Podcasts about Chinatown

For many artists, an art career takes many twists and turns—an adventure shaped by different mediums, jobs, and ways of sustaining creative work  while at the same time, educating oneself with the histories of your chosen path.  On this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with printmaker Charles Spitzack. We talk about his discovery of mokuhanga and how it connects to his broader printmaking practice. Charles shares his early experiences making mokuhanga, his teaching methods, and how his understanding of the medium developed through a Western American perspective. He also speaks about his time at the Mokuhanga Project Space, and his thoughts on the differences between oil-based and water-based mokuhanga. Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Charles Spitzack - website, Instagram Seattle Print Arts - is a printmaking association based in Seattle, Washington, United States. It maintains a membership and is dedicated to the exchange of knowledge related to various printmaking practices. More info can be found, here.  High Point Center for Printmaking -is located in Minneapolis, Minnesota, United States. It is dedicated to increasing the understanding of printmaking and operates a co-op, gallery, and educational programs. More info can be found, here.  Cornish College of the Arts - is an independent art college located in Seattle, Washington, United States. Its programs emphasize experimentation and critical thinking. More info can be found, here.  Mokuhanga (木版画) - is a Japanese word meaning "wood" and "print." Traditionally, it refers to a relief printing method using woodblocks, water, natural handmade papers, and water-based pigments. With the rise of the sōsaku hanga (creative print) movement in the early to mid 20th century, mokuhanga expanded to include works made with Western oil pigments as well. Today, mokuhanga can be difficult to define, as many artists experiment with new approaches while others remain dedicated to traditional water-based methods. This balance between innovation and tradition shows that mokuhanga is limitless, continually evolving while still grounded in its past. sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Stephen Hazel (1934-20120 - was a painter and printmaker based in the Pacific Northwest. He created works on paper, and educated upon the subject. More info can be found, here.  Beautiful Display 10: Beauties of Chinatown (1977) 24" x 17 11/16" Katheleen Rabel - is an American printmaker, painter and sculptor. More info can be found, here.  Penedo Alto (sōsaku hanga) 50″ x 39″ Hideo Hagiwara (1913-2007) - was a mokuhanga printmaker who came of age during the sōsaku hanga period of the mid 20th Century in Japan. He studied printmaking with Un'ichi Hiratsuka (1896-1997). Hagiwara made prints that were expressive of the self and abstract. He taught at Oregon State University in 1967.   Lady No. 6 (1975) 24.75" x 18.25"  kentō - is the registration system used by printmakers in order to line up the colour woodblocks with your key block, or outline block, carved first.   floating kentō - is like the traditional kentō registration technique but is carved on an "L" shaped piece of wood, and not onto the wood block.  monotype print - is a unique print created from an image painted or drawn on a smooth surface, such as glass or metal, and then transferred to paper. Unlike most printmaking methods, where multiple copies of the same image can be produced, a monotype typically has a single, one-of-a-kind image. It's called a "mono" type because it is not part of an edition like traditional prints (e.g., lithographs, etchings), where you can make multiple copies.  Mike Lyon  -  is an American artist. His medium has varied throughout his career such as "square tiles," or "pixels," through to making mokuhanga, monoprinting, and machine-assisted etching, drawing and mezzotint. Mike Lyon also has a large woodblock print collection which he has curated for the public, here. More information about his work can be found, here. Mike's interview with The Unfinished Print can be found, here.  Grass 4 (2010) 77" x 22" Naoko Matsubara - is a Japanese/Canadian contemporary artist, and sculptor, who lives and works in Oakville, Ontario, Canada.  She has focused much of her artistic life on making mokuhanga and has gained critical acclaim for it.  Naoko Matsubara's interview with The Unfinished Print can be found, here.  Conducting (2004) 22.05" × 15.59" Katsutoshi Yuasa - is a Japanese contemporary artist, and sculptor, who works predominantly in mokuhanga. He has  produced an incredible mount of work. Katsu's interview with the Unfinished Print can be found, here.  On The Dawn of Night and Fog (2025) 39.37" in × 78.74" Antonio Frasconi (1919-2013) - was a Urugyuan printmaker who lived and worked in the United States. He cerated coloured woodcuts and was an educator and author. Frasconi's themes could be political in nature. More info can be found, here.  Cows (1955) 7 1/2" x 12 15/16" The Arts and Crafts Movement in America - flourished from the late 19th to early 20th century, emphasizing simplicity of design, and the use of natural materials as a response to industrial mass production. Inspired by the ideals of John Ruskin (1819-1900) and William Morris (1834-1896) in Britain, the movement in the United States was closely tied to architecture, furniture making, and decorative arts, promoting honesty and a functional beauty.  There was a link with social reform, criticizing modernity and industry and fostering communities of makers across the country. In Japan this folk movement was explored in the mingei movement of the early 20th Century.  William S. Rice (1873-1963) - was a painter, educator and woodblock artist from the United States. Having moved to California early in his life, Rice made landscape prints and paintings of California. At the 1915 Panama Pacific International Exhibition, Rice had a chance to see Japanese mokuhanga in person and was influence by those prints in his woodcuts.  The Windy Summit (1925) 9" x 12" Arthur Wesley Dow (1857-1922) - was an American printmaker who was greatly influenced by Japanese ukiyo-e. He wrote a book on the subject of printmaking called Composition which was published in 1905.    Lily (Ipswich Prints x 1901) 5½" x 4⅛"   Toledo Museum Shin Hanga Exhibitions (1930 & 1936) - were held at the Toledo Museum of Fine Arts in the United States. These two exhibitions played an important role in introducing Japanese woodblock prints to the American market. They were curated by J. Arthur MacLean and Dorothy L. Blair. Artist Hiroshi Yoshida (1876-1950) had traveled to the United States in the 1920s, helping to set the stage for these exhibitions. More info can be found, here.    Walter J. Phillips (1884–1963) - was a British-Canadian printmaker who began his career as a commercial artist. After moving to Canada, he produced etchings, watercolors, and color woodcuts. Influenced by Japanese ukiyo-e, Phillips's prints offer a distinctive view of Canada in the early to mid-20th century.My interview with Sophie Lavoie of The Muse/Lake Of The Woods/Douglas Family Arts Centre about the life and times of Walter J. Phillips can be found, here.      Warren's Landing, Lake Winnipeg (1931) 6.30" × 9.45"   Kathleen Hargrave - is a printmaker and kiln formed glass maker. Kathleen explored various printmaking methods but uses mokuhanga in her practice. Kathleen's mokuhanga is abstract and uses colour in a fantastic way. More info can be found, here.      Resilience 5   Pratt Fine Arts Center - is a nonprofit arts educator in Seattle, Washington. It offers classes and instruction on various artistic expressions such as blacksmithing, glass, jewelry, paintings and printmaking. More info can be found, here.     Mokuhanga Project Space - is a mokuhanga residency located in Walla Walla, Washington, USA. It was established in 2016 and is led by printmaker Keiko Hara. My interview with Keiko Hara and Benjamin Selby of MPS can be found, here. More info can be found, here.    Shoichi Kitamura - is a woodblock carver and printmaker based in Kyoto, Japan. Shoichi has been involved in MI Lab through his demonstrations on carving. More info can be found, here.    Utagawa Kuniyoshi - from The Series Bravery Matched With The Twelve Zodiac Signs. A Modern Reproduction 4.13" x 11.15" (2017) printed and carved by Shoichi Kitamura   April Vollmer - is an established artist who works predominantly in mokuhanga. Her book Japanese Woodblock Print Workshop is one of the most authoritative books on the subject and has influenced many mokuhanga artists. April's interview with The Unfinished Print can be found, here.     It Happened To Me  (1995) 11" x 14"   Andrew Stone - is an American mokuhanga printmaker based in Florence, Italy. He is also a baren maker. The baren is a mokuhanga specific tool. Andrew's interview with The Unfinished Print can be found, here.    Tutto Bene? (2024)   Davidson Galleries - is a gallery situated in Seattle, Washington. Opening in 1973 Davidson Galleries focus on works on paper. In their stable of artists is Charles Spitzack and Andy Farkas. More info can be found, here.    SGC International - the Southern Graphics Council is a member supported printmaking organization which supports printmakers throughout the world. It is located in Kennesaw, Georgia, United States. More info can be found, here.    Karen Kunc - is an American printmaker and Professor Emeritus at the University of Nebraska Lincoln and is based in Nebraska. Karen Kunc works in various artistic and printmaking styles but has worked in mokuhanga for many years. My interview with Karen Kunc for The Unfinished Print can be found, here. More information can be found on her website, here.      Weight of Air (2018) 12" x 24" Woodcut, etching, pochoir, watercolor   Tollman Collection  - is a well known Japanese art gallery located in Daimon, Tokyo, Japan and New York City, NY. More information can be found, here.    Ballinglen - is an arts foundation based in Ballycastle, Co Mayo, Ireland. The groups aim is to "enhance cultural awareness," of North County Mayo. This is done via fellowships, education, exhibitions and workshops. More info can be found, here.    Pomegranate - is a company which sells items such as jigsaw puzzles, holiday cards, etc using different types of artists  and their work in these pieces. More info can be found, here.    Gustave Baumann (1881-1971) - was a colour woodcut printmaker, and painter of German descent who made his life in the United States. More info can be found, here.      Marigolds (1960) colour woodcut 12 7/8" x 12 7/8" © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny  Intro music by Oscar Peterson, I Got It Bad (And That Ain't Good)  from Night Train (1963) Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)  Слава Українi If you find any issue with something in the show notes please let me know.  ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                  

