina. Tina Shauf-Bajar: Hi Miata.  Miata Tan: How you going today? Tina Shauf-Bajar: I'm doing well, thank you. How are you? Miata Tan: Yeah, not so bad. Just excited to speak with you. tell me more about yourself what's bringing you into Lavender Phoenix. Tina Shauf-Bajar: Sure, sure. Well I am the incoming executive director of Lavender Phoenix. Prior to this, I was working at the California Domestic Workers Coalition [00:35:00] and had also worked at the Filipino Community Center and, um, have done some grassroots organizing, building, working class power, um, over the last 20 years, of my time in the Bay Area. And I've been alongside Lavender Phoenix as an organization that I've admired for a long time. Um, and now at the beginning of this year, I was I had the opportunity to apply for this executive director position and talked with un, um, had a series of conversations with UN about, um, what this role looks like and I got really excited about being a part of this organization. Miata Tan: That's super cool. So you, you, you weren't quite in the space with Lavender Phoenix, but moving alongside them through your work, like what were what were the organizations that you were part of when you were, were working in tandem, I guess. Tina Shauf-Bajar: Well the organization that I feel like is most, most closely, relates with Lavender. Phoenix is, [00:36:00] um, Gabriela, which is a Filipino organization. It's a Filipino organization that's a part of a national democratic movement of the Philippines. And we advance national democracy in the Philippines. And, liberation for our people and our homeland. Sovereignty for our homeland. And Gabriela here in the US does organizing with other multi-sectoral organizations, including like migrant organizations, like Ante and youth organizations like Naan and we organize in diaspora. And the reason for that is because many of our families actually leave the Philippines due to, um, corrupt government governance, um, also like foreign domination and exploitation and plunder of our resources. And so many of us actually have to leave our countries to, to survive. And so we're still very connected. Gabriela is still very connected to, [00:37:00] um, the movement in the Philippines. And yeah, so we're advancing liberation for our people and have been alongside Lavender Phoenix for many years. And here we are. Miata Tan: That's beautiful. I love hearing about, all of these partnerships and, and colLavoration works that happen in the San Francisco Bay Area and, and beyond as well. it sounds like you're speaking from a personal place when you talk about, um, a lot of these immigrant communities. Could you speak more to your family background and what brings you into this? Tina Shauf-Bajar: The, the fight for immigrant justice? So I was born in the Philippines and um, I spent my childhood and adolescent since the, in the South Bay of LA and then came here to the Bay Area in the year 2000. Flashing back to when my parents immigrated here, my dad's family first came to the US um, by way of the Bay Area in the late sixties and [00:38:00] early seventies. My dad actually was a few years after he had arrived, was uh, drafted into the military so that they can send him to Vietnam, but instead of going to Vietnam, he took the test to go into the Air Force and traveled everywhere in the Air Force and ended up in the Philippines and met my, met my mom there. And so. That became like they got married and they had me, I was born in the Philippines. I have a younger sibling. And, um, and I think, um, growing up in, in a working class immigrant neighborhood black and brown neighborhood, um, it was always important to me to like find solidarity between. Between communities. I actually grew up in a neighborhood that didn't have a lot of Filipinos in it, but I, I felt that solidarity knowing that we were an immigrant family, immigrant, working class family. And when I was in [00:39:00] college, when I went to college up in, in Berkeley, um, that was the time when the war on Iraq was waged by the US. I got really I got really curious and interested in understanding why war happens and during that time I, I feel like I, I studied a lot in like ethnic studies classes, Asian American studies classes and also, got involved in like off campus organizing and um, during that time it was with the Filipinos for Global Justice Not War Coalition. I would mobilize in the streets, in the anti-war movement during that time. Um, and from there I met a lot of the folks in the national democratic movement of the Philippines and eventually joined an organization which is now known as Gabriela. And so. That was my first political home that allowed me to understand my family's experience as [00:40:00] immigrants and why it's important to, to advance our rights and defend our, defend our people. And also with what's happening now with the escalated violence on our communities it. It's our duty to help people understand that immigrants are not criminals and our people work really hard to, to provide for our families and that it's our human right to be able to work and live in dignity, uh, just like anyone else. Miata Tan: You are speaking to something really powerful there. The different communities that you've been involved with, within the Filipino diaspora, but who are some other immigrant folks that you feel like have really helped shape your political awakening and, and coming into this space, and also how that leads into your work with Lav Nix today?  