Podcasts about Chinese Americans

Wine isn't often the drink of choice in Chinese restaurants, yet the country's immigrants played a key role in planting Northern California vineyards and building wineries after the Gold Rush. Now, a Chinese American winemaker is bringing a taste of that history — along with her Sonoma and Napa wines — to Chinatown restaurants in the Bay Area and beyond. Reporter: Tina Caputo California State University has reached a legal settlement with its faculty union over the sharing of faculty information with federal authorities. Reporter: Juan Carlos Lara, KQED After over a decade of planning, and years of construction, Butte County finally has a new jail. Reporter: Claudia Brancart, North State Public Radio Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we have the young, talented, and starving Sienna Hubert-Ross!About Jiaoying Summers:Jiaoying Summers is a Chinese-American stand-up comedian, actress, and social media influencer known for her bold humor, sharp wit, and unique perspectives on life, culture, and identity. A proud mother and successful performer, Jiaoying's journey from her beginnings in China to becoming a comedy sensation in the U.S. is nothing short of inspiring. She uses herplatform to tackle topics like cultural differences, family, and self-empowerment, always leaving audiences laughing and thinking.Stay Connected With Jiaoying:Facebook: https://www.facebook.com/jiaoyingsummers Instagram: https://www.instagram.com/jiaoyingsummers/TikTok: https://www.tiktok.com/@jiaoyingsummersX: https://x.com/jiaoyingsummersWebsite: https://summerscomedy.comSupport the showFollow Jiaoying Summers Social media & get tickets for Tiger Milf Tour!Facebook | Youtube | TikTok | Twitter | Instagram | Merch | Tour | Patreon | OnlyFansSupport the showFollow Jiaoying Summers Social media & get tickets for Tiger Milf Tour!Facebook | Youtube | TikTok | Twitter | Instagram | Merch | Tour | Patreon | OnlyFans

Today on AirTalk: LA transit agency seeks to override state law allowing more homes near train and bus lines (0:30) A check in on California’s effort to get plastic out of landfills (16:55) Food Friday: Jade Rabbit brings generations of Chinese American cuisine into one fast casual restaurant (34:44) FilmWeek: What to watch (51:16) Feature: The 101 Best LA Films…according to the LA Times (1:08:01) Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency

In Part 2, we pick up where we left off in Part 1. Kathy left her hometown of San Francisco for the first time to go to college at USC. Originally, she wanted to major in science. There was and perhaps still is a prevailing expectation in her culture to go into some sort of lucrative career. Surely, no one would want to go into the food business intentionally, so the trope goes. So Kathy set out to make her parents proud. Soon enough, though, she realized she doesn't like science, and switched to becoming a business major. She earned a bachelor's in entrepreneurship and operations and soon got a job in the corporate world at the stock brokerage Merrill Lynch. A short time later, not too happy, she moved to Johnson and Johnson, another job that ended up boring her. Despite this, she was getting more and more used to LA and wasn't thinking necessarily of coming back. Still in her Twenties, the idea of joining her parents at their restaurant started to grow on her, and she took the plunge. She moved back to San Francisco and lived with Lily and Peter for a time. She'd been bringing college friends to her hometown for a while, parading them around to ride cable cars or eat at places like Taddich Grill. They'd explore San Francisco neighborhoods and restaurants with Kathy as their guide. Her friends loved it here. Duh. Returning home felt good for Kathy. Her husband had lived in Hawaii and Georgia and would sometimes urge to go other places. But Kathy is a city girl, an SF girl. "It's always good to be back." Her first year back, she worked with Peter and Lily at House of Nanking every day. She aimed to prove to her dad that she was serious about restaurant work. After that year, Kathy went to culinary school. When she graduated, Peter lovingly let her know that three is a crowd at his eatery and asked his daughter what she wanted to do. "I kinda wanna open another restaurant," she told him. He'd resisted opening a second location for House of Nanking. The idea of Kathy branching out, however, offered an opportunity to do a second restaurant, but have it be unique and distinct from his own place. Because the new joint would be father/daughter (vs. the husband/wife structure at House of Nanking), it provided space for Kathy's dishes, Peter's dishes, and menu items featuring collaborations between the two. The scaffolding was there, and it was solid. But right away, Kathy found herself the victim of outdated stereotypes of what it means to be a chef. Some even felt that the operation was nepotistic, that Kathy was just riding her dad's coattails. They couldn't imagine that she'd because a great chef in her own right. People, amirite? I ask Kathy whether it's an apt metaphor to say that House of Nanking gave birth to Fang. She agrees. She uses this topic as a springboard to describe physical differences between the two restaurants. House of Nanking feels older, more disheveled, with dim lighting. Fang is newer, cleaner-feeling, brighter. I was sitting there that day at House of Nanking, talking with Kathy, and I couldn't help wonder whether Anthony Bourdain had eaten there. She wasn't sure on the spot that day, but I looked it up. I'm almost certain he did not, but I can't help but believe he eventually would've made it. House of Nanking is just "like that." Kathy seizes on the opportunity to share celebrities who have been to her parents' restaurant, and tells the story of a recent mention by comedian and writer John Mulaney. She was in London when Mulaney performed in SF. On stage in The City, he mentioned loving House of Nanking and wishing it was open after his show. Kathy made a few phone calls from across the Atlantic and had food delivered to him. The next night, Kathy Griffin basically said the same thing. And Kathy Fang once again came through, having food brought to the comic actor. Griffin let it be known that House of Nanking is on an unofficial "comedy circuit," meaning a group of comedians who share tips about various cities and what to do and eat there. We start to wind down the conversation by talking about the book that Kathy wrote. Along with her dad, Kathy's new book, The House of Nanking Cookbook, is something that's been in the works for a while. Folks kept asking them to share their recipes, and Peter resisted. But then the show Chef Dynasty: House of Fang came out on Food Network. After her dad saw the show (and he's in it, mind you), he changed his tune. He wanted there to be a record of everything they'd accomplished. Kathy convinced Peter that a book was the best way to do just that. The book is written in both Peter's and Kathy's voices. So it's got the story of opening and carrying on all those years. But it also has Kathy's perspective, growing up in the restaurant and eventually becoming a chef in her own right. After doing research and seeing a dearth of Chinese-American cookbooks, getting her family's recipes out there became even more important for Kathy. The House of Nanking Cookbook is available at local bookstores. House of Nanking, 919 Kearny Street, @houseofnankingsf Fang restaurant, 660 Howard Street, @fangrestaurantsf Find more about Kathy on her website, kathyfang.com.

The cowboy is one of the most potent symbols of American Western mythology. But while pop culture might call John Wayne or the Marlboro Man to mind, real history tells a different story than Hollywood or history books. Cowboys in the West were racially diverse, and in Eastern Oregon, Chinese Americans played a big role in ranching and local economies.   As part of work to reclaim histories of the early Chinese diaspora in rural Oregon, archaeologists and community historians are on the trail of Eastern Oregon’s Chinese cowboys. That pursuit takes us to the historic Stewart Ranch in Grant County to learn more about Buckaroo Sam, cook Jim Lee and others who lived and worked there. We're joined by historical archaeologist Chelsea Rose to kick off a special series in collaboration with OPB’s “Oregon Experience,” the Southern Oregon University Laboratory of Anthropology and Jefferson Public Radio about unearthing Oregon history — the real stuff. -   For more episodes of The Evergreen, and to share your voice with us, visit our showpage. Follow OPB on Instagram, and follow host Jenn Chávez too. You can sign up for OPB’s newsletters to get what you need in your inbox regularly.   Don’t forget to check out our many podcasts, which can be found on any of your favorite podcast apps:HushTimber Wars Season 2: Salmon WarsPolitics NowThink Out Loud And many more! Check out our full show list here.  

This week we have comedian Joe Wong! About Jiaoying Summers:Jiaoying Summers is a Chinese-American stand-up comedian, actress, and social media influencer known for her bold humor, sharp wit, and unique perspectives on life, culture, and identity. A proud mother and successful performer, Jiaoying's journey from her beginnings in China to becoming a comedy sensation in the U.S. is nothing short of inspiring. She uses herplatform to tackle topics like cultural differences, family, and self-empowerment, always leaving audiences laughing and thinking.Stay Connected With Jiaoying:Facebook: https://www.facebook.com/jiaoyingsummers Instagram: https://www.instagram.com/jiaoyingsummers/TikTok: https://www.tiktok.com/@jiaoyingsummersX: https://x.com/jiaoyingsummersWebsite: https://summerscomedy.comSupport the showFollow Jiaoying Summers Social media & get tickets for Tiger Milf Tour!Facebook | Youtube | TikTok | Twitter | Instagram | Merch | Tour | Patreon | OnlyFansSupport the showFollow Jiaoying Summers Social media & get tickets for Tiger Milf Tour!Facebook | Youtube | TikTok | Twitter | Instagram | Merch | Tour | Patreon | OnlyFans

About Jiaoying Summers:Jiaoying Summers is a Chinese-American stand-up comedian, actress, and social media influencer known for her bold humor, sharp wit, and unique perspectives on life, culture, and identity. A proud mother and successful performer, Jiaoying's journey from her beginnings in China to becoming a comedy sensation in the U.S. is nothing short of inspiring. She uses herplatform to tackle topics like cultural differences, family, and self-empowerment, always leaving audiences laughing and thinking.Stay Connected With Jiaoying:Facebook: https://www.facebook.com/jiaoyingsummers Instagram: https://www.instagram.com/jiaoyingsummers/TikTok: https://www.tiktok.com/@jiaoyingsummersX: https://x.com/jiaoyingsummersWebsite: https://summerscomedy.comSupport the showFollow Jiaoying Summers Social media & get tickets for Tiger Milf Tour!Facebook | Youtube | TikTok | Twitter | Instagram | Merch | Tour | Patreon | OnlyFans

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

Deanna Wong, creator of Dwadlings Art, is a Chinese-American non-binary artist creating functional ceramics and large-scale murals featuring wiggly critter-filled illustrations. At an even five foot tall, Deanna could be described as "just a little guy" and also a "very long yardstick." https://ThePottersCast.com/1191  

This week on Sinica, recorded at Yale University, I speak with Michael Brenes and Van Jackson, coauthors of The Rivalry Peril: How Great-Power Competition Threatens Peace and Weakens Democracy. Their argument is that framing the U.S.-China relationship as geopolitical rivalry has become more than just a foreign policy orientation — it's a domestic political project that reshapes budgets, norms, and coalitions in ways that actively harm American democracy and the American people. Rivalry narrows political possibility, makes dissent suspect, encourages neo-McCarthyism (the China Initiative, profiling of Chinese Americans), produces anti-AAPI hate, and redirects public investment away from social welfare and into defense spending through what they call "national security Keynesianism."Mike is interim director of the Brady Johnson Program in Grand Strategy at Yale, while Van is a senior lecturer in international relations at Victoria University of Wellington and host of the Un-Diplomatic Podcast. We discuss the genesis of their collaboration during the Biden administration, how they navigate China as a puzzle for the American left, canonical misrememberings of the Cold War that distort current China policy, the security dilemma feedback loop between Washington and Beijing, why defense-heavy stimulus is terrible at job creation, how rivalry politics weakens democracy, recent polling showing a shift toward engagement, and their vision for a "geopolitics of peace" anchored in Sino-U.S. détente 2.0.5:47 – The genesis of the book: recognizing Biden's Cold War liberalism 11:26 – How they approached writing together from different disciplinary homes 13:20 – Navigating China as a puzzle for the American left21:39 – How great power competition hardened from analytical framework into ideology 28:15 – Mike on two canonical misrememberings of the Cold War 33:18 – Van on the security dilemma and the nuclear feedback loop 39:55 – National security Keynesianism: why defense spending is bad at job creation 44:38 – How rivalry politics weakens democracy and securitizes dissent 48:09 – Building durable coalitions for restraint-oriented statecraft 51:27 – Has the post-COVID moral panic actually abated? 53:27 – The master narrative we need: a geopolitics of peace 55:29 – Associative balancing: achieving equilibrium through accommodation, not armsRecommendations:Van: The Long Twentieth Century by Giovanni Arrighi Mike: The World of the Cold War: 1945-1991 by Vladislav Zubok Kaiser: Pluribus (Apple TV series by Vince Gilligan)See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