I'm excited to bring it to you today's chat from the TCS Toronto Waterfront Marathon's Women's Training Group. After the pandemic, Canada Running Series and ASICS Canada set out to address, and work to find solutions to, the considerable gap between the number of women and the number of men running marathons. In 2024, they launched the Women's Training Group to support and empower more women to chase big goals on race day. Last year, Heather Garner and I followed Mandy and Joan on their inspiring journey to the finish line. This year, we're back with two new runners—our “Positive Patties”— Candice Combdon and Bianca Magdangal, who are pushing toward their own start lines. Whether you're training for the TCS Toronto Waterfront Marathon, another fall race, or just love the grit and grind of big mileage, this conversation is packed with honesty, smart strategies, and all the feels of marathon training. Follow the journey to the TCS Toronto Waterfront Marathon start line @towaterfront42k Follow our Positive Patties, Candice @candice_combdon and Bianca @bianca.runs Follow our marathon guru Heather @catchingheather and @kardiaathletica   ------- EPISODE SPONSOR: UNDER ARMOUR EASTSIDE 10K Chase your PB, and tour Vancouver at the same time! Run the Under Armour Eastside 10K on Sunday, September 21 and fly through Gastown, Chinatown, and East Van on a fast, scenic course. Enjoy big race-day energy, a premium UA technical shirt, and a standout medal. Don't miss this unforgettable run! Register today at www.canadarunningseries.com    Theme Music: Joseph McDade

Exclusive Deals For Reading With Your Kids Listeners! Visit www.zivo.life and use the promo code READ to get 30% off The Better Microalgae – your ultimate daily nutrient boost! Visit www.BigForkBrands.com and use the promo code READ to get 20% off the most delicious pork snacks ever. Visit www.CozyEarth.com and use the promo code READ to get an incredible 41% off their ultra cozy and comfy bedding. In this lively episode of Reading With Your Kids, host Jed Doherty welcomes two fantastic children's authors: Dan Gutman and Kimberly Tso. First up, Dan Gutman returns to the show to chat about his brand-new middle grade novel, The Picasso Curse. Dan shares the fascinating real-life history behind the book—did you know Pablo Picasso was once a suspect in the theft of the Mona Lisa? Dan reveals how this “what if” moment inspired his story about a modern-day kid who stumbles upon a lost Picasso sketch at a flea market, only to discover that sudden fame and fortune come with unexpected challenges. The conversation dives into themes like decision anxiety, the pressures of growing up today, and the importance of encouraging kids to dream big and talk about their aspirations. Next, Jed sits down with Kimberly Tso, author of the delightful new picture book Tic Tac Toe Chicken. Kimberly's story is inspired by a real chicken in New York City's Chinatown that was trained to play tic-tac-toe against visitors! She discusses how her childhood memories and a desire to see the world through a child's eyes shaped the book, which follows a young girl named Beatrice as she questions the ethics of the chicken's life and ultimately helps rescue it. Kimberly and Jed explore the unique culture of Chinatown, the power of empathy, and the value of listening to children's perspectives. Whether you're a parent, teacher, or young reader, this episode is packed with inspiration, laughter, and thoughtful insights into the creative process behind two unique children's books. Don't forget to check out The Picasso Curse and Tic Tac Toe Chicken at your local bookstore or library, and keep the conversation going with your kids about art, dreams, and seeing the world in new ways! Click here to visit our website – www.ReadingWithYourKids.com Follow Us On Social Media Facebook - https://www.facebook.com/readingwithyourkids Instagram - https://www.instagram.com/readingwithyourkids/ X - https://x.com/jedliemagic LinkedIn - https://www.linkedin.com/company/reading-with-your-kids-podcast/ Please consider leaving a review of this episode and the podcast on whatever app you are listening on, it really helps!

Adonis has popped up on my Instagram feed many times over the past 2 years. He's a local guy visiting some of Daly City and San Francisco's best mom-and-pop restaurants. His recommendations always hit, so I wanted to hear more about how he got into content creation. I felt like it was only appropriate to break bread together as we chatted, so we popped on down to New Lun Ting in Chinatown for some roast pork and oxtails. Pardon the noise and me talking with my mouth full, but we had a great time! Check out Adonis @imadoniseats on Instagram and YouTube. You'll find your next favorite hole-in-the-wall grub'n food joint! Write to us at: ⁠infatuasianpodcast@gmail.com⁠, and please follow us on Instagram and Facebook @infatuasianpodcast  Our Theme: “Super Happy J-Pop Fun-Time” by Prismic Studios was arranged and performed by All Arms Around  Cover Art and Logo designed by Justin Chuan @w.a.h.w (We Are Half the World) #SF #Dalycity #bayareafood #asianpodcast #asian #asianamerican #infatuasian #infatuasianpodcast #aapi #veryasian  #asianamericanpodcaster #representationmatters

« Dans mon Chinatown », c'est le nom de notre série d'été sur RFI. On vous emmène explorer les quartiers chinois des grandes villes du monde. Aujourd'hui, direction Port-Louis à l'île Maurice, où les Chinois ne représentent que 3 % de la population, mais leur présence rayonne bien au-delà des chiffres. La communauté chinoise est à la fois discrète, bien intégrée, métissée et économiquement influente. Le Nouvel An chinois est d'ailleurs un jour férié dans l'île. Au cœur du Chinatown mauricien, traditions, gastronomie et mémoire des anciens se mêlent aux visages de toutes les communautés.  De notre correspondant à Port-Louis, Dans les ruelles de Chinatown à Port-Louis, le mandarin résonne encore. Aujourd'hui, notre présence attire la curiosité. Aaron Kwang Poon nous accompagne. Né ici, il connaît l'histoire des commerçants chinois à Maurice. « Au pic de leur activité, il y avait environ 300 boutiques chinoises à travers Maurice. Pratiquement dans chaque village, il y avait au moins une boutique chinoise. » Ces petits commerces ont nourri l'île pendant des décennies avant et après l'indépendance. Ils ont approvisionné la population en denrées de base, tissant leurs racines dans chaque communauté locale. Pour sa part, Chinatown à Port-Louis reste un haut lieu du commerce. Dans les rues, on croise davantage une population locale diverse que des Mauriciens d'origine chinoise. Mais les grands symboles sont là : l'arc monumental de la rue Royale, ombrelles, et lanternes qui ponctuent façades et allées, ainsi que les enseignes en caractère chinois. C'est ici qu'Amélie, 88 ans, venue de la ville la plus éloignée de Port-Louis, fait ses courses : « J'habite à Curepipe. Je viens acheter des choses, ce qui me manque. » « Tous les Mauriciens adorent ça » Elle s'arrête devant une épicerie Yue Hwa, rue Dr Sun Yat Sen. Dans ce petit espace, un concentré de Chine : « Des ailerons de requin, des nids d'hirondelles, et des œufs de 100 ans », détaille le commerçant. Produits rares, nouilles, graines, fruits séchés, ustensiles, tout l'univers culinaire chinois dans quelques mètres carrés. La gastronomie chinoise est le fast-food préféré dans l'île : « Les nouilles frites, les "mines frites", le riz frit et les boulettes sont devenus des plats mauriciens. » Siddick Yerally, 82 ans, se joint à la conversation. Dans le quartier, tout le monde l'appelle Nala : « Tous les Mauriciens adorent ça ! Même rue Desforges, il y a un restaurant chinois musulman, halal, et c'est rempli tous les soirs. » Nala est musulman, marié à une Chinoise. Certains l'appellent Ah Young. Il siège à la Chinatown Foundation et il veut nous montrer les trésors du quartier : « Là, je vais vous emmener à la pagode, elle appartient au clan des Chan. » Une communauté influente Les descendants chinois de Maurice ont maintenu les liens claniques. Il existe une bonne dizaine de clans chinois à Maurice. À 200 mètres, nous découvrons une autre pagode, celle du clan Fock qui trône au 9e étage d'un immeuble résidentiel. Dans la pagode, des stèles en bois portent les noms des ancêtres, sous le regard de Kwan Tee, le guerrier légendaire. Au rez-de-chaussée, rencontre avec Bernard Li Kwong Ken qui nous explique ce que son nom dit de ses racines et de son identité : « En Chine, je m'appellerais Li Sui Chong. Nous gardons à travers les générations le nom du clan Li. Mon grand frère, c'est Li Kwet Chong, moi Li Sui Chong, mon petit frère Li Moy Chong. » Li (ou Lee), c'est le lien commun. Bernard est un descendant du clan Li, le deuxième nom le plus répandu de Chine. Comme beaucoup de Sino-Mauriciens, il porte aussi un prénom catholique. La plupart fréquentent l'église, héritage de l'intégration mauricienne. Cependant, cette population décline : de 40 000 âmes dans les années 1980 à environ 12 000 aujourd'hui. Les jeunes émigrent vers l'Australie, le Canada. Malgré cela, les Sino-Mauriciens demeurent une influente communauté économique dans l'île. À lire aussiDans mon Chinatown: visite guidée de Lognes, première ville asiatique de France