Tina Shauf-Bajar: When I was working at the Filipino [00:41:00] community center that gave me a, gave me a chance to learn to work with other organizations that were also advancing, like workers' rights and immigrant rights. Many centers in San Francisco that, um, work with immigrant workers who. Wouldn't typically like fall into the category of union unionized workers. They were like workers who are work in the domestic work industry who are caregivers, house cleaners and also we worked with organizations that also have organized restaurant workers, hotel workers. In like non-union, in a non-union setting. And so to me I in integrating in community like that, it helped me really understand that there were many workers who were experiencing exploitation at really high levels. And that reregulate like regulation of, um, Lavor laws and things like that, it's like really. [00:42:00] Unregulated industries that really set up immigrant workers in, in really poor working conditions. Sometimes abusive conditions and also experiencing wage theft. And for me, that really moved me and in my work with Gabriela and the community and the Filipino Community Center, we were able to work with, um. Teachers who actually were trafficked from the Philippines. These teachers actually, they did everything right to try to get to the, the US to get teaching jobs. And then they ended up really paying exorbitant amount of, of money to like just get processed and make it to the us. To only find themselves in no teaching jobs and then also working domestic work jobs just to like survive. And so during that time, it really like raised my consciousness to understand that there was something bigger that wa that was happening. The, [00:43:00] the export of our people and exploitation of our people was happening, not just at a small scale, but I learned over time that. Thousands of Filipinos actually leave the Philippines every day just to find work and send money back to their families. And to me that just was like throughout my time being an activist and organizer it was important to me to like continue to, to like advance poor, working class power. And that I see that as a through line between many communities. And I know that like with my work in Lav Nix that the folks who experience it the most and who are most impacted by right-wing attacks and authoritarianism are people who are at the fringes. And born working class trans and queer people. Within our [00:44:00] sector. So yeah. Being rooted in this, in this principle of advancing foreign working class power is really core to my to my values in any work that I do. Miata Tan: What are some other key issue Areas you see that are facing this community and especially queer folks within Asian American communities today? Tina Shauf-Bajar: The administration that we're under right now works really hard to drive wedges between. All of us and, um, sewing division is one of the t tactics to continue to hoard power. And with Lavender Phoenix being a trans and queer API organization that's building power, it's important for us to understand that solidarity is a thing that that's gonna strengthen us. That that trans and queer folks are used as wedges in, in [00:45:00] conservative thinking. I'm not saying that like it's just conservatives, but there's conservative thinking in many of our cultures to think that trans and queer folks are not, are not human, and that we deserve less and we don't deserve to be recognized as. As fully human and deserve to live dignified lives in our full selves. I also know that locally in San Francisco, the API community is used as a wedge to be pitted against other communities. Let's say the black commun the black community. And, um, it's important for us as an organization to recognize that that we, we can position ourselves to like wield more solidarity and be in solidarity with, with communities that are experiencing the impacts of a system that continues to exploit our people and [00:46:00] continues to view our people as not fully deserving. Not fully human and that our people deserve to be detained, abducted, and deported. That our people deserve to not be taken care of and resourced and not have our basic needs like housing and food and healthcare and it impacts all of us. And so, I see our responsibility as Lavender Phoenix, and, and in the other organizing spaces that I'm a part of that it, it is our responsibility to expose that we are not each other's enemies. Hmm. And that we are stronger in fighting for our needs and our dignity together. Miata Tan: Community. [00:47:00] Community and strength. I'm thinking about what you said in terms of this, the API solidarity alongside queer folks, alongside black and brown folks. Do you have a, perhaps like a nice memory of that, that coming together? Tina Shauf-Bajar: So one of the most consistent, things that I would go to, that's, that Lavender Phoenix would, would lead year after year in the last 10 years is Trans March. And my partner and I always make sure that we mobilize out there and be with Laxs. And it's important to us to be out there. in more recent trans marches. Just with a lot of the escalation of violence in Gaza and ongoing genocide and also just the escalated attacks on on immigrants and increased right and increased ice raids. [00:48:00] And and also the, we can't forget the police, the Police killings of black people. And I feel like at Trans March with Lavender Phoenix, it's also a way for us to come together and you know, put those messages out there and show that we are standing with all these different communities that are fighting, repression, And it's always so joyful at Trans March too. We're like chanting and we're holding up our signs. We're also out there with or you know, people, individuals, and organizations that might not be politically aligned with us, but that's also a chance for us to be in community and, and show demonstrate this solidarity between communities. Miata Tan: It's so beautiful to see. It's, it's just like what a colorful event in so many ways. Uh, as you now step into the director role at Lav [00:49:00] Nix, Lavender Phoenix, what are you most excited about? What is 2026 gonna look like for you? Tina Shauf-Bajar: I am most excited about integrating into this organization fully as the executive director and I feel so grateful that this organization is trusting me to lead alongside them. I've had the chance to have conversations with lots of conversations since, since my time onboarding in August through our meetings and also like strategy sessions where I've been able to connect with staff and members and understand what they care about, how they're thinking about. Our our strategy, how we can make our strategy sharper and more coordinated, um, so that we can show up in, in a more unified way, um, not just as an organization, but, but as a part of a larger movement ecosystem that we're a part of [00:50:00] and that we're in solidarity with other organizations in. So I am looking forward to like