#jiaoyingsummers #comedy Stream "Material Boy" Now!!! About Jiaoying Summers:Jiaoying Summers is a Chinese-American stand-up comedian, actress, and social media influencer known for her bold humor, sharp wit, and unique perspectives on life, culture, and identity. A proud mother and successful performer, Jiaoying's journey from her beginnings in China to becoming a comedy sensation in the U.S. is nothing short of inspiring. She uses herplatform to tackle topics like cultural differences, family, and self-empowerment, always leaving audiences laughing and thinking.Stay Connected With Jiaoying:Facebook: https://www.facebook.com/jiaoyingsummers Instagram: https://www.instagram.com/jiaoyingsummers/TikTok: https://www.tiktok.com/@jiaoyingsummersX: https://x.com/jiaoyingsummersWebsite: https://summerscomedy.comCopyright Notice:This video and my YouTube channel contain dialog, music, and images that are property of Jiaoying Summers. You are authorized to share the video link and channel, and embed this video in your website or others as long as a link back to my YouTube channel is provided.Support the showFollow Jiaoying Summers Social media & get tickets for Tiger Milf Tour!Facebook | Youtube | TikTok | Twitter | Instagram | Merch | Tour | Patreon | OnlyFans

Welcome to Season 5, Episode 51! Our guest today is the award-winning children's book author, Andrea Wang. She's written several books and been recognized with many awards including The Newbery Honor and Caldecott Medal.  Andrea's latest picture book is Worthy: The Brave and Capable Life of Joseph Pierce, a notable Chinese American who fought during the Civil War and, beyond all odds, earned naturalized citizenship. We love how she's unafraid of tackling some heavy topics that include racism, discrimination, and belonging. The beautiful picture book is illustrated by Youa Vang,  If you're looking for some of Andrea's previous, work, she's written several notable things including the picture books The Nian Monster, Magic Ramen: The Story of Momofuku Ando, Watercress, and Luli and the Language of Tea, as well as the middle grade novels The Many Meanings of Meilan and The Summer of Squee. To learn more about Andrea, you can visit her website https://andreaywang.com/, follow her on instagram @andreawhywang, and of course buy Worthy and her other books. If you like what we do, please share, follow, and like us in your podcast directory of choice or on Instagram @AAHistory101. For previous episodes and resources, please visit our site at https://asianamericanhistory101.libsyn.com or our links at http://castpie.com/AAHistory101. If you have any questions, comments or suggestions, email us at info@aahistory101.com.

In this episode, Erica Rhodes joins the discussion on beauty standards, zodiac signs, and the concept of changing birthdates. The conversation flows to Erica's mom, ethnicity, and some awkward stories. The group shares their favorite cities, travel memories, and a "cute day" tradition. They touch on a JonBenét Ramsey joke, comedy festivals, and addiction. Nepotism, surviving shootings, and relationship dynamics are explored. Chinese slang and communal narcissism are taught and discussed. Dating experiences and the role of appearance in relationships are shared, followed by upcoming comedy tour dates and closing remarks.About Jiaoying Summers:Jiaoying Summers is a Chinese-American stand-up comedian, actress, and social media influencer known for her bold humor, sharp wit, and unique perspectives on life, culture, and identity. A proud mother and successful performer, Jiaoying's journey from her beginnings in China to becoming a comedy sensation in the U.S. is nothing short of inspiring. She uses herplatform to tackle topics like cultural differences, family, and self-empowerment, always leaving audiences laughing and thinking.Stay Connected With Jiaoying:Facebook: https://www.facebook.com/jiaoyingsummers Instagram: https://www.instagram.com/jiaoyingsummers/TikTok: https://www.tiktok.com/@jiaoyingsummersX: https://x.com/jiaoyingsummersWebsite: https://summerscomedy.comSupport the showFollow Jiaoying Summers Social media & get tickets for Tiger Milf Tour!Facebook | Youtube | TikTok | Twitter | Instagram | Merch | Tour | Patreon | OnlyFans

Message us here!A mother, a son, and a community caught between love and stigma: the new movie "Rosemead" (produced by Lucy Liu) hits like a quiet earthquake. After watching the early screening, I ugly-cried when I found out that it was based on a true story. Because the story tackles the complexities of loving someone with mental illness, I just had to talk about it here. In this episode, I sit down with "Rosemead" actor Anzi De Benedetto to unpack how a true story about schizophrenia, grief, and culture moves beyond clichés and into the messy details of real life. What does support look like when friends don't have the right language? How does a family navigate care when stigma and “face” loom over every choice?Anzi shares his path to the role of Stan, a well-intentioned friend whose lighthearted validation brings comfort, but only to a certain level. We explore the line between empathy and minimization, the moment when a “pep talk” must give way to professional help, and why understanding psychosis as an ongoing condition, not just a singular event. The conversation expands into the cultural dynamics inside Chinese American communities depicted in the film.Still reeling from the emotional impact of the movie, I had to ask Anzi about his journey with acting that brought him to "Rosemead." He offers a rare look into the acting craft as emotional science: breathwork, body cues, and set safety over mythology, mirroring the same regulation skills I also teach. If Rosemead is screening near you, go see it and tell us what you think. Fair warning- it's not for the faint of heart. Bring tissues. Resources:Follow Anzi on his Instagram: @its_anziGet updates on "Rosemead": @rosemeadfilmSupport the showIf you're navigating someone's mental health or emotional issues, join KulaMind, our community and support platform. In KulaMind, we'll help you set healthy boundaries, advocate for yourself, and support your loved one. Follow @kulamind on Instagram for podcast updates and science-backed insights on staying sane while loving someone emotionally explosive. For more info about this podcast, check out: www.alittlehelpforourfriends.com

A Chinese American poet, appointed the 25th U.S. Poet Laureate, reads his poems inspired by Zen practices.

In this episode you'll learn how curiosity can become a compass through pain, healing, and reinvention.Kelvin Wang is a first generation Chinese American and walking quadriplegic, whose life shifted after a near death car accident in December 2017. He reflects on the people who showed up, how small moments of humanity and connection carried him through the unknown, and how these experiences continue to shape the way he move sthrough the world today.Together we discuss living life in chapters, the ongoing nature of healing, and what it means to be mask off in a world that rewards performance. Kelvin also shares how creativity and the performing arts helped him restore a part of himself he thought he lost.

Award-winning author and activist Dr. Winnie M. Li has recently published her third novel! What We Left Unsaid has us join three estranged Chinese American adult siblings on a Route 66 road trip that includes a mysterious detour to the Grand Canyon. It's a delicious exploration of sibling dynamics that are definitely rooted in the past, but are now in dire need of reexamination and healing. #roadtrip #whatweleftunsaid @winniemli

The Cinematography Podcast Episode 337: Eric Lin and Lyle Vincent Rosemead tells the tragic, true story of Irene (Lucy Liu), a terminally ill single mother, and her son, Joe (Lawrence Shou). As Joe battles schizophrenia and urges toward violence, Irene is left isolated from her Chinese American community in Southern California, facing impossible choices without a safety net. After decades behind the camera, director Eric Lin connected deeply with the personal nature of Rosemead. He grew up in Southern California and frequently visited the San Gabriel Valley, where the film takes place. Producer Mynette Louie, who he'd know since NYU Film School, sent him the script, and Eric decided to take it on as his first directorial feature. “I've shot a lot of features and I've been side by side with directors, watching how difficult it is to make a feature,” he says. “The thing that sort of lured me into the director's chair was that it's a story that I felt like I'd never seen before on screen.” Recognizing the film's nuanced demands, Eric knew he didn't want to pull double duty as cinematographer. Instead, he asked Lyle Vincent, another NYU alum with whom he shared a cinematic shorthand. “Knowing what a DP does, especially on a film like this, where I felt like I had to be so present, that would be a fatal mistake,” Eric explains. Lyle appreciated the trust, describing Eric as a director who “is extremely visual and who has amazing visual references and language.” Together the two shotlisted and discussed each scene emotionally and visually. To capture the film's emotional landscape, Lyle chose a subjective camera style. Handheld camerawork and portrait lenses help mirror Joe's psychological state and the looming sense of danger. Using E-series anamorphic lenses, he created a shallow depth of field that softened the background, forcing the viewer's focus onto the characters. This gritty reality contrasts sharply with Joe's memories of the idyllic time he spent with his parents in a hotel. His flashbacks are rendered in warm tones, evoking a surreal, dreamlike nostalgia. See Rosemead in theaters. Find Eric Lin: Instagram @holdtheframe Find Lyle Vincent: Instagram @lylevincent SHOW RUNDOWN: 01:38 Close Focus 13:20-01:03:54 Interview 01:04:13 Short ends 01:13:09 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Vera Koo is a first-generation Chinese American woman whose life reads like an adventure in courage and reinvention. She is a 79-year-old wife, mother of three and grandmother of six, author, entrepreneur, and retired professional athlete who broke barriers in action pistol shooting. Through her adulthood, she has enjoyed a variety of outdoor activities, including snow and water skiing, equestrian, windsurfing, and rucking and camping. Action pistol shooting is where she really excelled: Vera has been the national and world titleholder in the sport and won the Bianchi Cup women's championship eight times. She now competes in shotgun sports, specifically in sporting clay shooting, at the Huntsman World Senior Games.Vera's memoirs, “The Most Unlikely Champion” and “Wisdom and Things: Essays from an Unlikely Champion,” share her remarkable journey from China and Hong Kong to the U.S., her family's entrepreneurial success, and the resilience that carried her through loss, faith, and unexpected triumph. Vera continues to mentor others with the hope that we all discover the “unlikely champion” within ourselves.Send us a text

Family Amnesia (Daylight Books, 2025) is a visual tribute and love letter honoring author Betty Yus Chinese American family roots in the United States. The art book explores her familys multi-generational resilience and resistance through mixed-media collages, her grandfathers photographs, and own captured images and archival material.

Writer Gish Jen recently had a revelation about her novels: her characters often talk to the dead. But in her most recent work, Bad Bad Girl, the dead talk back. In this book, Jen fictionalizes real details of her mother's life, immigrating from China to the US in the 1940s and raising a big Chinese American family. The result is an exploration of a fraught mother-daughter relationship, and the elusive grasp of the American Dream. Jen talks to Boston Globe editorial page editor Jim Dao about this personal book, and about how America has changed since she started writing about it. Email us at saymore@globe.com.