« Dans mon Chinatown », c'est le nom de notre série d'été sur RFI. On vous emmène explorer les quartiers chinois des grandes villes du monde. Aujourd'hui, direction Port-Louis à l'île Maurice, où les Chinois ne représentent que 3 % de la population, mais leur présence rayonne bien au-delà des chiffres. La communauté chinoise est à la fois discrète, bien intégrée, métissée et économiquement influente. Le Nouvel An chinois est d'ailleurs un jour férié dans l'île. Au cœur du Chinatown mauricien, traditions, gastronomie et mémoire des anciens se mêlent aux visages de toutes les communautés.  De notre correspondant à Port-Louis, Dans les ruelles de Chinatown à Port-Louis, le mandarin résonne encore. Aujourd'hui, notre présence attire la curiosité. Aaron Kwang Poon nous accompagne. Né ici, il connaît l'histoire des commerçants chinois à Maurice. « Au pic de leur activité, il y avait environ 300 boutiques chinoises à travers Maurice. Pratiquement dans chaque village, il y avait au moins une boutique chinoise. » Ces petits commerces ont nourri l'île pendant des décennies avant et après l'indépendance. Ils ont approvisionné la population en denrées de base, tissant leurs racines dans chaque communauté locale. Pour sa part, Chinatown à Port-Louis reste un haut lieu du commerce. Dans les rues, on croise davantage une population locale diverse que des Mauriciens d'origine chinoise. Mais les grands symboles sont là : l'arc monumental de la rue Royale, ombrelles, et lanternes qui ponctuent façades et allées, ainsi que les enseignes en caractère chinois. C'est ici qu'Amélie, 88 ans, venue de la ville la plus éloignée de Port-Louis, fait ses courses : « J'habite à Curepipe. Je viens acheter des choses, ce qui me manque. » « Tous les Mauriciens adorent ça » Elle s'arrête devant une épicerie Yue Hwa, rue Dr Sun Yat Sen. Dans ce petit espace, un concentré de Chine : « Des ailerons de requin, des nids d'hirondelles, et des œufs de 100 ans », détaille le commerçant. Produits rares, nouilles, graines, fruits séchés, ustensiles, tout l'univers culinaire chinois dans quelques mètres carrés. La gastronomie chinoise est le fast-food préféré dans l'île : « Les nouilles frites, les "mines frites", le riz frit et les boulettes sont devenus des plats mauriciens. » Siddick Yerally, 82 ans, se joint à la conversation. Dans le quartier, tout le monde l'appelle Nala : « Tous les Mauriciens adorent ça ! Même rue Desforges, il y a un restaurant chinois musulman, halal, et c'est rempli tous les soirs. » Nala est musulman, marié à une Chinoise. Certains l'appellent Ah Young. Il siège à la Chinatown Foundation et il veut nous montrer les trésors du quartier : « Là, je vais vous emmener à la pagode, elle appartient au clan des Chan. » Une communauté influente Les descendants chinois de Maurice ont maintenu les liens claniques. Il existe une bonne dizaine de clans chinois à Maurice. À 200 mètres, nous découvrons une autre pagode, celle du clan Fock qui trône au 9e étage d'un immeuble résidentiel. Dans la pagode, des stèles en bois portent les noms des ancêtres, sous le regard de Kwan Tee, le guerrier légendaire. Au rez-de-chaussée, rencontre avec Bernard Li Kwong Ken qui nous explique ce que son nom dit de ses racines et de son identité : « En Chine, je m'appellerais Li Sui Chong. Nous gardons à travers les générations le nom du clan Li. Mon grand frère, c'est Li Kwet Chong, moi Li Sui Chong, mon petit frère Li Moy Chong. » Li (ou Lee), c'est le lien commun. Bernard est un descendant du clan Li, le deuxième nom le plus répandu de Chine. Comme beaucoup de Sino-Mauriciens, il porte aussi un prénom catholique. La plupart fréquentent l'église, héritage de l'intégration mauricienne. Cependant, cette population décline : de 40 000 âmes dans les années 1980 à environ 12 000 aujourd'hui. Les jeunes émigrent vers l'Australie, le Canada. Malgré cela, les Sino-Mauriciens demeurent une influente communauté économique dans l'île. À lire aussiDans mon Chinatown: visite guidée de Lognes, première ville asiatique de France

« Dans mon Chinatown », c'est une série spéciale de RFI. Nous vous emmenons à la découverte des quartiers chinois des grandes villes du monde. Aujourd'hui, direction Mexico. Installé dans une rue du centre-ville, son Chinatown est le plus petit quartier chinois du monde. Plusieurs générations de Chinois s'y succèdent depuis l'arrivée des fondateurs, après la Seconde Guerre mondiale. Mais de plus en plus, les commerces chinois s'étendent hors des frontières du quartier et éclosent dans tout le centre-ville. De quoi réveiller la colère des commerçants mexicains. Un reportage de Marine Lebègue. À lire aussiAustralie: à Sydney, le Chinatown de Burwood bouscule la politique locale À lire aussiDeux Chinatown à Johannesburg: focus sur la plus grande communauté asiatique en Afrique

« Dans mon Chinatown », c'est une série spéciale de RFI. Nous vous emmenons à la découverte des quartiers chinois des grandes villes du monde. Aujourd'hui, direction Mexico. Installé dans une rue du centre-ville, son Chinatown est le plus petit quartier chinois du monde. Plusieurs générations de Chinois s'y succèdent depuis l'arrivée des fondateurs, après la Seconde Guerre mondiale. Mais de plus en plus, les commerces chinois s'étendent hors des frontières du quartier et éclosent dans tout le centre-ville. De quoi réveiller la colère des commerçants mexicains. Un reportage de Marine Lebègue. À lire aussiAustralie: à Sydney, le Chinatown de Burwood bouscule la politique locale À lire aussiDeux Chinatown à Johannesburg: focus sur la plus grande communauté asiatique en Afrique

« Dans mon Chinatown », c'est une série d'été de RFI qui vous emmène dans les quartiers chinois des grandes villes du monde. À Sydney, en Australie, un peu plus de 10% de la population est d'origine chinoise. C'est particulièrement vrai dans le quartier très dynamique de Burwood, où près d'un habitant sur deux est d'origine chinoise. Il abrite par ailleurs un marché de nuit où se pressent chaque année près de 10 millions de visiteurs, attirés par les délices de la gastronomie chinoise. Ce quartier, à l'image de la communauté sino-australienne dans son ensemble, reflète également un basculement politique des conservateurs vers le parti travailliste.  De notre correspondant à Sydney,

Hawaii Island firefighters are making progress on two wildfires in Paauilo that had emergency responders and residents on high alert throughout the night. We're learning more about a Kahului home that went up in flames and how two good Samaritans brought its residents to safety. The man accused of dousing acid on a Chinatown chef enters his plea and learns his confirmed bail amount.See omnystudio.com/listener for privacy information.

The family of a Chinatown acid attack victim speaks out. A former Maui police officer pleads guilty in a case of excessive force. President Trump fires the Federal Reserve governor amid plans to tackle urban crime.See omnystudio.com/listener for privacy information.

In this episode we dive into the 1999 anime Pet Shop of Horrors, adapted from Matsuri Akino's popular manga. Set in Los Angeles' Chinatown, the series follows the enigmatic Count D, a mysterious shop owner who sells exotic pets under strict contracts with dire consequences for those who break the rules.Socials:beacons.ai/theanimecornerpodcasthttps://www.tiktok.com/@animecornerpodhttps://bsky.app/profile/spenj15.bsky.social

« Dans mon Chinatown », c'est une série d'été de RFI qui vous emmène dans les quartiers chinois des grandes villes du monde. À Sydney, en Australie, un peu plus de 10% de la population est d'origine chinoise. C'est particulièrement vrai dans le quartier très dynamique de Burwood, où près d'un habitant sur deux est d'origine chinoise. Il abrite par ailleurs un marché de nuit où se pressent chaque année près de 10 millions de visiteurs, attirés par les délices de la gastronomie chinoise. Ce quartier, à l'image de la communauté sino-australienne dans son ensemble, reflète également un basculement politique des conservateurs vers le parti travailliste.  De notre correspondant à Sydney,