really embodying that.  it takes a lot of trust for an organization to be like, look, you, you weren't one of our members. You weren't a part of our staff prior to this, but we are trusting you because we've been in community and relationship with you and we have seen you. And so I just feel really grateful for that. Miata Tan: For an organization like Lav Nix, which with such a rich history in, in the Bay Area is there anything from. That history that you are now taking into 2026 with you? Tina Shauf-Bajar: Yeah, I mean, I think in seeing how Lavender Phoenix has transformed over the last 10 years is really not being afraid to transform. Not being afraid to step even more fully into [00:51:00] our power. The organization is really well positioned to yeah, well positioned to build power in, in a larger community. And so I, I feel like I've seen that transformation and I get to also, I get to also continue that legacy after UN and also the previous leaders before that and previous members and staff, um, we stand on the, on their shoulders. I stand on their shoulders. it's so beautiful, like such a nice image. Everyone together, yeah, no, totally. I mean, just in the last few weeks, I, I've connected with the three executive directors before me. And so when I say. I stand on their shoulders and like I'm a part of this lineage I still have access to. And then I've also been able to connect with, you know with a movement elder just last week where I was like, wow, you know, I get [00:52:00] to be a part of this because I'm now the executive director of this organization. Like, I also get to inherit. Those connections and I get to inherit the work that has been done up to this point. And I feel really grateful and fortunate to be inheriting that and now being asked to take care of it so. and I know I'm not alone. I think that's what people keep saying. It's like, you're not, you know, you're not alone. Right. I'm like, yeah. I keep telling myself that. It's true. It's true, it's true. Miata Tan: Latinx has a strong core team and a whole range of volunteers that also aid in, in, in your work, and I'm sure everyone will, everyone will be there to make sure that you don't like the, the, the shoulders are stable that you're standing on. Tina Shauf-Bajar: Totally, totally. I mean, even the conversations that I've been a part of, I'm like, I'm the newest one here. Like, I wanna hear from you, [00:53:00] like, what, how are you thinking about this? There is so much desire to see change and be a part of it. And also so much brilliance like and experience to being a part of this organization. So yeah, absolutely. I'm not alone. Miata Tan: One final question as with youth really being at the center of, of Lav Nix's work. Is there something about that that you're excited just, just to get into next year and, and thinking about those, those young people today that are you know, maybe not quite sure what's going on, the world looks a little scary. Like what, what can, what are you excited about in terms of helping those, those folks? Tina Shauf-Bajar: Well, for a long time I, I worked with youth years ago before I before I found myself in like workers justice and workers' rights building working class power. I also worked with working class [00:54:00] youth at one point, and I, I was one of those youth like 20 years ago. And so, I know what my energy was like during that time. I also know how I also remember how idealistic I was and I remember how bright-eyed it was. And like really just there wasn't openness to learn and understand how I could also be an agent of change and that I didn't have to do that alone. That I could be a part of something bigger than myself. And so so yeah, I think that like wielding the power of the youth in our communities and the different sectors is I think in a lot of ways they're the ones leaving us, they know, they know what issues speak to, to them. This is also the world they're inheriting. they have the energy to be able to like and lived experience to be able to like, see through change in their lifetime. And you know, I'm, [00:55:00] I'm older than them. I'm older than a lot of them, but, I also can remember, like I, I can look back to that time and I know, I know that I had the energy to be able to like, you know, organize and build movement and, and really see myself as, as a, as someone who could be a part of that. My first week here in, in August I actually was able to, to meet the, the, um, summer organizer, the summer organizers from our program. And I was, it just warms my heart because I remember being that young and I remember, remember being that like determined to like figure out like, what is my place in, in organizing spaces. So they were the ones who really like, radically welcomed me at first. You know, like I came into the office and like we were co-working and they were the ones who radically welcomed me and like showed me how they show up in, in, um, [00:56:00] Lav Nix Spaces. I learned from them how to fundraise, like how Lavender Phoenix does it, how we fundraise. And um, one of them fundraised me and I was like, I was like, how can I say no? Like they yeah. That we need that type of energy to keep it fresh. Miata Tan: something about that that, um. It is exciting to think about when thinking about the future. Thank you so much for joining us, Tina. This was such a beautiful conversation. I'm so excited for all of your work. Tina Shauf-Bajar: Thank you so much.  Miata Tan: That was Tina Shauf-Bajar, the incoming executive director at Lavender Phoenix. You can learn more about the organization and their fantastic work at LavenderPhoenix.org. We thank all of you listeners out there, and in the words of Keiko Fukuda, a Japanese American judoka and Bay Area legend, “be strong, be [00:57:00] gentle, be beautiful”. A little reminder for these trying times. For show notes, please check our website at kpfa.org/program/APEX-express. APEX Express is a collective of activists that includes Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Miata Tan, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by me, Miata Tan. Get some rest y'all. Good night. The post APEX Express – 12.25.25 -A Conversation with Lavender Phoenix: The Next Chapter appeared first on KPFA.