Send us a textHere's the story of a first-generation Chinese American filmmaker whose roots in Alhambra and the San Gabriel Valley shape every frame she makes. With a psychology degree from UCLA and a name honoring her parents' immigration lawyer, she crafts grounded family dramas with a hint of fantasy—stories of resilience, friendship, and hope drawn from the immigrant communities she grew up around.She's directed 13 short films and contributed to more than 30 film and video projects with companies like CBS, HBO, and Disney. Along the way she earned recognition in industry pipelines and competitions, including the CBS Leadership Pipeline Challenge and the 2023 CAPE Julia S. Gouw Short Film Challenge (presented by the Coalition of Asian Pacifics in Entertainment and Janet Yang Productions).In this episode, we dig into process and pathway: moving from idea to script to screen, casting authentically, building a crew, and translating lived experience into universal cinema. We talk festivals and funding, pitching and partnerships, and how a filmmaker balances creative voice with the practical realities of producing in Los Angeles and the SGV.If you care about Asian American stories, indie filmmaking, or turning personal history into powerful narrative, this conversation is for you. Keywords: Chinese American filmmaker, San Gabriel Valley, Alhambra, UCLA, independent film, short films, women in film, Asian American stories, CAPE, CBS Leadership Pipeline, representation, immigrant family drama, Los Angeles filmmaking.__________Music CreditsIntroEuphoria in the San Gabriel Valley, Yone OGStingerScarlet Fire (Sting), Otis McDonald, YouTube Audio LibraryOutroEuphoria in the San Gabriel Valley, Yone OG__________________My SGV Podcast:Website: www.mysgv.netNewsletter: Beyond the MicPatreon: MySGV Podcastinfo@sgvmasterkey.com

Chase Bracamontes grew up chasing triple axels as a competitive figure skater, but these days her rink is the bar and the dining room. She is the former wine and spirits director at The Publican and now partner and beverage director at Chef's Special Cocktail Bar in Chicago, whose path from junior-elite ice rinks to a Chinese American cocktail bar says a lot about how she thinks about pressure, comfort, and hospitality. She joins us in the studio to talk about how a life defined by competition turned into a career built on creating places people actually want to haunt. This week, we're talking what defines a cocktail classic, how New York and Chicago hospitality cultures shape the people working inside them, how serving American Chinese food means embracing both the comfort it brings and the conversations it inevitably sparks, and so much more! 

Widely recognized as one of the most influential and beloved figures in the field of peacebuilding, John Paul Lederach embodies both the rigor of the scholar and sensitivity of the poet. A pioneer of the concept of conflict transformation (as distinct from resolution), his work has redefined peacebuilding as a moral and relational art rooted in empathy, moral imagination, and the human capacity for connection across divides. Join TNS Host Serena Bian for this intergenerational conversation exploring John Paul's enormous body of work in building the fields of conflict transformation and collective trauma healing--as well as his love for poetry and haiku. John Paul Lederach Dr. John Paul Lederach is internationally recognized for his groundbreaking work in the fields of peacebuilding and conflict transformation. He is widely known for the development of culturally based approaches to conflict transformation; the design and implementation of integrative, strategic approaches to peacebuilding; and for carving a robust integration of the arts and social change. Over the course of his career, Lederach has garnered extensive experience working with non-governmental organizations, community-based initiatives impacted by cycles of violence, and national peace process design. He has worked extensively as a practitioner in conciliation processes in Latin America, Africa, and Southeast and Central Asia. He is the author or editor of 30 books and manuals (translated into a dozen languages), and numerous academic articles and monographs on peace education, conflict transformation, international peacebuilding, and conciliation training. He currently serves as Senior Fellow for Humanity United and Professor Emeritus of International Peacebuilding at the Joan B. Kroc Institute of International Peace Studies at the University of Notre Dame. Host Serena Bian Serena is pursuing a life that remains attentive to the tenderness of a snail's soft body and reverent to the miracle of its spiraled shell. She is a Chinese-American peacebuilder, storyteller, and community weaver devoted to the belief that intergenerational connection is vital for the future of our peace and justice movements. She recently completed six years as a Special Advisor in Design & Innovation to U.S. Surgeon General Vivek Murthy, bringing a spiritual and systemic understanding to the public health crisis of loneliness and isolation. She is a Zen chaplain-in-training and serves on the boards of CoGenerate and Commonweal. #commonweal #commonwealnewschool #peacebuilding #conflict #transformation #virtuouscycle #haiku Find out more about The New School at Commonweal on our website: tns.commonweal.org. And like/follow our Soundcloud channel for more great podcasts.

Today we close out season 7 by reflecting on the past year and exploring the various ways we wind down in the holidays. We chat about takeaways from this year that we're carrying into 2026.This will be our last episode of 2025 - we'll be back mid-January with a brand new season! Happy Holidays & Merry Crustmas, thank you for joining us for another year of Eat Your Crust ♥Support the showFollow us on social media @eatyourcrustpod

"Rosemead" is a drama film, directed by Eric Lin in his directorial debut, from a screenplay by Marilyn Fu, based on a 2017 LA Times column by Frank Shyong. It stars Lucy Liu as an ailing woman who is stricken by the discovery of her teenage son's violent obsessions and must go to great lengths to protect him, and possibly others, in this portrait of a Chinese American family. The film premiered at the 2025 Tribeca Festival to positive reviews, particularly for Liu, who received the best notices of her career. Liu was kind enough to spend some time speaking with us about her experience working on the film, which you can listen to below. Please be sure to check out the film, which is releasing in theaters on December 5th from Vertical Entertainment. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the Tiger Mom Podcast, the unstoppable Steph Tolev joins Jiaoying for a wild, unfiltered, and legitimately hilarious conversation. Steph talks about growing up loud, why she'll never apologize for having big opinions, and the strange confidence boosts that come from bombing on stage. Jiaoying tries to teach her some refined Chinese Queen energy, but Steph mostly turns it into creative swearing. It's chaotic in the best way — sharp, silly, and full of the kind of honesty that makes you feel like you're eavesdropping on two old friends causing trouble.#jiaoyingsummers #comedy #StephTolevAbout Jiaoying Summers:Jiaoying Summers is a Chinese-American stand-up comedian, actress, and social media influencer known for her bold humor, sharp wit, and unique perspectives on life, culture, and identity. A proud mother and successful performer, Jiaoying's journey from her beginnings in China to becoming a comedy sensation in the U.S. is nothing short of inspiring. She uses herplatform to tackle topics like cultural differences, family, and self-empowerment, always leaving audiences laughing and thinking.Stay Connected With Jiaoying:Facebook: https://www.facebook.com/jiaoyingsummers Instagram: https://www.instagram.com/jiaoyingsummers/TikTok: https://www.tiktok.com/@jiaoyingsummersX: https://x.com/jiaoyingsummersWebsite: https://summerscomedy.comCopyright Notice:This video and my YouTube channel contain dialog, music, and images that are property of Jiaoying Summers. You are authorized to share the video link and channel, and embed this video in your website or others as long as a link back to my YouTube channel is provided.Support the showFollow Jiaoying Summers Social media & get tickets for Tiger Milf Tour!Facebook | Youtube | TikTok | Twitter | Instagram | Merch | Tour | Patreon | OnlyFansSupport the showFollow Jiaoying Summers Social media & get tickets for Tiger Milf Tour!Facebook | Youtube | TikTok | Twitter | Instagram | Merch | Tour | Patreon | OnlyFans