« Dans mon Chinatown », c'est une série d'été de RFI qui vous emmène dans les quartiers chinois des grandes villes du monde sur tous les continents. On s'arrête aujourd'hui en Afrique du Sud, pays qui compte la plus importante communauté chinoise du continent. Les premiers migrants sont arrivés dès le XVIIᵉ siècle, envoyés au Cap par les autorités coloniales en tant que prisonniers ou esclaves. Après plusieurs vagues de migration, on estime aujourd'hui que cette communauté compte entre 250 000 et 350 000 personnes. À Johannesburg, deux Chinatown distincts retracent leur histoire.  De notre correspondante à Johannesburg, Sur la rue Commissioner, le magasin Sui Hing Hong est une institution. Malgré le déclin et la dégradation du vieux centre-ville, il continue vaillamment à rappeler à tous que se trouvait ici, le premier Chinatown de Johannesburg. C'est la mère de Gloria Pon qui a ouvert cette boutique dans les années 1940. « Elle disait qu'elle voulait établir un endroit où il y aurait tous les produits chinois dont on avait besoin : nos médicaments, notre nourriture, des bols et des baguettes », se souvient sa fille. La communauté chinoise sud-africaine est le fruit de vagues successives de migration. À Johannesburg, des travailleurs sous contrats ont été envoyés dès la création de la ville, suite à la découverte d'or à la fin du XIXᵉ siècle. Mais la majorité de ces mineurs sont ensuite rentrés au pays. Ceux arrivés plus tard, pour faire fortune, de la région de Canton par exemple – comme la famille de Gloria Pon –, ont été interdits de licence minière en raison de leur couleur de peau et se sont tournés vers le commerce. Ils ont alors développé tout un petit écosystème au niveau de cette rue. Le frère de Gloria, Walter, est surnommé le « maire » de Chinatown, en raison de sa passion pour l'histoire de la communauté. « Voici un autre bâtiment très ancien, des années 1900. C'est la propriété du club chinois. En ces temps-là, lorsque les Chinois arrivaient en Afrique du Sud, ils n'avaient pas de famille. Donc ils étaient accueillis ici, jusqu'à ce qu'ils trouvent un travail. Et lorsqu'ils mourraient, qui les enterraient ? Le club », explique-t-il. L'octogénaire se souvient notamment de la vie sous apartheid et des discriminations subies : « Quand on voulait s'asseoir dans un train, il fallait aller dans la zone réservée aux Noirs, une zone qui était sale, détériorée. La zone des Blancs était toute propre, mais on ne pouvait pas y accéder. » À lire aussiAfrique du Sud: l'August House, la grande colocation d'artistes en plein centre de Johannesburg Aujourd'hui, ne reste que quelques restaurants, témoins de cette histoire, ainsi que la boutique de feux d'artifices tenue par un autre frère de la famille Pon. Il faut se rendre à une poignée de kilomètres de là, dans l'ancienne banlieue juive de Cyrildene, pour découvrir le deuxième Chinatown de Johannesburg. Ce sont d'autres flux de migration qui lui ont donné naissance : d'abord des Taïwanais, encouragés à venir dans les années 1980 par le gouvernement de l'apartheid qui entretenait des liens avec Taipei. Puis, il y a eu de nouvelles arrivées du centre de la Chine, lorsque la démocratie sud-africaine s'est rapprochée de Pékin. Evonne Chen, 22 ans, est serveuse dans un petit café situé au pied de l'immense arche colorée qui marque l'entrée du quartier. Dans sa famille, elle est la première génération née sur place : « Je travaille à mi-temps ici, car j'étudie également les ressources humaines. Ce sont mes grands-parents qui sont venus ici, vers 1992-1993. Nous n'avons pas l'intention de rentrer, puisque ici, c'est un très beau pays. Moi, je parle taïwanais et mandarin, car mes grands-parents ne parlent pas anglais. » Nous retrouvons à l'extérieur Ufrieda Ho, qui a beaucoup écrit sur le sujet, et notamment sur sa propre famille. Ces lieux sont finalement, pour elle, à l'image de la communauté : divers et composites. « Ce n'est pas un groupe homogène, il y a beaucoup de nuances et de différents contextes. Je pense que c'est pour ça que ces deux Chinatown sont distincts : cela raconte les différentes formes de migrations et leur interaction avec la politique sud-africaine de l'époque », explique-t-elle. Malgré de forts liens entre Pékin et Pretoria, deux membres des Brics, les conditions économiques ont rendu l'Afrique du Sud moins attractive, ces dernières années, pour les nouveaux migrants chinois.

The suspect in an acid attack in Chinatown appears in court. Some Hawaii Island residents woke up to a fire watch after a wildfire broke out shortly after midnight. What you need to know as University of Hawaii students return to campus for the start of the school year.See omnystudio.com/listener for privacy information.

This episode, which is co-hosted with Delaney Chieyen Holton, features Dr. K. Ian Shin discussing his recently published book, Imperial Stewards: Chinese Art and the Making of America's Pacific Century (Standford UP, 2025). Imperial Stewards argues that, beyond aesthetic taste and economics, geopolitics were critical to the United States' transformation into possessing some of the world's largest and most sophisticated collections of Chinese art between the Gilded Age and World War II. Collecting and studying Chinese art and antiquities honed Americans' belief that they should dominate Asia and the Pacific Ocean through the ideology of imperial stewardship—a view that encompassed both genuine curiosity and care for Chinese art, and the enduring structures of domination and othering that underpinned the burgeoning transpacific art market. Tracing networks across both the Pacific and the Atlantic Oceans, K. Ian Shin uncovers a diverse cast of historical actors that both contributed to US imperial stewardship and also challenged it, including Protestant missionaries, German diplomats, Chinese-Hawaiian merchants, and Chinese overseas students, among others. By examining the development of Chinese art collecting and scholarship in the United States around the turn of the twentieth century, Imperial Stewards reveals both the cultural impetus behind Americans' long-standing aspirations for a Pacific Century and a way to understand—and critique—the duality of US imperial power around the globe. Ian Shin is Assistant Professor of History and American Culture at the University of Michigan, where he is also a core faculty member in the Asian/Pacific Islander American Studies Program. In addition to Imperial Stewards, his articles and reviews on topics that range from the Boy Scout movement in New York's Chinatown to the role of colleges and universities in 19th-century U.S.-China relations to the history of museums of American art have appeared in Amerasia Journal, Journal of Asian American Studies, Journal of American-East Asian Relations, and Connecticut Historical Review. Donna Doan Anderson is the Mellon research assistant professor in U.S. Law and Race at the University of Nebraska-Lincoln. Delaney Chieyen Holton is a Ph.D. candidate in Art History at Stanford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

« Dans mon Chinatown », c'est une série d'été de RFI qui vous emmène dans les quartiers chinois des grandes villes du monde sur tous les continents. On s'arrête aujourd'hui en Afrique du Sud, pays qui compte la plus importante communauté chinoise du continent. Les premiers migrants sont arrivés dès le XVIIᵉ siècle, envoyés au Cap par les autorités coloniales en tant que prisonniers ou esclaves. Après plusieurs vagues de migration, on estime aujourd'hui que cette communauté compte entre 250 000 et 350 000 personnes. À Johannesburg, deux Chinatown distincts retracent leur histoire.  De notre correspondante à Johannesburg, Sur la rue Commissioner, le magasin Sui Hing Hong est une institution. Malgré le déclin et la dégradation du vieux centre-ville, il continue vaillamment à rappeler à tous que se trouvait ici, le premier Chinatown de Johannesburg. C'est la mère de Gloria Pon qui a ouvert cette boutique dans les années 1940. « Elle disait qu'elle voulait établir un endroit où il y aurait tous les produits chinois dont on avait besoin : nos médicaments, notre nourriture, des bols et des baguettes », se souvient sa fille. La communauté chinoise sud-africaine est le fruit de vagues successives de migration. À Johannesburg, des travailleurs sous contrats ont été envoyés dès la création de la ville, suite à la découverte d'or à la fin du XIXᵉ siècle. Mais la majorité de ces mineurs sont ensuite rentrés au pays. Ceux arrivés plus tard, pour faire fortune, de la région de Canton par exemple – comme la famille de Gloria Pon –, ont été interdits de licence minière en raison de leur couleur de peau et se sont tournés vers le commerce. Ils ont alors développé tout un petit écosystème au niveau de cette rue. Le frère de Gloria, Walter, est surnommé le « maire » de Chinatown, en raison de sa passion pour l'histoire de la communauté. « Voici un autre bâtiment très ancien, des années 1900. C'est la propriété du club chinois. En ces temps-là, lorsque les Chinois arrivaient en Afrique du Sud, ils n'avaient pas de famille. Donc ils étaient accueillis ici, jusqu'à ce qu'ils trouvent un travail. Et lorsqu'ils mourraient, qui les enterraient ? Le club », explique-t-il. L'octogénaire se souvient notamment de la vie sous apartheid et des discriminations subies : « Quand on voulait s'asseoir dans un train, il fallait aller dans la zone réservée aux Noirs, une zone qui était sale, détériorée. La zone des Blancs était toute propre, mais on ne pouvait pas y accéder. » À lire aussiAfrique du Sud: l'August House, la grande colocation d'artistes en plein centre de Johannesburg Aujourd'hui, ne reste que quelques restaurants, témoins de cette histoire, ainsi que la boutique de feux d'artifices tenue par un autre frère de la famille Pon. Il faut se rendre à une poignée de kilomètres de là, dans l'ancienne banlieue juive de Cyrildene, pour découvrir le deuxième Chinatown de Johannesburg. Ce sont d'autres flux de migration qui lui ont donné naissance : d'abord des Taïwanais, encouragés à venir dans les années 1980 par le gouvernement de l'apartheid qui entretenait des liens avec Taipei. Puis, il y a eu de nouvelles arrivées du centre de la Chine, lorsque la démocratie sud-africaine s'est rapprochée de Pékin. Evonne Chen, 22 ans, est serveuse dans un petit café situé au pied de l'immense arche colorée qui marque l'entrée du quartier. Dans sa famille, elle est la première génération née sur place : « Je travaille à mi-temps ici, car j'étudie également les ressources humaines. Ce sont mes grands-parents qui sont venus ici, vers 1992-1993. Nous n'avons pas l'intention de rentrer, puisque ici, c'est un très beau pays. Moi, je parle taïwanais et mandarin, car mes grands-parents ne parlent pas anglais. » Nous retrouvons à l'extérieur Ufrieda Ho, qui a beaucoup écrit sur le sujet, et notamment sur sa propre famille. Ces lieux sont finalement, pour elle, à l'image de la communauté : divers et composites. « Ce n'est pas un groupe homogène, il y a beaucoup de nuances et de différents contextes. Je pense que c'est pour ça que ces deux Chinatown sont distincts : cela raconte les différentes formes de migrations et leur interaction avec la politique sud-africaine de l'époque », explique-t-elle. Malgré de forts liens entre Pékin et Pretoria, deux membres des Brics, les conditions économiques ont rendu l'Afrique du Sud moins attractive, ces dernières années, pour les nouveaux migrants chinois.