What makes us fall in love with a character in the first five minutes? Amy, Megan, and Lia explain "Save the Cat" moments—the scenes that instantly make us root for someone before we even know their story. From unexpected acts of kindness to revealing vulnerabilities, they dissect how the best dramas hook us emotionally and why some characters stay with us. Whether you're a casual viewer or a storytelling obsessive, this conversation will change how you watch your favorite shows.K-Pop Rec of the Week: Not Cute Any More by IllitSave the Cat: The Language of StorytellingReady to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for "thinky, thirsty" takes on Bangtan life. ★ Support this podcast on Patreon ★

In today's episode, Megan and Sarah (from AfterNoona Asks) discuss Black Out, an unforgettable 2024 drama with more twists than a pretzel. Just a note, we recorded this podcast in July of 2025. Sorry for the delay in getting it out!Ready to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for "thinky, thirsty and over thirty" takes on Bangtan life. ★ Support this podcast on Patreon ★

Before there was the Chinese Exclusion Act, there was the Page Act. Passed in 1875 amid growing anti-Chinese sentiment in the 19th century, the Page Act was one of the first national immigration laws in the United States. It targeted several categories of people, including contract laborers from Asia, women brought in for sex work and certain convicted criminals. In practice, however, it functioned mainly to restrict Chinese and other Asian women from entering the country.“It had enormous implications for the issues of race, gender and labor in U.S. immigration history and Asian American history,” says UC Berkeley history professor Hidetaka Hirota, who moderated a campus discussion in April to mark the Page Act's 150th anniversary.In this Berkeley Talks episode, a panel of Berkeley scholars unpack how the Page Act helped institutionalize racially targeted exclusion and gendered surveillance at the border, and how it laid the groundwork for the 1882 Chinese Exclusion Act and later immigration laws. They also challenge the enduring myth of the “white bootstrapping ethnic,” supposedly living “the right way” without state support, showing instead how immigration and welfare regimes were structured to advantage European newcomers while systematically excluding Asians and other people of color.Panelists include Catherine Ceniza Choy, professor of ethnic studies; Cybelle Fox, professor of sociology; Leti Volpp, professor of law; and Hidetaka Hirota, associate professor of history, who moderated the conversation. The event, which took place on April 23, was hosted by Berkeley's Social Science Matrix and was co-sponsored by the Berkeley Interdisciplinary Migration Initiative, the Department of Sociology, the Department of History, the Department of Ethnic Studies, the Asian American Research Center and the Center for Race and Gender.Watch a video of the discussion.Listen to the episode and read the transcript on UC Berkeley News (news.berkeley.edu/podcasts/berkeley-talks).Music by HoliznaCC0.Photo from the National Archives. Hosted on Acast. See acast.com/privacy for more information.