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. Important Links We Belong Here campaign page We Belong Here Partner organizations: Asian Law Caucus |Asian Refugees United | Hmong Innovating Politics | Hmong Family Association of Lansing | Rising Voices Transcript Nina Phillips: Hello and welcome. You are tuning into APEX Express, a weekly radio show uplifting the voices and stories of Asian Americans. I'm your host Nina Phillips, and tonight we are doing something a little different. Earlier this month on Monday, November 3rd, communities of Hmong and Nepali speaking, Bhutanese Americans, fellow immigrants and allies, gathered together at a virtual [00:01:00] community event called We Belong Here. The goal: to shed light on the continued detainment and deportation of immigrant communities in the United States and the specific challenges faced by Bhutanese, Hmong, and Southeast Asian folks.  Tika Basnet: When, uh, my husband got detained on April 8, I took one week after to reach out Aisa and she told me, Hey Tika, come forward, you know, your story is powerful. People need to know your story.  Nina Phillips: That was the voice of Tika Basnet. Her husband, Mohan Karki is a Nepali speaking Bhutanese refugee from Ohio who has spent months in ICE detention, trapped in legal limbo. Tika has been working tirelessly to bring her husband home and shared her story with us at We Belong Here. Tonight, we are bringing you a recording of this virtual community gathering. You'll hear more from Tika about the Free Mohan Karki campaign and from Ann Vue, [00:02:00] the spouse of Lue Yang, a Hmong community leader from Michigan, who is also currently detained and facing deportation. Ann is leading the movement to Bring Lue Home, and we'll be sharing more later about how you can get involved as well and support both of these campaigns. You will also hear from state representatives of Michigan and Ohio, the music and spoken word performance of Asian Refugees United, and community tools and resources that a vital in helping to keep our immigrant loved ones safe. The host of this community event was Miko Lee, APEX producer, and a voice that you might be familiar with. Alrighty, without further ado, here's Miko. Miko Lee: We belong here. What we recognize right now is there's almost. 60,000 people being held in detention right now, immigrants that are being held in detention. It is a pandemic that is happening in our country that's impacting all of our people, and we need [00:03:00] to be able to take action. Tonight we're talking very specifically, not with this 60,000 people that are in detention now, but just two of those stories, so that you can get a sense of what is happening in the Bhutanese and Hmong communities and what's happening right now, and to talk about those particular stories and some actions you can take. First I wanna recognize that right now we are on native lands, so all of us except our original indigenous people, are from other places and I'd invite you to go into the chat and find your native land. I am speaking with you from the unceded Ohlone land, and I wanna honor these ancestors, these elders that have provided for us and provided this beautiful land for us to be on. So I invite you to share into the chat your name, your pronoun, and also what indigenous land you are living on right now in this Native American Heritage Month. Thank you so much to all of you that have joined [00:04:00] us. We are really seeing the impact of this administration on all of our peoples, and particularly tonight in terms of the Hmong and Nepali speaking, Bhutanese communities. These are communities that have been impacted, specifically refugee communities that have been impacted in incredible detrimental ways by this administration. And tonight what we really wanna do is talk to you about what is going on in our communities. We wanted to make sure we translated so that we have as much access into our communities as possible because we wanna be as inclusive of our world as we can. We Belong Here is focusing on the fact that all of us belong here. We belong in this land, and we are telling these stories tonight in the context of these sets of people particularly that have so many similarities in terms of Hmong folks who worked with our US government and worked with our US military during the Vietnam War and then came [00:05:00] here as refugees and stayed in this country to the Nepali speaking Bhutanese folks, who left their country from ethnic cleansing and then went into refugee camps and now took refuge in the United States. So these are all stories that are impactful and powerful, and it's really what it means to be American. we have come from different places. We see these attacks on our people. right now I would like to bring to the fore two empowering women, refugees themselves. Hailing from places as different as Somalia and Southeast Asia, and they're gonna talk about some of the detention and deportations that are happening right now. First I'd like to focus on Rep Mai Xiong, who's from Michigan's 13th District. I hand it over to the representative.  Rep. Mai Xiong: Good evening everyone. I'm state representative,  Mai Xiong, and it is a pleasure to meet all of you virtually. I'm coming to you from Warren, Macomb County, Michigan, and I represent the 13th [00:06:00] house of district, uh, the communities of Warren Roseville and St. Claire Shores. I've lived here in Michigan for over 20 years now. I came to the United States at a very young age, was born in a refugee camp and came here when I was three years old. So I grew up in Ohio. And then I moved to Michigan to attend college. Never thought that I would ever be serving in the State House. I previously served as a county commissioner here in Macomb. And, uh, last year when President Trump got elected, I had very quiet fears that as a naturalized citizen, that even I did not feel safe given the, um. The failure in our immigration system. So we have seen that play out, uh, with this administration, with the, attempts to get rid of birthright citizenship de-naturalization. And, you hear the rhetoric from officials about, deporting the worst of the worst criminal, illegal aliens. And we [00:07:00] know, as Miko mentioned in, in her introduction, that, refugees came here through a legal pathway. The Hmong in particular served alongside America during the Vietnam War and were persecuted from Laos. So my parents fled Laos. And so growing up I didn't have, uh, citizenship. Um, and so we have seen, uh, in this administration that refugees are now caught up in this, immigration effort to get rid of people who came here through legal pathways Lue is a father. He is a community leader. Uh, he is a well-respected member of our community as all of these individuals are. And at some point our system failed them and we are working extremely hard, to get their stories out. But what I have found with many of these families is that they are, uh, afraid to come forward. They are ashamed. There is a stigma involved and, uh, culturally, as many of you may [00:08:00] know, if you are of Asian American descent, and a fear of, uh, retaliation. And as the only Hmong American elected here in Michigan, I'm grateful that I have, uh, the ability to.  have those connections and to be such a visible, uh, member of my community that many of these individuals. Felt comfortable enough to reach out to me. But the reality is back in July we didn't know anything other than, the number of people who were detained. And that was through a firsthand account from loved ones who you know, were accompanying their loved one and got detained. And so it was literally like trying to find missing people and then getting the word out to let them know that, hey, there's actually, there's help out there. The volunteer attorneys, the nonprofits, the Immigration Rights Center, uh, here in Michigan, I mean, everybody has been doing a phenomenal job because I think the majority, the vast majority of Americans understand that, um, these [00:09:00] individuals that are being taken out of our communities are not a, a threat to society. They are members of our community. They've lived here for decades. They have jobs, they have children. And when you when you take an individual out of our community, it actually does more harm then it does to make any one of us safe. So that's the message that I have been sharing with others, uh, not only in having a connection and being a refugee just like these individuals, but advocating for them and making it clear that these are our neighbors, these are our children's classmates, parents, and it doesn't make any one of us feel safer. One of the things I am. Upset about that I continue to talk about is that we're not actually in a immigration crisis. We share here in Michigan, we share an international border with Canada, and we have never had an issue with border security. The [00:10:00] problem is the policies that have been put in place, that these individuals have been caught up in our immigration system for decades, and it is extremely hard for them to obtain citizenship or to even know what their rights are. And so we really need, in addition to advocating for these families, we need immigration reform. Throwing money at a problem is not going to solve the problem. If anything, we have are, we are in an economic crisis. Miko Lee: Thank you so much for joining. Um, I'd love to turn the baton over to another one of our powerful women representatives, Rep. Munira Abdullah from Ohio's Ninth District. Rep Abdullah. We pass it over to you. Thank you so much.  Rep. Munira Abdullahi: Uh, thank you for having me and also Rep Mai Xiong, it is really great to see you. I'm grateful to have been able to see you go from Commissioner to State Rep, doing amazing things on social media as well. I'm very, a big fan. Uh, my name is Munira Abdullahi. I represent District Nine in Ohio, which is in the Columbus area. Northland, [00:11:00] uh, Manette Park. Uh, a little bit of New Albany in Westerville city schools. Um, I'm also a refugee. My family fled Somalia and Civil War, and I was born in refugee camp in Kenya. And then we came to the United States when I was about two, three years old, uh, and ended up moving to Ohio when I was like four. First moved to Utah, salt Lake City, Utah, and then to Ohio when I was about five years old. And so I certainly understand the fear of being an immigrant in a new country and, um, struggling to belong and figure out where are your place is. And, and also just adjusting to a whole new society, um, with the language barriers and, and all of the the barriers are in the way. And then that fear of, your immigration status. You know, before my parents were, you know, passed their, their, uh, citizenship test, right. It was very scary. Um, and I know many families who feel the same way right now, especially with this new administration. Um, with the OCE raids that are happening that are really disrupting our communities and our [00:12:00] families. Um, we have a, a, a cons, a constituent of mine, um, who is now, uh, in prison. We have, uh, have a couple actually. One is Leonardo Faso, and then I know one we're gonna talk about soon is Mohan Karki, who is his family, I believe, is on this call. Uh, and he was taken by ICE. And he's, uh, you know, the, the breadwinner and the, the caregiver of his family. And so it's really important not to forget that a lot of these people who are being taken by ICE are like the breadwinners and, and, and the caretakers of these families. And now the family's left with a hole, uh, in their, in their home. And so, we really need to remember to take care of these families. I know there's gonna be a GoFundMe that that will be shared. Um, but finding these families and supporting them. Um, in any way that we can monetary, you know, checking on them, giving, you know, helping them with food. Now we have SNAP benefits are being cut for many, many, many Americans. We are struggling as is, but immigrants in particular are struggling a lot, lot more, um, with these raids and, and with the uncertainties. But one thing I wanna remind everyone is that, you know, through community we [00:13:00] find strength. And so that, um, understanding, you know, where our communities are, where people are suffering and finding our place and helping with that, right? Whether that might, might be, uh, maybe we have the financial capabilities to, to support, maybe we can cook for someone. Um, maybe we can advocate where, where we have the ability to advocate. Whatever we can do, we have a responsibility to do it. Um, and there are successes. I know in Ohio it's a little different where we can't really advocate anything on the state level because it's like they, we just make things worse. We're in a very rough, super minority, the Democrats and super minority, and we have bills in the State House we're trying to fight against that are trying to make it worse, where we're trying to get rid of Republicans in the State House are trying to get rid of like a sanctuary cities, um, and penalize cities that don't engage, uh, or don't cooperate with ICE. Um, we have currently a bill, which actually this is, this might be more of a, on a positive note, is we had a bill house bill one. That sought to ban immigrants, certain immigrants from owning land in certain areas. [00:14:00] But because of community engagement, because of advocacy, because of collaboration with community advocacy groups, that Bill was effectively paused. Like, as of now, it's paused because people came and advocated. They spoke to their representatives, they testified, they called, they protested, um, they had press conferences. They brought so much attention to the bill, and it just became so. Obvious that people don't want this bill. And that pressure really got to the majority in the State House. And that bill has been paused, right? It was created to keep Chinese Americans from buying land specifically. Um, and that list can change, by the way. It's an, it's a, a rotating list. The Secretary of State can add whatever countries that they want to, that list, so it's very harmful. But the Asian American community came together alongside with us representatives in the State House and, and effectively like paused that bill. So there's there are positive things we could, we could achieve as a community when we fight together and communicate and stand with one another regardless of our nationality. We're all struggling here. We're [00:15:00] all in the same place. We're all, uh, in need of one another. And that's why I was reminding people was like, when we are in need of one another. And when one person is struggling, we should all be feeling that.  