Mókus, hamis Rolex, Harlem és a magyar rap hőskora – Animal Cannibals Amerikában   Ebben a MÓKA Podcast epizódban két ikonikus magyar figura, Qka MC és Ricsipí, vagyis az Animal Cannibals, mesélnek az első amerikai útjukról.   Hogyan jutottak be Amerikába? Miért kellett CD-t feláldozni a vízumért? Milyen volt Harlem a '90-es évek végén? És hogyan lehetett 10 dollár alatt teljes ruhatárat vásárolni New Yorkban?   Ez a rész egy időutazás a magyar rap fénykorába sok nevetéssel, emlékezetes sztorikkal és kulturális különbségekkel. A fiúk mesélnek arról is, hogy:  • hogyan lett a MÓKA Podcast neve a „Jó ebédhez szól a nóta” mintájára  • milyen volt a 9/11 tragédiát élőben követni New Yorkból  • hogyan vette le egy mókus a hamis Rolexet a Fehér Ház előtt  • miért szerettek a kínai negyedben vásárolni  • és mit tanultak az ottani magyar diaszpórától   A podcast során kiderül, hogy magyarokként hogyan lehet boldogulni Amerikában, és hogy egy rapduó hogyan válik nemcsak előadóvá, hanem kultúraközvetítővé is.   Ez az epizód nemcsak szórakoztató, hanem tanulságos is. Tele nosztalgiával, valós sztorikkal és magyar büszkeséggel.  

« Dans mon Chinatown », c'est une série d'été de RFI qui vous emmène dans les quartiers chinois des grandes villes du monde sur tous les continents. La région parisienne compte plusieurs Chinatown, peuplés non seulement de personnes d'origine chinoise, mais aussi venues d'Asie du Sud-Est, du Cambodge, du Laos et du Vietnam. Parmi elles, beaucoup de Chinois ayant d'abord immigré dans ces pays-là, avant de fuir les dictatures communistes. Désormais, la ville la plus asiatique de France se situe en banlieue est-parisienne, à Lognes, où près de la moitié des 15 000 habitants est d'origine asiatique.  À lire aussiDans mon Chinatown : Bangkok, une ville pleine d'authenticité et de créativité

REBOOT IT MERCH IS AVAILABLE NOW: http://tee.pub/lic/L2Fboy63Wa4We're not talking out of our butts when we say this episode is one of the wildest in the history of Reboot It! Zaslav is itching to reboot Jim Carrey's iconic Ace Ventura, and the only words he wants to hear at this request is "Alrighty then!" But when you mix'n'match Chinatown, True Detective, a murderous dolphin, and one too many Hollywood in-jokes - can it really add up to something worthy of being called "Ace Ventura"?!The Reboot Crew is:BILLY BUSINESS (https://bsky.app/profile/billyapatterson)ED GREER (  / edgreerdestroys  )RON SWALLOW (  / ronswallow  )PRODUCER BILL (  / seebilldraw  )Make sure you check out:DOUG DEFENDS feat. Billy Biz: ‪ @DougDefends THE GREATEST POD: @thegreatestpod5755 THE GREATEST POD PATREON:   / thegreatestpod   MUSIC: https://www.purple-planet.com

This episode, which is co-hosted with Delaney Chieyen Holton, features Dr. K. Ian Shin discussing his recently published book, Imperial Stewards: Chinese Art and the Making of America's Pacific Century (Standford UP, 2025). Imperial Stewards argues that, beyond aesthetic taste and economics, geopolitics were critical to the United States' transformation into possessing some of the world's largest and most sophisticated collections of Chinese art between the Gilded Age and World War II. Collecting and studying Chinese art and antiquities honed Americans' belief that they should dominate Asia and the Pacific Ocean through the ideology of imperial stewardship—a view that encompassed both genuine curiosity and care for Chinese art, and the enduring structures of domination and othering that underpinned the burgeoning transpacific art market. Tracing networks across both the Pacific and the Atlantic Oceans, K. Ian Shin uncovers a diverse cast of historical actors that both contributed to US imperial stewardship and also challenged it, including Protestant missionaries, German diplomats, Chinese-Hawaiian merchants, and Chinese overseas students, among others. By examining the development of Chinese art collecting and scholarship in the United States around the turn of the twentieth century, Imperial Stewards reveals both the cultural impetus behind Americans' long-standing aspirations for a Pacific Century and a way to understand—and critique—the duality of US imperial power around the globe. Ian Shin is Assistant Professor of History and American Culture at the University of Michigan, where he is also a core faculty member in the Asian/Pacific Islander American Studies Program. In addition to Imperial Stewards, his articles and reviews on topics that range from the Boy Scout movement in New York's Chinatown to the role of colleges and universities in 19th-century U.S.-China relations to the history of museums of American art have appeared in Amerasia Journal, Journal of Asian American Studies, Journal of American-East Asian Relations, and Connecticut Historical Review. Donna Doan Anderson is the Mellon research assistant professor in U.S. Law and Race at the University of Nebraska-Lincoln. Delaney Chieyen Holton is a Ph.D. candidate in Art History at Stanford 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

This episode, which is co-hosted with Delaney Chieyen Holton, features Dr. K. Ian Shin discussing his recently published book, Imperial Stewards: Chinese Art and the Making of America's Pacific Century (Standford UP, 2025). Imperial Stewards argues that, beyond aesthetic taste and economics, geopolitics were critical to the United States' transformation into possessing some of the world's largest and most sophisticated collections of Chinese art between the Gilded Age and World War II. Collecting and studying Chinese art and antiquities honed Americans' belief that they should dominate Asia and the Pacific Ocean through the ideology of imperial stewardship—a view that encompassed both genuine curiosity and care for Chinese art, and the enduring structures of domination and othering that underpinned the burgeoning transpacific art market. Tracing networks across both the Pacific and the Atlantic Oceans, K. Ian Shin uncovers a diverse cast of historical actors that both contributed to US imperial stewardship and also challenged it, including Protestant missionaries, German diplomats, Chinese-Hawaiian merchants, and Chinese overseas students, among others. By examining the development of Chinese art collecting and scholarship in the United States around the turn of the twentieth century, Imperial Stewards reveals both the cultural impetus behind Americans' long-standing aspirations for a Pacific Century and a way to understand—and critique—the duality of US imperial power around the globe. Ian Shin is Assistant Professor of History and American Culture at the University of Michigan, where he is also a core faculty member in the Asian/Pacific Islander American Studies Program. In addition to Imperial Stewards, his articles and reviews on topics that range from the Boy Scout movement in New York's Chinatown to the role of colleges and universities in 19th-century U.S.-China relations to the history of museums of American art have appeared in Amerasia Journal, Journal of Asian American Studies, Journal of American-East Asian Relations, and Connecticut Historical Review. Donna Doan Anderson is the Mellon research assistant professor in U.S. Law and Race at the University of Nebraska-Lincoln. Delaney Chieyen Holton is a Ph.D. candidate in Art History at Stanford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-american-studies

This episode, which is co-hosted with Delaney Chieyen Holton, features Dr. K. Ian Shin discussing his recently published book, Imperial Stewards: Chinese Art and the Making of America's Pacific Century (Standford UP, 2025). Imperial Stewards argues that, beyond aesthetic taste and economics, geopolitics were critical to the United States' transformation into possessing some of the world's largest and most sophisticated collections of Chinese art between the Gilded Age and World War II. Collecting and studying Chinese art and antiquities honed Americans' belief that they should dominate Asia and the Pacific Ocean through the ideology of imperial stewardship—a view that encompassed both genuine curiosity and care for Chinese art, and the enduring structures of domination and othering that underpinned the burgeoning transpacific art market. Tracing networks across both the Pacific and the Atlantic Oceans, K. Ian Shin uncovers a diverse cast of historical actors that both contributed to US imperial stewardship and also challenged it, including Protestant missionaries, German diplomats, Chinese-Hawaiian merchants, and Chinese overseas students, among others. By examining the development of Chinese art collecting and scholarship in the United States around the turn of the twentieth century, Imperial Stewards reveals both the cultural impetus behind Americans' long-standing aspirations for a Pacific Century and a way to understand—and critique—the duality of US imperial power around the globe. Ian Shin is Assistant Professor of History and American Culture at the University of Michigan, where he is also a core faculty member in the Asian/Pacific Islander American Studies Program. In addition to Imperial Stewards, his articles and reviews on topics that range from the Boy Scout movement in New York's Chinatown to the role of colleges and universities in 19th-century U.S.-China relations to the history of museums of American art have appeared in Amerasia Journal, Journal of Asian American Studies, Journal of American-East Asian Relations, and Connecticut Historical Review. Donna Doan Anderson is the Mellon research assistant professor in U.S. Law and Race at the University of Nebraska-Lincoln. Delaney Chieyen Holton is a Ph.D. candidate in Art History at Stanford University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