There's an unspoken hierarchy in TV here where romance is tolerated as a subplot but rarely trusted to carry a series. Why do you think American platforms are comfortable betting hundreds of millions on crime, fantasy, and superheroes but get nervous about a straightforward love story? This week, your noonas tackle this very questions and are making a plea to the streaming channels. We know romance. We know K-dramas. Please, for the love of the highest grossing genre in publishing, hear us out as to why we need to follow the K-Drama model and adapt more romance novels for the small screen.Books Mentioned on This EpisodeRaiders of the Lost Heart by Jo SeguraHamartia by Scarlett DrakeA Night To Surrender by Tessa DareI Love You Like it's 1999 by AJ PinePlaying For Her Heart by Megan EricksonThe E.M.M.A. Effect by Lia RileyReady to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for "thinky, thirsty and over thirty" takes on Bangtan life. ★ Support this podcast on Patreon ★

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. The post APEX Express – December 4, 2025 appeared first on KPFA.

For this month's uncensored, Lia put together a few winter themed K-drama games for the group to play. Join us for some "Hear me out..." snowball, some naughty or nice K-drama superlatives, and what K-Drama moments/experiences have been our highlights of 2025.*Spoiler warning...Amy accidentally spoils the end of My Dearest without warning at 19:45 when she reads a Patreon "Hear me out..." If you don't want to be spoiled, skip ahead to 20:11! All other spoilers are announced!Ready to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for "thinky, thirsty and over thirty" takes on Bangtan life. ★ Support this podcast on Patreon ★

While Cathleen and I are working on new content for the podcast—lots of great episodes are on the way—we're also taking time to revisit some of Michael's excellent past interviews.For my second “best of” pick, I chose Episode 54, The Allure of Empire, which first aired on July 4, 2023. In this episode, Michael talks with historian Chris Suh about his award-winning book The Allure of Empire: American Encounters with Asians in the Age of Transpacific Expansion and Exclusion. Suh's work invites us to rethink the Gilded Age and Progressive Era through the lens of empire—tracing how U.S. expansion in the Pacific intertwined with racial exclusion and the politics of belonging at home.It's a rich, thought-provoking conversation that shows how the legacies of the Gilded Age still shape America's place in the world today.We hope you'll enjoy (re)listening as much as we did—and, as always, we'd love to hear which past episodes have been your favourites!Essential Reading:Chris Suh, The Allure of Empire: American Encounters with Asians in the Age of Transpacific Expansion and Exclusion (2023).Recommended Reading:David C. Atkinson, The Burden of White Supremacy: Containing Asian Migration in the British Empire and the United States (2016).Eiichiro Azuma, Between Two Empires: Race, History, and Transnationalism in Japanese America (2005).Thomas Bender, A Nation among Nations: America's Place in World History (2006).Akira Iriye, Pacific Estrangement: Japanese and American Expansion, 1897– 1911 (1972).Richard S. Kim, The Quest for Sovereignty: Korean Immigration Nationalism and U.S. Sovereignty, 1905– 1945 (2011). Hosted on Acast. See acast.com/privacy for more information.