Miko Lee: Thank you  Rep Munira. Thank you so much for joining us. And yes, we are all part of a collective community that needs to be working together. And Rep Munira talked about Mohan Karki and next we're gonna see a short video performance that was created by Asian refugees United, uh, Maxine Hong Kingston said, “in a time of destruction, create something”. So we're gonna watch this video that was created. Uh, it's a shortcut of a performance by Asian Refugees United. Nina Phillips: Hello, it's APEX Express host Nina Phillips here chiming in with a couple words on this performance. It's a very music and spoken word forward piece, so you should get a good sense of the production through just the audio. The youth performers from Asian Refugees United do a wonderful job of embodying the story of Mohan Karki and his family through music and [00:16:00] movement and dance as well. Very evocative. If you'd like to see this short video clip in full, with the visuals, please visit the website of Asian Americans for Civil Rights and Equality. That's accre.org/our-voices/webelonghere.  Enjoy the show. ARU Performer: Mohan Karki, I was detained by an ICE officer to be deported to a country that I never been to. A country. That I don't belong to [00:17:00] a country I wasn't born to, that I don't speak the language of. When they moved me to a detention center in Michigan, I called my wife Tika. They're taking me, I told her my voice was calm, but inside I was breaking into a million pieces. It felt like a goodbye, not just to her, but to the life we built together to the dreams that we planted seeds for. I was just 17 years old when I decided who I was before I could even speak up for myself. I stand here as a victim of an unjust system that never gave me a chance.[00:18:00]  I am a man with purpose. I worked hard. I drove trucks. I supported my family, and I loved my wife Tika, and waited for the day that I would finally meet our baby. [Speaks in Nepali] How do I tell my daughter that leaving her was never my choice? Now I wait for the news. Now would completely change everything. Will they send me back to Bhutan? Will I be deported like the ones before me? No one talks about what happens to us [00:19:00] once we're gone. We vanish. Into silence. Where do I belong?  You belong here. They belong here. We belong here. [Singing in Nepali] [Speaks in Nepali] What type of future do we wanna build? A future where we can all belong? A future where we can coexist, [00:20:00] coexist in nature. And coexist with each other. A future where another Mohan Karki does not have to fear of being displaced all over again. A future where Mohan Karki does not have to be separated from his new born baby girl. A place where people like Mohan Carkey can have home, a future and community, a future with family, a future and harmony. A future to heal. A future to grow. Above all, a future to belong. I hope the future is more generous to all of us. [Singing in [00:21:00] Nepali] Miko Lee: Can you all give it up in the chat for those performers. Nawal was our interpreter at the very beginning of this, and to show the power of how art can transform things at that performance, the ACLU was there. And actually because of that, we were able to find a pro bono lawyer to be able to help with one of, uh, Mohans Habeas Corpuses cases and just that's an example of Asian refugees United, that was their work before all of these detentions were going on. It was youth empowerment and storytelling, but they had to pivot, given the shape of our world. I wanna transition us to our panel of speakers of powerful. Again, powerful women. [00:22:00] Um, Ann Vue who is the spouse of Lue Yang, Tika Bassett, who is the spouse of Mohan Karki and Aisa Villarosa, who has been our brilliant, dedicated lawyer from Asian Law Caucus working on this. So we're not gonna go over and tell the entire stories of each of these people and what happened to them. And if you want that, you can listen to the radio show that we did on APEX Express. Tika, I wanted to start with you and just hear from you, what is your response after watching that video about your husband? Tika Basnet: Yeah, it is really beautiful story. Um, thank you ARU for, um, representing my husband story. Um, it just make, make me cry and I was crying while watching the video and it remind me what happened. Since seven month ago. And, um, yeah. Hi, my name is Tika Basnet. I'm from Ohio and I've been fighting for my husband deportation and detention since seven month ago. Without the community and without all the [00:23:00] support that I got from organization, I don't think it is possible that my husband will still be here. And the reason that this is possible is because I reach out to them without getting fear, without getting afraid of what will happen if I speak outside. So, um, yeah, um, it is really difficult. What is going on right now. Sometime I don't wanna speak because of the current policy. Uh, it make me feel, even though I'm US citizen, um, sometime I feel like if I speak something against the policy, I, they will might, they might gonna take my citizenship away. And then, um, I realized that, if I speak then it'll help me. Right now, um, ICE is not letting my husband come home, even though it is been seven month and our attorney try everything in a possible way. Uh, the ICE is not letting my husband come out. I dunno how long it'll take. I don't know. don't wanna, yeah. Thank you.  Miko Lee: No, you can speak more. Tika. Do you wanna add?  Tika Basnet: Yeah, um, especially I wanna thank you [00:24:00] ARU and Aisa and Miko. Everything is happening right now is because of them, because I reached out to them. If I did not, I feel like my husband is story will be one of those Bhutanese people that disappear. I don't know what happened to them. I hope, uh, the reason that I'm fighting for my husband case is because he deserve fear. Uh, he has a family member here. He has a community that loves him. He was supporting his parent, he was supporting us. We don't have a country. Um, this is our country and we belong here. Thank you.  Miko Lee: You. Thank you, Tika. I wanna bring Ann Vue up to speak about your husband, Lue Yang and his case and what's going on with his case. Very complicated case. What is going on with his case right now?  Ann Vue: So first of all,  Thank you guys so much for. Giving Tika and I this space just to share our stories of families who are fighting every day, um, just to stay together. So [00:25:00] currently with Lue's case right now we are, we just got his, um, stay of removal approved the emergency stay of removal approved. I might, um, have the right lingo for that, but, uh, so as of October 22nd our Michigan governor's, pardon was issued for Lue. So we were so grateful for that. I know our, our Michigan lawmakers are working around the clock uh, Michigan DHS team to bring him back to Michigan, uh, where we have a petition currently filed for his release while his case, uh, is ongoing. Miko Lee: Thanks Ann. And I just wanna point out that there's in, even though these communities are distinct and these two men are distinct, beautiful individuals, there are so many commonalities between the two. Um, both born in refugee camps, both in one case, the Bhutanese, the Nepali speaking Bhutanese, folks having escaped ethnic cleansing to then go to a. Uh, [00:26:00] refugee camp to then come to the US and in another families who worked with the American government in the Secret War in Vietnam, who then again became refugees and came to the US. Two young men who when they were young, like very young, um, with their peers, were involved in incidents that had, uh, really bad legal advice. That did not help them in the process. And that is why even though they're amazing contributing members in our current society, they have this past old, almost like childhood record that is impacting them. And both of them are impacted by statelessness because. Even though they're being deported, they're being deported to a place of which it is not their home. They might not speak that language. They might not have connections with that. Their home is here in America. Um, that is why we say use the terminology we belong here. Um, before we go a little bit more into personal stories [00:27:00] I saw from Asian Law Caucus, I wonder if you can give a little bit of an overview about the broader, legal actions that are taking place around these kidnappings.  Aisa Villarosa: Yeah, thanks Miko. And just huge love to Ann and Tika. Reiterating that these are two refugee communities bonded through not just this frustrating, heartbreaking experience, um, but also this, this solidarity that's building. To share Miko, about the broader legal ramifications, and there was a question in the chat about what's the big deal about a stay of removal? So just for starters, the system that Mohan and Lue got pulled into can be lightning quick with removing folks. Part of this is because Mohan, Lue, so many folks in refugee communities all across the country years and years ago, perhaps when they were teenagers, just like Mohan and Lue, uh, there might have been some sort of, run in with law enforcement. Oftentimes racial profiling [00:28:00] can be involved, especially with the over-policing, right in our country, decades later, after living peacefully in their communities. Oftentimes decades after an immigration judge said to Mohan, said to Lue, you are not a safety risk. You are not a threat to the community. You've done your time. You can come home. Uh, maybe some folks had some ICE check-ins that they would come to every year. Um, and then with this administration, this unprecedented attack on immigrant and refugee rights, that is when we started to see for the very first time as folks have mentioned, these broad deportations, uh, to countries that previously were not accepting refugees primarily because that is the same country of their ancestral persecution. Um, in some cases they have zero connection to the country. Um, and in cases like the Bhutanese refugees, they're actually [00:29:00] expelled from Bhutan when they're removed. Again, all this is happening for the very first time. There are some serious legal questions with due process. Even if immigration court does run on a similar track as a lot of our other court systems, there's still a duty of fairness and often that duty is completely neglected.  Nina Phillips: You are tuned into Apex Express on 94.1 KPFA, 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno and online@kpfa.org. Coming up is Klezmer Dances II by The Daniel Pelton Collective.  [00:30:00] [00:31:00] [00:32:00] That was  Klezmer Dances II by The Daniel Pelton Collective. You are tuned into APEX Express [00:33:00] on 94.1 KPFA. Now back to Miko and her conversation with Tika Basnet and Ann Vue. Two incredibly strong women who are leading campaigns to bring home their respective spouses from ICE detention, and Aisa Villarosa with the Asian Law Caucus. Miko Lee: I would love to speak to a little bit more of the uplifting power of these women that are being highlighted right now. And I'm wondering both for Ann and Tika, if you could talk a little bit about your sense of resilience. because both of your spouses were, even though when they were youth, there were systems impacted in our Asian American communities. There's some shame that's associated with that. And so some people have been really hesitant to speak out. Can you talk a little bit about what encouraged you to speak out on behalf of your husband and how that has made a difference for you in the community? And I'm gonna start with Ann first.  Ann Vue: So I would say, um. In the [00:34:00] beginning when Lue was first detained on July 15th. I was scared. I am the first generation born American, uh, um, right here in Michigan. And even myself, I was so scared to say anything to anyone. I remember getting that call from Lue and it just felt so unreal. Quickly playing back to 2008, uh, which would be the third time that the embassy, Laos and Thailand both rejected Lue's entry and how his immigration officer was like, don't wait, start your life. And then fast forwarding it to what had happened, I was scared and, um. Lue and I are both, uh, Hmong community leaders as well. And Lue, of course, um, being president of the Hmong Family Association, him and I decided we're gonna keep a little quiet at first, and I started getting [00:35:00] calls from our Hmong community members. Uh, in concern to them receiving a letter, which is all dated for the same time at the same place that is not usual, where people would normally go see their immigration officer. And immediately that weekend I went to go visit him and I, it was explaining to him that I have received nine calls and I don't know what to do in immediately he. I think that the urgency around his people created that fear and immediately he was like, Hey, we've gotta start talking. You've gotta call you. You have to start making calls. Because he was detained on the 15th. On the 15th, which was Tuesday, and these letters were mailed to the community on that Friday. And immediately him and I started talking more and more and he said, “we have a 50-50 chance. If you don't fight for me and the others, then. We get sent back, you're gonna regret that for the rest of your life or [00:36:00] you fight for us. And as long as you fought all the way till the end, whatever happens, we can live with that”. And immediately, I remember speaking to, uh, attorney Nancy, and I've been mentioning to her that I wanna call, I wanna call Rep Mai. And I wanted to call Commissioner Carolyn Wright and she was like, well make the call and I'm glad that she didn't wait. And she just said, Hey, you know what? She just started talking and immediately Rep Mai called and that's how it kind of started this whole journey. So I am so thankful that I did. I did voice it out because I myself, even as a community leader, I felt hopeless. I felt like as loud as I am, everyone that I, for the first time had no voice. It became, became lonely. I became scared. Because they've got a, you know, we have a family, right, that we're raising together with small children. So I'm glad that we did, uh, [00:37:00] share our story and I'm glad that it is out. And, and that it, it opened the key to many other Southeast Asian families to do the same as well too.  Miko Lee: Thank you so much, Anna. And I remember you saying that even Lue was speaking with folks in Spanish to get their stories and share them out as well. Ann Vue: He had to learn it! And you know, I will say that with this whole detention thing, it doesn't just detain our person. It detains our whole family. We're all a part of this, you know? And so, you know, Lue had to learn how to count so he can give the numbers 'cause he was doing it with his hand motions. Because it's a hard system, it's a very complex system to navigate, which is how people go disappearing. And so for him to be able to reach out. Give me phone numbers to these families, regardless. Love beyond borders, right? And I was able to reach out to these families so that that way they know where their person was and [00:38:00] help them get set up so they can, so their families can call them. Miko Lee: Thank you so much for doing that. And you and your husband, both as organizers and continuing to be organizers even when locked up. Tika, I wanna turn it to you and ask about the courage it took to speak up and what keeps you going.  