This episode, which is co-hosted with Delaney Chieyen Holton, features Dr. K. Ian Shin discussing his recently published book, Imperial Stewards: Chinese Art and the Making of America's Pacific Century (Standford UP, 2025). Imperial Stewards argues that, beyond aesthetic taste and economics, geopolitics were critical to the United States' transformation into possessing some of the world's largest and most sophisticated collections of Chinese art between the Gilded Age and World War II. Collecting and studying Chinese art and antiquities honed Americans' belief that they should dominate Asia and the Pacific Ocean through the ideology of imperial stewardship—a view that encompassed both genuine curiosity and care for Chinese art, and the enduring structures of domination and othering that underpinned the burgeoning transpacific art market. Tracing networks across both the Pacific and the Atlantic Oceans, K. Ian Shin uncovers a diverse cast of historical actors that both contributed to US imperial stewardship and also challenged it, including Protestant missionaries, German diplomats, Chinese-Hawaiian merchants, and Chinese overseas students, among others. By examining the development of Chinese art collecting and scholarship in the United States around the turn of the twentieth century, Imperial Stewards reveals both the cultural impetus behind Americans' long-standing aspirations for a Pacific Century and a way to understand—and critique—the duality of US imperial power around the globe. Ian Shin is Assistant Professor of History and American Culture at the University of Michigan, where he is also a core faculty member in the Asian/Pacific Islander American Studies Program. In addition to Imperial Stewards, his articles and reviews on topics that range from the Boy Scout movement in New York's Chinatown to the role of colleges and universities in 19th-century U.S.-China relations to the history of museums of American art have appeared in Amerasia Journal, Journal of Asian American Studies, Journal of American-East Asian Relations, and Connecticut Historical Review. Donna Doan Anderson is the Mellon research assistant professor in U.S. Law and Race at the University of Nebraska-Lincoln. Delaney Chieyen Holton is a Ph.D. candidate in Art History at Stanford University. Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode, which is co-hosted with Delaney Chieyen Holton, features Dr. K. Ian Shin discussing his recently published book, Imperial Stewards: Chinese Art and the Making of America's Pacific Century (Standford UP, 2025). Imperial Stewards argues that, beyond aesthetic taste and economics, geopolitics were critical to the United States' transformation into possessing some of the world's largest and most sophisticated collections of Chinese art between the Gilded Age and World War II. Collecting and studying Chinese art and antiquities honed Americans' belief that they should dominate Asia and the Pacific Ocean through the ideology of imperial stewardship—a view that encompassed both genuine curiosity and care for Chinese art, and the enduring structures of domination and othering that underpinned the burgeoning transpacific art market. Tracing networks across both the Pacific and the Atlantic Oceans, K. Ian Shin uncovers a diverse cast of historical actors that both contributed to US imperial stewardship and also challenged it, including Protestant missionaries, German diplomats, Chinese-Hawaiian merchants, and Chinese overseas students, among others. By examining the development of Chinese art collecting and scholarship in the United States around the turn of the twentieth century, Imperial Stewards reveals both the cultural impetus behind Americans' long-standing aspirations for a Pacific Century and a way to understand—and critique—the duality of US imperial power around the globe. Ian Shin is Assistant Professor of History and American Culture at the University of Michigan, where he is also a core faculty member in the Asian/Pacific Islander American Studies Program. In addition to Imperial Stewards, his articles and reviews on topics that range from the Boy Scout movement in New York's Chinatown to the role of colleges and universities in 19th-century U.S.-China relations to the history of museums of American art have appeared in Amerasia Journal, Journal of Asian American Studies, Journal of American-East Asian Relations, and Connecticut Historical Review. Donna Doan Anderson is the Mellon research assistant professor in U.S. Law and Race at the University of Nebraska-Lincoln. Delaney Chieyen Holton is a Ph.D. candidate in Art History at Stanford University. Learn more about your ad choices. Visit megaphone.fm/adchoices

When we try to represent languages on a map, it's common to assign each language a zone or a point which represents some idea of where it's used or where it comes from. But in reality, people move around, and many cities are host to hundreds of languages that don't show up on official records. In this episode, your hosts Gretchen McCulloch and Lauren Gawne get enthusiastic about urban multilingualism! We talk about a recent book we've been enjoying called Language City by Ross Perlin, about the over 700 languages spoken in New York City, as well as how we've noticed urban multilingualism for ourselves in Melbourne, Montreal, and elsewhere. We also talk about organizations that work with communities interested in reclaiming space for their languages, what linguistic rights are, and how to tell if yours are being taken away from you. Click here for a link to this episode in your podcast player of choice: Read the transcript here: Announcements: In this month's bonus episode we get enthusiastic about linguistic landscapes! We talk about contrasts between the signs in the Chinatowns of Montreal and Melbourne, renaming streets from colonial names to names in First Nations languages, how signs can show the shifting demographics of tourism in an area, and how bi- and multilingual Lost Cat signs show what languages people think their neighbours understand. We also talk about our most absurd sign stories, including the Russell Family Apology Plaque, and creative imaginings of official signage, such as the Latin no-smoking sign in a modern-day British train station. Join us on Patreon now to get access to this and 100+ other bonus episodes. You'll also get access to the Lingthusiasm Discord server where you can chat with other language nerds: https://www.patreon.com/posts/135199073 For links to things mentioned in this episode:

One of the fascinating ironies about Los Angeles is that it is often movies in heightened genres like noir that best capture what the city really feels like to those born and raised in it (like this podcaster). Movies like Billy Wilder's acidic Hollywood takedown classic Sunset Boulevard and Roman Polanski's & Robert Towne's 70's new cinema classic Chinatown show sides of the city with a denizen's inside baseball knowledge. But there's also a neorealist strain in the films of John Cassavettes, Charles Burnett, and others that shows Los Angeles from a working class and middle class ground level. The way we actually live our life here. And finally, oddly, 60's and 70's B movies like 1977's totally couldn't be made today "The Van" show LA as it is because the moviemakers couldn't afford a budget to dress it up. They just shot what they could and captured LA without any soft lighting or makeup.  Join Secret Movie Club founder.programmer Craig Hammill (a 4th generation Los Angelino) as we discuss some of the known and underground gems that shine a real light on the city we who live here love. 

Randy interrupts with month's Smell celebration to check in with Sean Carnage, DJ Liz O and Kyle Mabson to talk about Monday Mights an great photo and flyer show in Chinatown that looks back on the early aughties when Sean would throw the wildest DIY parties in LA. Go see the art show and buy a catalog. https://seancarnage.com/product/monday-nights-catalog/ https://www.instagram.com/dj_liz_o/?hl=en https://www.instagram.com/selfies_food_and_pets/?hl=en https://www.beatique.net/

« Dans mon Chinatown », c'est le nom de notre série d'été sur RFI. On vous emmène explorer les quartiers chinois des grandes villes du monde. C'est à Lima, au Pérou, que se trouve la plus grande communauté chinoise du continent sud-américain. Là-bas, impossible de passer à côté de l'influence culturelle, gastronomique et même économique des immigrés chinois, arrivés dès le milieu du XIXe siècle aux pays des Incas. Passez la grande porte rouge traditionnelle, gardée par deux lions en pierre... Et bienvenue au Barrio Chino. À lire aussiDans mon Chinatown: Bangkok, une ville pleine d'authenticité et de créativité

« Dans mon Chinatown », c'est une série d'été de RFI qui vous emmène dans les quartiers chinois des grandes villes du monde sur tous les continents. Aujourd'hui, direction le Chinatown de Bangkok où les vieilles échoppes familiales, ateliers de métaux, bijouteries, témoignent encore du passage de générations de migrants chinois. Le quartier conserve son charme vivant, mais accueille aussi de nouvelles adresses branchées qui attirent, et donc se gentrifie. Au grand dam de certains vieux commerces qui peinent à s'adapter. À lire aussiDans mon Chinatown: Lagos, une ville d'opportunités pour les ressortissants chinois À lire aussiRoyaume-Uni: à Londres, «Chinatown aujourd'hui, c'est plutôt Asiatown»

Dans mon Chinatown, c'est le nom de notre série d'été. On vous emmène explorer les quartiers chinois des grandes villes du monde. Aujourd'hui, direction Londres, au Royaume-Uni, dont le Chinatown est l'un des quartiers touristiques incontournables pour qui veut découvrir la capitale britannique. Située dans l'hypercentre de la capitale, on y trouve des restaurants réputés. Comme une vitrine pour la culture chinoise et panasiatique. Mais la présence chinoise à Londres cache une face plus sombre, moins instagrammable. De notre correspondante à Londres, On se trouve ici au cœur de Londres. À deux pas du West End, le quartier des théâtres. Les noms de rue sont écrits en anglais et en chinois. Des lampions surplombent les allées, une immense arche bleue et dorée marque l'entrée de Chinatown, un quartier gourmand, où cette restauratrice est installée depuis 20 ans : « Bonjour, je m'appelle Ellen Chew, j'ai fondé les restaurants Chew. Chinatown, c'est un endroit vraiment important pour moi. Je viens ici quand mon pays me manque. Je viens ici pour la gastronomie, mais cela va au-delà de ça : Chinatown, c'est une communauté d'amis. On vient ici pour manger, mais surtout pour être entre amis. » Son secret : un fabricant traditionnel de nouilles dans une ruelle dérobée. La Singapourienne l'assure : sous des façades bling-bling, Chinatown reste très authentique. Bien que mal nommée. « Quand je suis arrivée il y a 20 ans, on trouvait surtout du canard laqué, des Dim Sums, quelques Japonais, mais surtout de la cuisine cantonaise. Aujourd'hui, ça a changé. On trouve des restaurants malaisiens, singapouriens, vietnamiens, thaïs. Chinatown aujourd'hui, c'est plutôt Asiatown. » Beaucoup plus à l'est, l'ancien quartier des Docks. C'est le Chinatown originel où se sont installé les premiers immigrants chinois, des marins, au 19ᵉ siècle, un quartier rasé pendant la Seconde Guerre mondiale. À deux pas d'ici, la Chine souhaite construire une nouvelle ambassade, juste en face du mythique Tower Bridge. Et ça, ça inquiète fortement la diaspora chinoise et hongkongaise « Non à la répression transnationale chinoise. Non à la méga-ambassade ! Le Parti communiste chinois va s'en servir pour nous espionner, nous les Hongkongais, et les autres. Et c'est dangereux pour la sécurité nationale britannique ! » C'est aussi ici qu'on rencontre Carmen Lau, une activiste hongkongaise qui possède le statut de « citoyenne britannique d'Outre-mer ». Élue locale pro-démocratie, elle a dû fuir Hong-Kong en 2021. Mais continue de subir la répression chinoise. « Le régime chinois et le gouvernement hongkongais ont placé une prime sur ma tête et sur celles d'autres activistes, mes voisins au Royaume-Uni ont reçu des lettres pour les inviter à me livrer à l'ambassade chinoise. Je trouve que le gouvernement britannique n'en fait pas assez pour lutter contre cette forme de répression. » Ces dernières années, 150 000 Hongkongais ont demandé l'asile au Royaume-Uni. Pour Carmen Lau, même à 10 000 km de chez elle, cette diaspora a un rôle à jouer pour l'avenir de Hong Kong. « Nous essayons de recréer notre société civile, nos mouvements de défense des droits humains. Et puis, en tant que Britannique d'Outre-mer, nous avons le droit de vote ici. À nous d'activer ce pouvoir au nom de nos droits. » Si le projet est validé, l'ambassade compterait parmi les plus grandes d'Europe – une sorte de Chinatown de verre et de béton, bien loin des lampions et des canards laqués du West End.   À lire aussiDans mon Chinatown: Lagos, une ville d'opportunités pour les ressortissants chinois