Lia and Megan go full English class today as we discuss the parallels between Guillermo Del Toro's Frankenstein and the 2023 Kdrama Mask Girl. Sound wild? Well, it kind of is, but here us out...Ready to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for "thinky, thirsty and over thirty" takes on Bangtan life. ★ Support this podcast on Patreon ★

THE Kim Seokjin held Run Jin encore performances at Incheon Munhak Main Stadium on October 31 and November 2nd. Join Lia, Megan and new addition to the team Becky as we dive into the unique blend of heart and humor that only Jin can deliver. Shout out to the special guest performances from J-Hope, Jungkook, Jimin and V (who even held it down wearing a backpack). Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Check out our sister pod www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest members of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Want to find more great BTS content? Head over to Afternoona Army for more takes on Bangtan life and links to our social media.

Monica Harris is the Executive Director of FAIR For All,  a Harvard Law graduate, former Hollywood executive, and author of The Illusion of Division. Monica explains how her experience as a gay Black woman in Hollywood and then in "flyover country"shattered many elite narratives about America. She describes why she believes much of our current polarization is manufactured by media and political interests, and how identity-based frameworks like liberated ethnic studies and DEI are deepening division rather than healing it. We dig into the following: Why "Liberated Ethnic Studies" is dividing students, not uniting them How modern DEI programs drifted far from genuine civil rights principles Why identity-based teaching harms kids socially and emotionally The catastrophic decline in civic education—and why it matters now more than ever How the American Experience curriculum offers a unifying alternative What parents MUST know about what's being taught in classrooms today This conversation is a must-listen for parents, educators, and anyone concerned about polarization, education, and the future of democracy.   Resources & Links FAIR For All: https://fairforall.org Monica's Substack: The Illusion of Division Monica's book, "The Ilusion of Division" If you want to know about this topic, listen to our podcast with Brandy Shufutinsky: The Marxist Roots of Coursework in K-12 and our College Campuses.   Quotes "We have so much more in common than what separates us, but division is being manufactured." "Kids don't need to see each other as oppressors and oppressed—they need tools for civil discourse." "The bones of America are exceptional" "At FAIR, we're asking: what comes after polarization? Everyone can diagnose the problem; we're focused on solutions." "The entire liberated ethnic studies model flies in the face of reality on the ground. It pits students against each other at the exact moment in life when they most need to see each other as allies." ⏱ Episode Timestamps 00:00 -Welcome & Monica's California-to-Harvard-to-Hollywood story 05:00 -Leaving Hollywood for Montana: the real story behind the culture shock 07:50 - Why Monica wrote The Illusion of Division 09:20 — What FAIR For All does across education, arts, medicine & law 13:00 — Inside the American Experience curriculum 15:00 — The problems with Liberated Ethnic Studies 19:00 — Why America's system needs repair, not replacement 20:30 — How social media fuels division and fear 24:00 — "This isn't capitalism"—the economic reality young people face 26:00 — The collapse of civics education & why it matters 32:00 — How FAIR's curriculum teaches civil discourse & unifying history 35:00 — Why parents are the key to changing school districts 38:00 — What's happening in California, Oregon & other states 42:00 — When students should take the course: age, grade level & design 44:30 — The pilot program: access, cost & rollout plans 47:00 — How ethnic studies frames Jews, Asians & successful minorities as "privileged" 50:00 — Why human beings will always choose freedom over authoritarianism 51:00 — Closing thoughts & how to learn more  

This week Lia, Megan and Amy get into The Bechdel Test in Korean dramas. How does a piece of media pass The Bechdel Test? It has to meet three criteria: it must feature at least two women, the two women must have a conversation with each other, and the conversation must not be about a man. This should not be a high bar...and yet? And...yet.K-Pop Rec of the Week: Spaghetti by La Sserafim (featuring J-Hope of BTS)Ready to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for "thinky, thirsty and over thirty" takes on Bangtan life. ★ Support this podcast on Patreon ★