Tika Basnet: Yes. So when, uh, my husband got detained on April 8, I took one week after to reach out Aisa and she told me, Hey Tika, come forward. You know, your story is powerful. People need to know your story. And I told first thing to Aisa is our community is very just mental. They doesn't understand. And I've been looking at the video where our Bhutanese people get detained and deported and on common section, the first thing that I noticed was people are commenting, oh, these people are criminal. They are, maybe they, um, kill someone or they rape someone, you know, without. Understanding the people's story. And I, I [00:39:00] was thinking the same, whatever, if I come forward, will they gonna understand my story? Will they gonna talk to me? Will they gonna ask me personally, what is going on? And I actually same as Ann, I, um, I. Was scared to come out. I did not come out in two within two, two months, you know, when, uh, I tried to deport my husband on my due date that I was about to give birth, um, BIA, uh, grant, day of removal, you know, in two month I was crying alone. I was messaging Aisa and I was telling all my pain. And then when they stop my husband deport his son and that day, um. Aisa and ARU, everybody encouraged me. Like, you know, you need to come forward. People need to know your story. And then that day I decide, and I also remember that, um, within one minute after I gave birth, I was messaging, uh, ARU team I think his name [00:40:00] is Pravin or something. I was messaging him, Hey, I'm ready to give, uh, interview. I'm ready to give uh, a story. And that day I decide like I wanna come forward. I don't care what society is thinking, I'm the one that going through and people need to know my story. And, uh, I think, uh, and also I look at my daughter, you know, I don't want, um, her to think that I did not fight for her dad. You know, I want her to think like her mom is, is strong enough to fight and looking at her. That gave me so much power and yeah. And now like give, getting a lot of support, a lot of love is give me like, you know, I, I feel like, um, I wouldn't, uh, get all the support if I was scared and did not, uh, talk about my story. So now like receiving a lot of love from everywhere and that give me couraged to continue and talk about my husband's deportation.  Miko Lee: Thank you, Tika. And I wanna recognize that we're running late, but we're gonna get through it if those of you could stay with us a little bit [00:41:00] longer. My one more question to both Ann and Tika is what message do you have for people that are experiencing this right now? Because this, as we said, 60,000 people are detained right now. Your spouses, we, as we have said, it's not just you with your, the children, the grandparents, all the other people. What advice do you have for other folks that are going through this and do you have a message for those folks? Ann Vue: I would say, um, for anyone who is going through what Tika and I and the many are going through that, um, make sure you document everything, get your loved ones Alien Number because you want to track it as you go. Build your circle. Know that you are not alone. Uh, reach out. I'm still learning as I go too. And it's unfortunate that we as family, like have to become attorneys overnight and learn to as well. But make sure that you guys, that you know that you're not alone you know that [00:42:00] we're not fighting the system. We're fighting a system that. Hopes, uh, that we get tired of fighting it. And the moment that you speak up, they can't disappear your loved one quietly. And I am a very big, um, firm believer. There's this scripture that has always carried Lue and I and, uh, I, I can't stress on it enough. And especially to all of those, to all of our, everybody that's on tonight. And beyond that, uh, there's a scripture. It's a Proverbs, right? 3:27-28 that says, “Do not withhold good from those to whom it is due, when it is your power to act”. And so thank you to those who continues to act when action is really within your reach and. We belong here, our families belong here. And compassion delayed is really compassion denied. And so don't fight alone 'cause that's what they are hoping that we will fight alone, [00:43:00] but we're together in this.  Miko Lee: Beautiful, thanks. And Tika, what about you? What advice do you have for other people that are experiencing this with family members?  Tika Basnet: So, yeah, um, I'm encouraging everyone like we experiencing this deportation for the first time or. Come forward. You never know. You know how many support you will get. Looking at Ann and my story that if we did not reach out to the community, I don't think our husband will be here at the moment. So you are the one who going through the pain and, uh, sharing your pain will make you at least a relief and you never know. Your husband Deportes and will stop. You will get like support from, from community. So ICE is not deporting only your husband or your like wife or someone, they are deporting your dream, your hope. So when they try to deport my husband, they were deporting my husband, uh, my [00:44:00] daughter future, the future that we talk about. So I am telling everyone that come forward. Story, your story, and you'll get lot of love. You'll get lot of support. And if I did not talk before, I don't think my husband will be here. He'll be one of the person that disappear long time ago. So yeah, please come forward and see your story. And the last thing is, I wanna say we belong here. This is our home and our future is here.  Miko Lee: Thank you so much, Tika. Um, Aisa, I wanna turn it over to you. Ann was saying suddenly we have to become lawyers and, and so can you talk about, and even like with Lue's case, it was suddenly he got pardoned at the last minute when he was on a deportation plane, and then it was like, oh, that should fix everything, but it doesn't, so can you talk a little bit about some of the legal ramifications that people should know about? Aisa Villarosa: Sure. And just to say, Mohan, Lue, Tika, Ann, I mean, y'all have lived [00:45:00] several movies in, in just the span of months the amount of stress, both you yourselves as the lead advocate, your families. Uh, so, so for folks watching this is literally Mohan and Lue getting like pulled off planes because of the shared advocacy here, uh, which starts with the decision to speak out. Um, and for folks in the room who aren't sure whether they want to share their story, you know, we're not saying, oh, go to the press so much of it. Involves just opening your heart to a trusted person. Um, many of those people are here in this room uh, my organization, Asian Law Caucus. Uh, in a minute we'll share some links for some of our resources. Uh, the wonderful folks at ARU, there's such a full crew, and if you're part of a community, especially the many, many, too many refugee communities being targeted. You are not alone. So in terms of what the legal battle [00:46:00] looks like, another thing to remember is that for any case, there's usually a, a wave of folks that's needed, uh, for Lue, for Mohan. That's multiple states sometimes because in the immigration world, for example, you could have a very, very old final order of removal. So this is essentially the order that is put forward by an immigration judge. That technically allows a lot of these awful deportations and disappearances to take place. The battle to fight that can be multi-state, uh, multi-issue. So you're talking to a criminal defense attorney, you're talking to an immigrant rights attorney. Uh, but going back to that trust, just talk to someone who both you can trust and someone who has a good lay of the land because these cases are incredibly complex. Folks I work with, sometimes they're physically driving to a law office. Someone named Emily is on the call. You know, we drove to a law office. Turns [00:47:00] out the record we were looking for was, was too old. The, that previous attorney didn't have the record on file. There are so many practical challenges you don't anticipate. So the sooner you do that math and just open your story up, um, to, to a loved one, to a trusted one. And in a little bit we're, we'll share more links for what that process looks like.  Miko Lee: So we're gonna move into that call to action. We're running a bit over time, so if you could hang with us for a couple more minutes. Um, we want to one, thank all of our amazing guests so far and then move to our call to action. What can you do? A bunch of people are throwing things into the chat. We're gonna start with Rising Voices. Oh, I guess we're gonna start with OPAWL and Sonya is gonna share about OPAWL's work and the call to action there. Sonya (OPAWL): Hi everyone. My name is Sonya Kapur. I live in Columbus, Ohio, and I'm a member of OPAWL Building AAPI Feminist leadership. I'd like to share a little bit about our efforts to support Mohans Campaign for Freedom and encourage you to donate to [00:48:00] Mohans GoFundMe to cover his legal fees, and the link to the GoFundMe will be in the chat. With the funds raised so far, Tika and Mohan were able to hire a seasoned attorney to review Mohans court documents and work on his case. So your donations will allow Mohan to continue working with his legal team as we fight to bring him home. So even five or $10 will help us get closer to reuniting Mohan with his family and community here in Ohio. A really fun piece of this is that a local, Columbus based illustrator and OPA member Erin Siao, has also created a beautiful art fundraiser to help raise more funds from Mohans release campaign. So when you donate to Mohans GoFundMe between now and November 15th, you receive a complimentary five by seven art print of your choice. Families belong together on the right or on the left. To receive a print, you just email Erin and her. Email address will also be in the [00:49:00] chat, a screenshot of your donation confirmation along with your name and address. You can also send a direct message of the screenshot to her Instagram account, so please consider uplifting our art fundraiser on social media. Encourage others to donate to the GoFundMe and share Mohans story with your family and friends.  Miko Lee: Thanks, Sonya and Opal, and we'll turn it over to Emily at Rising Voices. Emily (Rising Voices): Hi, thank you. Um, rising Voices is one of the, uh, many members helping bring Lue Yang home. Just wanna share that. We do have a online petition going that directs you to email the ice field office in Detroit, pressuring them to bring him home. Um, there's also a number to call with a script provided. So nothing has to be reinvented. We please, please encourage you to share this out, and you do not have to be from Michigan to make a call or email every single email. And, all counts. And we also do have a GoFundMe for [00:50:00] him and his family. As we all know legal file, legal fees pile up, so anything counts. Thank you so much everyone.  Miko Lee:  Thanks Emily. Now we're gonna pass it over to Nawal talking about this event which is connected to disappeared in America.  Nawal Rai: Hi everyone. I'm Nawal here again and yeah, so We Belong Here. Uh, today's event was part of the Disappeared in America Weekend of Action, which is a national mobilization action to protect immigrants, uh, expose corporate complicity and honor the lives lost in detention and across America more than 150 towns and cities held.  Um. Weekend of Collective action this weekend on November 1st and second, standing in solidarity with immigrants families, uh, from holding freedom vigils outside of ICE facilities to via de Los Mortis gathering, honoring life's lost in detentions to ice out of Home Depot actions. Calling out corporate complicity this weekend was a resounding nation nationwide call for compassion, dignity, and [00:51:00] democracy, and demanding justice and due process for all. The National Action was organized by the Coalition of Partners, including National Day Labor Organizing Network, Detention Watch Network, the Worker Circle, public ci, uh, citizen, and many allied organization across the country. Thank you all. Thank you for joining us today.  Miko Lee: Thank you to everyone for showing up today. We thank all of our speakers, all of our many partner organizations. As we were saying, it takes many of us working together collectively. Even though we said there's 60,000 people detained. There are so many more than that. We know that immigrants contribute and refugees contribute immensely to the American experience, and we want everyone to know that we belong here. All of us belong here. This is our home.  Thank you so much for joining us all. We appreciate all of you, the interpreters, the translators, the folks behind the scene who helped to make this event happen. Um, shout out to Cheryl Truong [00:52:00] and Nina Phillips for really doing all the tech behind this. And to all of you for showing up tonight, we need each and every one of you to participate to show that you are part of the beloved community, that you are part of believing that America can be a place filled with beloved love instead of hatred. Um, so I would love you all to just all together. Shout out. We belong here. 1, 2, 3.  Event Attendees: We belong here. We belong here.  We belong here.  Miko Lee: Have a great night, and thank you all for joining us. Nina Phillips: This was a recording of a virtual community gathering that took place earlier this month on Monday, November 3rd. It was made [00:53:00] possible by We Belong Here, a coalition of immigrant rights organizations, Asian Americans for Civil Rights and Equality, Asian Refugees United, Asian Law Caucus, Hmong Family Association Lansing, Hmong Innovative Politics, OPAWL and Rising Voices.  As I mentioned earlier, you can watch the phenomenal video performance from Asian Refugees United on the website of Asian Americans for Civil Rights and Equality.  That's aacre.org/our-voices/webelonghere  There's also up-to-date information on how best you can support both the Free Mohan Karki and Bring Lu Home campaigns. We thank all of you listeners out there. Keep resisting, keep organizing. Your voices are important. Let's keep immigrant families together.  To close out. Here's a little more from the video performance. [00:54:00] [00:55:00] [00:56:00] [00:57:00]  Nina Phillips: For show notes, please check out our website, kpfa.org/program/APEX-express.  APEX Express is a collective of activists that include Ama Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Nina Phillips, Preeti Mangala Shekar, and Swati Rayasam. Tonight's show was produced by me, Nina Phillips. Get some rest, y'all. Good night. The post APEX Express – November 27, 2025 – We Belong Here: Bhutanese & HMoob Americans in the Struggle Against Statelessness appeared first on KPFA.