It's episode 217 and time for our Summer Media Update! We discuss shelf trophies, sumo wrestling, Kpop Demon Hunters, blogs in book form, and more! You can download the podcast directly, find it on Libsyn, or get it through Apple Podcasts or your favourite podcast delivery system. In this episode Anna Ferri | Meghan Whyte | Matthew Murray

« Dans mon Chinatown », c'est le nom de notre série d'été sur RFI. On vous emmène explorer les quartiers chinois des grandes villes du monde. Aujourd'hui, direction le Chinatown de New York, l'un des plus vieux au monde. Situé dans le sud de Manhattan, il fait face de nos jours à de nombreux défis. Entre les aléas de la politique internationale des États-Unis et les projets de développement locaux, ses habitants tentent malgré tout de préserver leur communauté. Arriver à Chinatown le matin, c'est arriver dans un quartier qui se réveille en douceur. Dans une ville où tout va vite, ce quartier semble parfois suspendu dans le temps. « Là, on est devant le tout premier immeuble d'appartements de New York, vieux de plus de 200 ans. » Grace Young connaît Chinatown comme personne. Celle que les médias ont surnommée la « reine du wok », pour son expertise de la cuisine chinoise, nous a donné rendez-vous sur Mott Street, là où tout a commencé : « Les premiers à avoir vécu ici étaient les immigrés irlandais, puis les Italiens, et ensuite les juifs. Et ce n'est probablement qu'à la fin des années 1800 que les premiers Chinois sont arrivés. » À New York, Chinatown a toujours été l'une des destinations les plus prisées des touristes. Mais marcher dans les rues aujourd'hui révèle une autre histoire. « On tourne à gauche sur Canal Street. Au loin, vous voyez Lung Moon Bakery, qui a fermé durant la pandémie de Covid-19. Là, il y avait un marché et maintenant, c'est un horrible magasin de souvenirs ''I Love New York'', qui n'apporte absolument rien au quartier », raconte Grace Young. Durant la pandémie de Covid, l'économie de Chinatown a été durement touchée. Des dizaines de commerces ont fermé. Ceux qui existent encore font face à de nombreux défis. « Nous entrons dans Grand Tea Imports », indique Karen Liu. Ses parents ont ouvert ce magasin il y a plus de 20 ans. Elle ajoute : « Vous remarquerez que les étagères sont pleines à craquer. On a du thé, des théières, des tasses mais aussi de l'encens et des objets traditionnels qu'on importe de Chine. » À lire aussiDroits de douane: les États-Unis prolongent de 90 jours la détente avec la Chine Ces derniers mois, ils n'ont qu'une chose en tête : comment survivre aux taxes douanières imposées par les États-Unis ? Karen Liu confie : « Chinatown ne peut pas exister sans les importations chinoises. On est aussi un quartier populaire, donc on essaie de garder nos prix abordables. Donc, même 30% de droits de douane, cela pèse énormément sur nos marges qui sont déjà très très faibles. » En plus de la guerre commerciale, Chinatown doit faire face à la gentrification qui ne cesse de faire flamber les loyers. La famille d'Alice Choi-Barrick possède une société de distribution de fruits et légumes. Après 40 ans dans le quartier, ils ont dû abandonner leurs locaux. « La pandémie a évidemment tout changé. Quand les autres commerces qu'on fournit en produits ont fermé, on a perdu des clients. Et cela nous a mis dans une situation financière délicate. Nous n'avons pas eu le choix et nous avons déménagé dans un entrepôt dans le Queens », explique-t-elle.  Comme Alice et sa famille, ils sont nombreux à s'installer dans les Chinatown du Queens ou de Brooklyn. Le Chinatown de Manhattan, lui, compte désormais moins de 30 000 habitants d'origine chinoise. Une réalité contre laquelle se bat Grace Young, qui espère préserver ces quartiers historiques : « Ces quartiers nous lient à notre passé. S'ils disparaissent, on perd une part de nous-mêmes. » À lire aussiDans mon Chinatown: Lagos, une ville d'opportunités pour les ressortissants chinois

From the best of This is Ottawa: From its opening in 1982, the Yangtze restaurant on Somerset Street became a destination for lovers of dim sum. But in the fall of 2024, the family-run business closed and the building was sold. The woman who grew up at the Yangtze tells Robyn Bresnahan about the bitter sweet good-bye.(Originally published October 2024)

« Dans mon Chinatown », c'est le nom de notre série d'été sur RFI. On vous emmène explorer les quartiers chinois des grandes villes du monde. Aujourd'hui, direction Lagos au Nigeria où la présence de ressortissants chinois remonte à 1930. Plus de 40 000 Chinois y vivent aujourd'hui : employés des grandes entreprises publiques chinoises hyperactives dans les secteurs du pétrole, du gaz et de la construction, entrepreneurs privés qui exportent, voire fabriquent au Nigeria des produits manufacturiers... Quel est l'impact économique, social et culturel de cette présence chinoise ?  De notre correspondant au Nigeria, Le téléphone collé à l'oreille, Eric Ni est un brin agacé. Autour de lui, les membres de la troupe de danse Huaxing s'activent pour placer les dernières chaises en plastique. Dans quelques instants, une opération caritative qu'Eric co-organise avec le consulat général de Chine démarre dans cette école, à l'extrême ouest de Lagos. Eric donne ses dernières instructions en pidgin nigérian : « Cette façon de parler, je l'ai apprise en vivant ici avec mes amis nigérians. Oui, moi, je vis et je côtoie les gens d'ici. Le Nigeria, c'est ma seconde patrie. Cela fait vingt-trois ans que je suis ici. Et je suis venu pour faire des affaires. Je suis dans le secteur de la chaussure. On a désormais ouvert une usine de fabrication de chaussures. Mais vous savez, l'économie en ce moment n'est pas bonne. Mais on continue d'y croire. » Comme Eric Ni, un peu plus de 40 000 Chinois seraient enregistrés auprès de leurs autorités consulaires. Investisseurs, ingénieurs, techniciens, commerciaux, ou bien manœuvres... Les profils des Chinois de Lagos sont très diversifiés. Et surtout, la majorité d'entre eux ne se concentre pas dans une zone particulière de la mégapole. Adetoro Bnawo, directeur de l'unité langue chinoise au département linguistique de l'université de Lagos, explique : « La plupart des Chinois qui s'installent dans les quartiers de Lagos essaient, d'une manière ou d'une autre, d'avoir un impact sur les écoles publiques. Ils vont voir les rois locaux. Ils leur rendent hommage. Certains membres de leur communauté de Festac vont jusqu'à se rendre dans les hôpitaux. Et ainsi, ils proposent la technologie chinoise afin d'aider certains patients, par exemple ceux qui souffrent de cataracte. » Loi Eng Koon dirige une imprimerie. En juin 1990, cette ancienne distributrice de produits électroniques quitte Singapour pour fabriquer des CD et DVD à Lagos. Et même si cette mégapole est considérée comme l'une des pires du monde en termes de confort de vie, Loi s'y sent à l'aise : « Il se peut que de nombreux médias parlent des aspects négatifs de Lagos. Voir, c'est croire. Si vous respectez la personne en face de vous, vous serez respecté. » Avant de s'enraciner à Lagos, Loi Eng Koon a tenté de faire des affaires dans au moins 35 pays africains, sans succès. En 2014, elle revend ses parts dans son entreprise originelle de Singapour. Loi se lance alors dans l'imprimerie, notamment numérique. Et aujourd'hui, de son bureau, cette femme d'affaires chinoise pilote elle-même son équipe de 25 salariés à 100% nigérians : « Même lorsque je voyage, je surveille leur travail à chaque seconde. Et parfois, ils sont très négligents. Ils commettent des erreurs qui m'obligent à les punir en leur retirant une partie de leur salaire. Lorsqu'ils font du bon travail, ils sont récompensés. » Et malgré une balance commerciale très favorable à leur pays natal, et donc source potentielle d'envies et de frustrations, les Chinois de Lagos, à l'instar de Loi Eng Koon, s'adaptent avec méthode, mêlant extrême rigueur, sobriété et humanisme dans un Nigeria toujours secoué par des crises multiples. À lire aussiEn 2025, la Chine a investi 39 milliards de dollars en Afrique, dont 21 au Nigeria