This is the second in a series of four episodes regarding America's toxic history with xenophobia.  It explores America's historical fear of Chinese migrants.  Join us to find out the pull and push factors that led to a massive increase in Chinese-Americans, the history of Angel Island immigration center, the origins of the dreaded 1924 Immigration Act, and the "Tacoma Method" used to eradicate Chinese immigrants from coastal cities.  Contact the show at resourcesbylowery@gmail.com or on Bluesky @EmpiresPod If you would like to financially support the show, please use the following paypal link. Or remit PayPal payment to @Lowery80.  And here is a link for Venmo users. Any support is greatly appreciated and will be used to make future episodes of the show even better.   Expect new shows to drop on Wednesday mornings from September to May. Music is licensed through Epidemic Sound

Jeffrey Epstein: the sh*tty gift that keeps on giving. The House Oversight Committee released yet another batch of 20,000 Epstein emails, implicating a list of elites who were in Epstein's web – and revealing that many remained friendly with the financier even after he was convicted. Marjorie Taylor Greene – a longtime Trump ally – says the battle over the Epstein files has split MAGA as the House prepares to vote on a bill forcing the DOJ to release case records. Trump first opposed the measure before reversing course, while Speaker Mike Johnson and other GOP leaders now plan to support it despite weeks of internal tension. Emilie Hagen reports LIVE from DC with the latest updates. Emilie Hagen is an independent journalist who reports on emerging political and cultural stories. She is known for her work on Emily Knows Everything on Instagram. Learn more at https://instagram.com/emilyknowseverything and at https://emiliehagen.substack.com⠀Jiaoying Summers is a Chinese American standup comedian and Asian Hall of Fame inductee with over one billion online views. She headlines internationally, owns The Hollywood Comedy club in Los Angeles, and hosts the Tiger Mom podcast. Her debut hour “What Specie Are You?” premiered on Hulu. Learn more at https://JiaoyingComedy.com and follow her at https://instagram.com/jiaoyingsummers⠀Terence Hartnett is a standup comedian and documentarian who filmed Cancer Free while traveling across US national parks. He continued performing comedy while overcoming testicular and lung cancer. Follow at https://x.com/TerenceHartnett 「 SUPPORT OUR SPONSORS 」 Find out more about the brands that make this show possible and get special discounts on Dr. Drew's favorite products at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://drdrew.com/sponsors⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  • AUGUSTA PRECIOUS METALS – Thousands of Americans are moving portions of their retirement into physical gold & silver. Learn more in this 3-minute report from our friends at Augusta Precious Metals: ⁠⁠https://drdrew.com/gold⁠⁠ or text DREW to 35052 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠• FATTY15 – The future of essential fatty acids is here! Strengthen your cells against age-related breakdown with Fatty15. Get 15% off a 90-day Starter Kit Subscription at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://drdrew.com/fatty15⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ • PALEOVALLEY - "Paleovalley has a wide variety of extraordinary products that are both healthful and delicious,” says Dr. Drew. "I am a huge fan of this brand and know you'll love it too!” Get 15% off your first order at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://drdrew.com/paleovalley⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ • VSHREDMD – Formulated by Dr. Drew: The Science of Cellular Health + World-Class Training Programs, Premium Content, and 1-1 Training with Certified V Shred Coaches! More at https://drdrew.com/vshredmd • THE WELLNESS COMPANY - Counteract harmful spike proteins with TWC's Signature Series Spike Support Formula containing nattokinase and selenium. Learn more about TWC's supplements at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twc.health/drew⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ 「 ABOUT THE SHOW 」 Ask Dr. Drew is produced by Kaleb Nation (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://kalebnation.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) and Susan Pinsky (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/firstladyoflov⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠e⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠). This show is for entertainment and/or informational purposes only, and is not a substitute for medical advice, diagnosis, or treatment. Executive Producers • Kaleb Nation - ⁠⁠⁠⁠⁠⁠https://kalebnation.com⁠⁠⁠⁠⁠⁠ • Susan Pinsky - ⁠⁠⁠⁠⁠⁠https://x.com/firstladyoflove⁠⁠⁠⁠⁠⁠ Content Producer & Booking • Emily Barsh - ⁠⁠⁠⁠⁠⁠https://x.com/emilytvproducer⁠⁠⁠⁠⁠⁠ Hosted By • Dr. Drew Pinsky - ⁠⁠⁠⁠⁠⁠https://x.com/drdrew⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