Today we're getting optimized with Nicole Sifuentes. We might keep things casual in our chat, but don't let that fool you—Nicole was an absolute force on the track. She's a twelve-time NCAA All-American, a five-time Canadian Championship medalist in the 1500 and 5000, and she repped Team Canada at the 2012 London and 2016 Rio Olympics. She also still holds the women's record for the BAA Invitational Mile, just for fun. These days, Nicole pours her energy into Sifuentes Coaching, where she helps athletes dream big and go bigger. Follow Nicole on insta @sifuentescoaching Find out more about Sifuentes Coaching at www.sifuentescoaching.com   EPISODE SPONSOR: UNDER ARMOUR EASTSIDE 10K Chase your PB, and tour Vancouver at the same time! Run the Under Armour Eastside 10K on Sunday, September 21 and fly through Gastown, Chinatown, and East Van on a fast, scenic course. Enjoy big race-day energy, a premium UA technical shirt, and a standout medal. Don't miss this unforgettable run! Register today at www.canadarunningseries.com    THEME MUSIC: Joseph McDade

Steve rounds out his week with us, as Ludwig persuades Jane to get close to Frank. Check out Steve's trivia games at: https://www.facebook.com/KnowContest

History unfolding in Anchorage, Alaska. Russian president Vladimir Putin on u-s soil for the first time in ten-years.. as president trump pushes him to end his 3-and-a-half-year war with Ukraine. Honolulu police have identified the suspect in last week's acid attack in Chinatown. The Made In Hawaii Festival takes over the Convention Hall this weekend. Casey Lund has a preview.See omnystudio.com/listener for privacy information.

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

Sue Ko Lee (1910-1996) was a labor organizer who participated in one of the longest strikes in the history of San Francisco’s Chinatown. She and other garment workers joined forces with a white-led union to win better pay and shorter hours — and a huge victory for the Chinese American workforce. For Further Reading: Unbound Voices by Judy Yung - University of California Press Sue Ko Lee (U.S. National Park Service) Sue Ko Lee - National Union of Healthcare Workers Sue Ko Lee and the National Dollar Stores Strike of 1938 | Library Exhibitions This month, we’re bringing back some of our favorite Womanica episodes you might have missed! We’ll be talking about Pink Collar Workers: women who revolutionized jobs that have traditionally been called "women's work." Through their lives, they created a more just and humane world for us today. History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn’t help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should. Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we’ll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more. Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Carmen Borca-Carrillo, Taylor Williamson, Sara Schleede, Paloma Moreno Jimenez, Luci Jones, Abbey Delk, Adrien Behn, Alyia Yates, Vanessa Handy, Melia Agudelo, and Joia Putnoi. Special thanks to Shira Atkins. Follow Wonder Media Network: Website Instagram Twitter See omnystudio.com/listener for privacy information.

Don't forget to subscribe to our newsletter Hyphenly; it's our no-fluff love letter with hot takes, heartfelt stories, and all the feels of living in between cultures. Come for the nuance, stay for the vibes! Link below https://hyphenly.beehiiv.com Launching this September from Pushkin Industries, a new investigative podcast hosted by journalist Lidia Jean Kott uncovers the true story of Tina Wong, a Chinese American mother in 1980s Manhattan who was pulled into a billion-dollar heroin trafficking scheme. In this exclusive preview, Lidia joins host Saadia Khan to discuss the podcast's backstory, the complex moral terrain of friendship, and her personal connection-her boyfriend's mother was the lead federal prosecutor on the case. The episode explores how systems of power, race, immigration, and economic survival collided in ways that still echo today. It's a layered portrait of immigrant resilience, impossible decisions, and the untold legacy of Chinatown's exclusion. Join us as we create new intellectual engagement for our audience. You can find more information at ⁠⁠⁠⁠⁠⁠⁠⁠⁠http://immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠. Please share the love and leave us a review on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to help more people find us!  You can connect with Saadia on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@swkkhan Email: ⁠⁠⁠⁠⁠⁠⁠⁠⁠saadia@immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠ Host & Producer: Saadia Khan I Content Writer: Saadia Khan I Editorial review: Shei Yu I Sound Designer & Editor: Lou Raskin I Immigrantly Theme Music: Simon Hutchinson | Other Music: Epidemic Sound Immigrantly podcast is an Immigrantly Media Production. For advertising inquiries, contact us at ⁠⁠⁠⁠⁠⁠⁠⁠⁠info@immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠ Don't forget to subscribe to our Apple podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ channel ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠for insightful podcasts. Follow us on social media for updates and behind-the-scenes content. Learn more about your ad choices. Visit megaphone.fm/adchoices

CAL FIRES GETS BUSY EARLY IN FIRE SEASON:  4/4: A Future in Flames Paperback –by  Danielle Clode  (Author) https://www.bbc.com/news/articles/cx2pqry4xkko https://www.amazon.com/Future-Flames-Danielle-Clode/dp/0648140776 Fire has shaped the Australian landscape and the lives of Australians for thousands of years—and will continue to do so as the climate changes. For all our advances in prevention and prediction, planning and communication, bushfires keep claiming our lives and our homes. How can we avoid another Ash Wednesday or Black Saturday?Danielle Clode has lived in the bushfire danger zone and studied the past and recent history of fire management and fire-fighting. Here she tells the complex story of Australia's relationship with fire, from indigenous practices to country fire brigades and royal commissions—as well as her own story of living with the threat of fire. A Future in Flames is a vivid history, a sombre reflection and an invaluable guide for living and dealing with fire.   1906 CHINATOWN

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

An investigation is underway after a fire sparked at an iconic Maui property early this morning. The blaze at the Kula Lodge was first reported just before 4 a.m. A violent weekend around Oahu.. as police are searching for suspects in multiple cases, including a man who allegedly threw acid at someone in Chinatown. UH football fans will not have to pay to watch the Rainbow Warriors home games this season. See omnystudio.com/listener for privacy information.

The latest on a shooting at Joint Base Pearl Harbor-Hickam Wahiawa Annex that left a person in critical condition. Police are asking for help finding the suspect behind an acid attack in Chinatown; the third such attack in the last few years. High surf and rough ocean conditions led to hundreds of rescues along Oahu's south shore. And get ready for warmer temperatures and muggy conditions. Jennifer Robbins has your forecast for the week ahead.See omnystudio.com/listener for privacy information.

We head to an archaeological dig in Rock Springs that's leading to discoveries about the town's former Chinatown and a massacre that took place there over a century ago. Then, we get inside the concert halls in Teton Village where the Grand Teton Music Festival is trying to prove its music isn't just for the highbrow listener. We hear about how a photo camp on the Wind River reservation is becoming a mental health solution for men, and sit down with economist and Jackson Town Councilor Jonathan Schechter to hear why he's holding on to hope for shrinking Jackson's wealth gap following the One Big Beautiful Bill Act.Mid-episode music this week is “Fountains of Rome,” a tone poem from 20th century composer Ottorino Respighi and performed by the Grand Teton Music Festival orchestra.Jackson Unpacked airs locally at 89.1 FM or via live-stream Mondays at 7:30 a.m. and 12:30 p.m., and Fridays and Sundays at 12:30 p.m. Support Jackson's only nonprofit newsroom by becoming a member of KHOL today.

Long time Dream Chimney contributor, DJ, Producer Dennis Kane is facing eviction and looking for support. https://gofund.me/7db0132b We are hosting the original Disques Town podcast episodes and making them available to stream/download. Please consider donating to help Dennis. At the moment Dennis finds himself in a serious financial jam, and we are raising funds to help he and Roan stay in their home of 31 years. -- Originally Recorded Sep 13 2011 Brennan is a good pal, a fellow BMX enthusiast, and a terrific DJ & Producer. He was a natural for a first guest. In true fraternal Irish style Brennan broke my balls, but also graciously helped with some of the arduous setup issues for this undertaking. He left with my studio keys (!), but also gave me the complete episodes of “Trailer Park Boys”, one of his native land's greatest cultural contributions. Special thanks to Tariq Abdus-Sabur and Sean Brennan for all their help on this, and for putting up with me & BG. Brennan Green runs the Chinatown label, DJ's worldwide, and has produced numerous original tracks and remixes. His most recent project is the Kid Creole LP “I Wake Up Screaming” on Strut

There have been many plans for what should happen to the 62-acre site known as the 78 along the Chicago River at Roosevelt and Canal. The latest is a new stadium for the Chicago Fire soccer team. The project promises more affordable housing and economic growth, but some residents of neighboring Chinatown have concerns and are making them heard. Reset sits down with Sarah Tang, Coalition for a Better Chinese American Community's director for programs, Matthew Zhao, Teen Coalition for Chinatown intern, and Debbie Liu, president of Ping Tom Park Advisory Council. For a full archive of Reset interviews, head over to wbez.org/reset.

Community organizations are helping Chinatown residents preserve what long-standing family associations helped build.

Family associations were once the backbone of social and economic organization for Chicago's Chinatown. Their evolution over the decades tells the history of the community.