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. Powerleegirl hosts, the mother daughter team of Miko Lee, Jalena & Ayame Keane-Lee speak with artists about their craft and the works that you can catch in the Bay Area. Featured are filmmaker Yuriko Gamo Romer, playwright Jessica Huang and photographer Joyce Xi.   More info about their work here: Diamond Diplomacy Yuriko Gamo Romer Jessica Huang's Mother of Exiles at Berkeley Rep Joyce Xi's Our Language Our Story at Galeria de la Raza     Show Transcript Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.    Ayame Keane-Lee: [00:00:46] Thank you for joining us on Apex Express Tonight. Join the PowerLeeGirls as we talk with some powerful Asian American women artists. My mom and sister speak with filmmaker Yuriko Gamo Romer, playwright Jessica Huang, and photographer Joyce Xi. Each of these artists have works that you can enjoy right now in the Bay Area. First up, let's listen in to my mom Miko Lee chat with Yuriko Gamo Romer about her film Diamond Diplomacy.    Miko Lee: [00:01:19] Welcome, Yuriko Gamo Romer to Apex Express, amazing filmmaker, award-winning director and producer. Welcome to Apex Express.   Yuriko Gamo Romer: [00:01:29] Thank you for having me.    Miko Lee: [00:01:31] It's so great to see your work after this many years. We were just chatting that we knew each other maybe 30 years ago and have not reconnected. So it's lovely to see your work. I'm gonna start with asking you a question. I ask all of my Apex guests, which is, who are your people and what legacy do you carry with you?    Yuriko Gamo Romer: [00:01:49] Oh, who are my people? That's a hard one. I guess I'm Japanese American. I'm Asian American, but I'm also Japanese. I still have a lot of people in Japan. That's not everything. Creative people, artists, filmmakers, all the people that I work with, which I love. And I don't know, I can't pare it down to one narrow sentence or phrase. And I don't know what my legacy is. My legacy is that I was born in Japan, but I have grown up in the United States and so I carry with me all that is, technically I'm an immigrant, so I have little bits and pieces of that and, but I'm also very much grew up in the United States and from that perspective, I'm an American. So too many words.    Miko Lee: [00:02:44] Thank you so much for sharing. Your latest film was called Diamond Diplomacy. Can you tell us what inspired this film?   Yuriko Gamo Romer: [00:02:52] I have a friend named Dave Dempsey and his father, Con Dempsey, was a pitcher for the San Francisco Seals. And the Seals were the minor league team that was in the West Coast was called the Pacific Coast League They were here before the Major League teams came to the West Coast. So the seals were San Francisco's team, and Con Dempsey was their pitcher. And it so happened that he was part of the 1949 tour when General MacArthur sent the San Francisco Seals to Allied occupied Japan after World War II. And. It was a story that I had never heard. There was a museum exhibit south of Market in San Francisco, and I was completely wowed and awed because here's this lovely story about baseball playing a role in diplomacy and in reuniting a friendship between two countries. And I had never heard of it before and I'm pretty sure most people don't know the story. Con Dempsey had a movie camera with him when he went to Japan I saw the home movies playing on a little TV set in the corner at the museum, and I thought, oh, this has to be a film. I was in the middle of finishing Mrs. Judo, so I, it was something I had to tuck into the back of my mind Several years later, I dug it up again and I made Dave go into his mother's garage and dig out the actual films. And that was the beginning. But then I started opening history books and doing research, and suddenly it was a much bigger, much deeper, much longer story.   Miko Lee: [00:04:32] So you fell in, it was like synchronicity that you have this friend that had this footage, and then you just fell into the research. What stood out to you?    Yuriko Gamo Romer: [00:04:41] It was completely amazing to me that baseball had been in Japan since 1872. I had no idea. And most people,   Miko Lee: [00:04:49] Yeah, I learned that too, from your film. That was so fascinating.    Yuriko Gamo Romer: [00:04:53] So that was the first kind of. Wow. And then I started to pick up little bits and pieces like in 1934, there was an American All Star team that went to Japan. And Babe Ruth was the headliner on that team. And he was a big star. People just loved him in Japan. And then I started to read the history and understanding that. Not that a baseball team or even Babe Ruth can go to Japan and prevent the war from happening. But there was a warming moment when the people of Japan were so enamored of this baseball team coming and so excited about it that maybe there was a moment where it felt like. Things had thawed out a little bit. So there were other points in history where I started to see this trend where baseball had a moment or had an influence in something, and I just thought, wow, this is really a fascinating history that goes back a long way and is surprising. And then of course today we have all these Japanese faces in Major League baseball.   Miko Lee: [00:06:01] So have you always been a baseball fan?   Yuriko Gamo Romer: [00:06:04] I think I really became a fan of Major League Baseball when I was living in New York. Before that, I knew what it was. I played softball, I had a small connection to it, but I really became a fan when I was living in New York and then my son started to play baseball and he would come home from the games and he would start to give us the play by play and I started to learn more about it. And it is a fascinating game 'cause it's much more complex than I think some people don't like it 'cause it's complex.    Miko Lee: [00:06:33] I must confess, I have not been a big baseball fan. I'm also thinking, oh, a film about baseball. But I actually found it so fascinating with especially in the world that we live in right now, where there's so much strife that there was this way to speak a different language. And many times we do that through art or music and I thought it was so great how your film really showcased how baseball was used as a tool for political repair and change. I'm wondering how you think this film applies to the time that we live in now where there's such an incredible division, and not necessarily with Japan, but just with everything in the world.   Yuriko Gamo Romer: [00:07:13] I think when it comes down to it, if we actually get to know people. We learn that we're all human beings and that we probably have more in common than we give ourselves credit for. And if we can find a space that is common ground, whether it's a baseball field or the kitchen, or an art studio, or a music studio, I think it gives us a different place where we can exist and acknowledge That we're human beings and that we maybe have more in common than we're willing to give ourselves credit for. So I like to see things where people can have a moment where you step outside of yourself and go, oh wait, I do have something in common with that person over there. And maybe it doesn't solve the problem. But once you have that awakening, I think there's something. that happens, it opens you up. And I think sports is one of those things that has a little bit of that magical power. And every time I watch the Olympics, I'm just completely in awe.    Miko Lee: [00:08:18] Yeah, I absolutely agree with you. And speaking of that kind of repair and that aspect that sports can have, you ended up making a short film called Baseball Behind Barbed Wire, about the incarcerated Japanese Americans and baseball. And I wondered where in the filmmaking process did you decide, oh, I gotta pull this out of the bigger film and make it its own thing?    Yuriko Gamo Romer: [00:08:41] I had been working with Carrie Yonakegawa. From Fresno and he's really the keeper of the history of Japanese American baseball and especially of the story of the World War II Japanese American incarceration through the baseball stories. And he was one of my scholars and consultants on the longer film. And I have been working on diamond diplomacy for 11 years. So I got to know a lot of my experts quite well. I knew. All along that there was more to that part of the story that sort of deserved its own story, and I was very fortunate to get a grant from the National Parks Foundation, and I got that grant right when the pandemic started. It was a good thing. I had a chunk of money and I was able to do historical research, which can be done on a computer. Nobody was doing any production at that beginning of the COVID time. And then it's a short film, so it was a little more contained and I was able to release that one in 2023.   Miko Lee: [00:09:45] Oh, so you actually made the short before Diamond Diplomacy.   Yuriko Gamo Romer: [00:09:49] Yeah. The funny thing is that I finished it before diamond diplomacy, it's always been intrinsically part of the longer film and you'll see the longer film and you'll understand that part of baseball behind Barbed Wire becomes a part of telling that part of the story in Diamond Diplomacy.   Miko Lee: [00:10:08] Yeah, I appreciate it. So you almost use it like research, background research for the longer film, is that right?    Yuriko Gamo Romer: [00:10:15] I had been doing the research about the World War II, Japanese American incarceration because it was part of the story of the 150 years between Japan and the United States and Japanese people in the United States and American people that went to Japan. So it was always a part of that longer story, and I think it just evolved that there was a much bigger story that needed to be told separately and especially 'cause I had access to the interview footage of the two guys that had been there, and I knew Carrie so well. So that was part of it, was that I learned so much about that history from him.   Miko Lee: [00:10:58] Thanks. I appreciated actually watching both films to be able to see more in depth about what happened during the incarceration, so that was really powerful. I'm wondering if you can talk a little bit about the style of actually both films, which combine vintage Japanese postcards, animation and archival footage, and how you decided to blend the films in this way.   Yuriko Gamo Romer: [00:11:19] Anytime you're making a film about history, there's that challenge of. How am I going to show this story? How am I gonna get the audience to understand and feel what was happening then? And of course you can't suddenly go out and go, okay, I'm gonna go film Babe Ruth over there. 'cause he's not around anymore. So you know, you start digging up photographs. If we're in the era of you have photographs, you have home movies, you have 16 millimeter, you have all kinds of film, then great. You can find that stuff if you can find it and use it. But if you go back further, when before people had cameras and before motion picture, then you have to do something else. I've always been very much enamored of Japanese woodblock prints. I think they're beautiful and they're very documentary in that they tell stories about the people and the times and what was going on, and so I was able to find some that sort of helped evoke the stories of that period of time. And then in doing that, I became interested in the style and maybe can I co-opt that style? Can we take some of the images that we have that are photographs? And I had a couple of young artists work on this stuff and it started to work and I was very excited. So then we were doing things like, okay, now we can create a transition between the print style illustration and the actual footage that we're moving into, or the photograph that we're dissolving into. And the same thing with baseball behind barbed wire. It became a challenge to show what was actually happening in the camps. In the beginning, people were not allowed to have cameras at all, and even later on it wasn't like it was common thing for people to have cameras, especially movie cameras. Latter part of the war, there was a little bit more in terms of photos and movies, but in terms of getting the more personal stories. I found an exhibit of illustrations and it really was drawings and paintings that were visual diaries. People kept these visual diaries, they drew and they painted, and I think part of it was. Something to do, but I think the other part of it was a way to show and express what was going on. So one of the most dramatic moments in there is a drawing of a little boy sitting on a toilet with his hands covering his face, and no one would ever have a photograph. Of a little boy sitting on a toilet being embarrassed because there are no partitions around the toilet. But this was a very dramatic and telling moment that was drawn. And there were some other things like that. There was one illustration in baseball behind barbed wire that shows a family huddled up and there's this incredible wind blowing, and it's not. Home movie footage, but you feel the wind and what they had to live through. I appreciate art in general, so it was very fun for me to be able to use various different kinds of art and find ways to make it work and make it edit together with the other, with the photographs and the footage.    Miko Lee: [00:14:56] It's really beautiful and it tells the story really well. I'm wondering about a response to the film from folks that were in it because you got many elders to share their stories about what it was like being either folks that were incarcerated or folks that were playing in such an unusual time. Have you screened the film for folks that were in it? And if so what has their response been?    Yuriko Gamo Romer: [00:15:20] Both the men that were in baseball behind barbed wire are not living anymore, so they have not seen it. With diamond diplomacy, some of the historians have been asked to review cuts of the film along the way. But the two baseball players that play the biggest role in the film, I've given them links to look at stuff, but I don't think they've seen it. So Moi's gonna see it for the first time, I'm pretty sure, on Friday night, and it'll be interesting to see what his reaction to it is. And of course. His main language is not English. So I think some of it's gonna be a little tough for him to understand. But I am very curious 'cause I've known him for a long time and I know his stories and I feel like when we were putting the film together, it was really important for me to be able to tell the stories in the way that I felt like. He lived them and he tells them, I feel like I've heard these stories over and over again. I've gotten to know him and I understand some of his feelings of joy and of regret and all these other things that happen, so I will be very interested to see what his reaction is to it.   Miko Lee: [00:16:40] Can you share for our audience who you're talking about.   Yuriko Gamo Romer: [00:16:43] Well, Sanhi is a nickname, his name is Masa Nouri. Murakami. He picked up that nickname because none of the ball players could pronounce his name.   Miko Lee: [00:16:53] I did think that was horrifically funny when they said they started calling him macaroni 'cause they could not pronounce his name. So many of us have had those experiences.   Yuriko Gamo Romer: [00:17:02] Yeah, especially if your name is Masanori Murakami. That's a long, complicated one. So he, Masanori Murakami is the first Japanese player that came and played for the major leagues. And it was an inadvertent playing because he was a kid, he was 19 years old. He was playing on a professional team in Japan and they had some, they had a time period where it made sense to send a couple of these kids over to the United States. They had a relationship with Kapi Harada, who was a Japanese American who had been in the Army and he was in Japan during. The occupation and somehow he had, he'd also been a big baseball person, so I think he developed all these relationships and he arranged for these three kids to come to the United States and to, as Mahi says, to study baseball. And they were sent to the lowest level minor league, the single A camps, and they played baseball. They learned the American ways to play baseball, and they got to play with low level professional baseball players. Marcy was a very talented left handed pitcher. And so when September 1st comes around and the postseason starts, they expand the roster and they add more players to the team. And the scouts had been watching him and the Giants needed a left-handed pitcher, so they decided to take a chance on him, and they brought him up and he was suddenly going to Shea Stadium when. The Giants were playing the Mets and he was suddenly pitching in a giant stadium of 40,000 people.    Miko Lee: [00:18:58] Can you share a little bit about his experience when he first came to America? I just think it shows such a difference in time to now.    Yuriko Gamo Romer: [00:19:07] Yeah, no kidding. Because today they're the players that come from Japan are coddled and they have interpreters wherever they go and they travel and chartered planes and special limousines and whatever else they get. So Marcie. He's, I think he was 20 by the time he was brought up so young. Mahi at 20 years old, the manager comes in and says, Hey, you're going to New York tomorrow and hands him plane tickets and he has to negotiate his way. Get on this plane, get on that plane, figure out how to. Get from the airport to the hotel, and he's barely speaking English at this point. He jokes that he used to carry around an English Japanese dictionary in one pocket and a Japanese English dictionary in the other pocket. So that's how he ended up getting to Shea Stadium was in this like very precarious, like they didn't even send an escort.   Miko Lee: [00:20:12] He had to ask the pilot how to get to the hotel. Yeah, I think that's wild. So I love this like history and what's happened and then I'm thinking now as I said at the beginning, I'm not a big baseball sports fan, but I love love watching Shohei Ohtani. I just think he's amazing. And I'm just wondering, when you look at that trajectory of where Mahi was back then and now, Shohei Ohtani now, how do you reflect on that historically? And I'm wondering if you've connected with any of the kind of modern Japanese players, if they've seen this film.   Yuriko Gamo Romer: [00:20:48] I have never met Shohei Ohtani. I have tried to get some interviews, but I haven't gotten any. I have met Ichi. I did meet Nori Aoki when he was playing for the Giants, and I met Kenta Maya when he was first pitching for the Dodgers. They're all, I think they're all really, they seem to be really excited to be here and play. I don't know what it's like to be Ohtani. I saw something the other day in social media that was comparing him to Taylor Swift because the two of them are this like other level of famous and it must just be crazy. Probably can't walk down the street anymore. But it is funny 'cause I've been editing all this footage of mahi when he was 19, 20 years old and they have a very similar face. And it just makes me laugh that, once upon a time this young Japanese kid was here and. He was worried about how to make ends meet at the end of the month, and then you got the other one who's like a multi multimillionaire.    Miko Lee: [00:21:56] But you're right, I thought that too. They look similar, like the tall, the face, they're like the vibe that they put out there. Have they met each other?    Yuriko Gamo Romer: [00:22:05] They have actually met, I don't think they know each other well, but they've definitely met.   Miko Lee: [00:22:09] Mm, It was really a delight. I am wondering what you would like audiences to walk away with after seeing your film.   Yuriko Gamo Romer: [00:22:17] Hopefully they will have a little bit of appreciation for baseball and international baseball, but more than anything else. I wonder if they can pick up on that sense of when you find common ground, it's a very special space and it's an ability to have this people to people diplomacy. You get to experience people, you get to know them a little bit. Even if you've never met Ohtani, you now know a little bit about him and his life and. Probably what he eats and all that kind of stuff. So it gives you a chance to see into another culture. And I think that makes for a different kind of understanding. And certainly for the players. They sit on the bench together and they practice together and they sweat together and they, everything that they do together, these guys know each other. They learn about each other's languages and each other's food and each other's culture. And I think Mahi went back to Japan with almost as much Spanish as they did English. So I think there's some magical thing about people to people diplomacy, and I hope that people can get a sense of that.    Miko Lee: [00:23:42] Thank you so much for sharing. Can you tell our audience how they could find out more about your film Diamond diplomacy and also about you as an artist?    Yuriko Gamo Romer: [00:23:50] the website is diamonddiplomacy.com. We're on Instagram @diamonddiplomacy. We're also on Facebook Diamond Diplomacy. So those are all the places that you can find stuff, those places will give you a sense of who I am as a filmmaker and an artist too.    Miko Lee: [00:24:14] Thank you so much for joining us today, Yuriko. Gamo. Romo. So great to speak with you and I hope the film does really well.    Yuriko Gamo Romer: [00:24:22] Thank you, Miko. This was a lovely opportunity to chat with you.   Ayame Keane-Lee: [00:24:26] Next up, my sister Jalena Keane-Lee speaks with playwright Jessica Huang, whose new play Mother of Exiles just had its world premiere at Berkeley Rep is open until December 21st.    Jalena Keane-Lee: [00:24:39] All right. Jessica Huang, thank you so much for being here with us on Apex Express and you are the writer of the new play Mother of Exiles, which is playing at Berkeley Rep from November 14th to December 21st. Thank you so much for being here.   Jessica Huang: [00:24:55] Yeah, thank you so much for having me. It's such a pleasure.   Jalena Keane-Lee: [00:24:59] I'm so curious about this project. The synopsis was so interesting. I was wondering if you could just tell us a little bit about it and how you came to this work.   Jessica Huang: [00:25:08] When people ask me what mother of Exiles is, I always say it's an American family story that spans 160 plus years, and is told in three acts. In 90 minutes. So just to get the sort of sense of the propulsion of the show and the form, the formal experiment of it. The first part takes place in 1898, when the sort of matriarch of the family is being deported from Angel Island. The second part takes place in 1999, so a hundred years later where her great grandson is. Now working for the Miami, marine interdiction unit. So he's a border cop. The third movement takes place in 2063 out on the ocean after Miami has sunk beneath the water. And their descendants are figuring out what they're gonna do to survive. It was a strange sort of conception for the show because I had been wanting to write a play. I'd been wanting to write a triptych about America and the way that interracial love has shaped. This country and it shaped my family in particular. I also wanted to tell a story that had to do with this, the land itself in some way. I had been sort of carrying an idea for the play around for a while, knowing that it had to do with cross-cultural border crossing immigration themes. This sort of epic love story that each, in each chapter there's a different love story. It wasn't until I went on a trip to Singapore and to China and got to meet some family members that I hadn't met before that the rest of it sort of fell into place. The rest of it being that there's a, the presence of, ancestors and the way that the living sort of interacts with those who have come before throughout the play.   Jalena Keane-Lee: [00:27:13] I noticed that ancestors, and ghosts and spirits are a theme throughout your work. I was wondering if you could talk a little bit about your own ancestry and how that informs your writing and creative practice.   Jessica Huang: [00:27:25] Yeah, I mean, I'm in a fourth generation interracial marriage. So, I come from a long line of people who have loved people who were different from them, who spoke different languages, who came from different countries. That's my story. My brother his partner is German. He lives in Berlin. We have a history in our family of traveling and of loving people who are different from us. To me that's like the story of this country and is also the stuff I like to write about. The thing that I feel like I have to share with the world are, is just stories from that experience.   Jalena Keane-Lee: [00:28:03] That's really awesome. I guess I haven't really thought about it that way, but I'm third generation of like interracial as well. 'cause I'm Chinese, Japanese, and Irish. And then at a certain point when you're mixed, it's like, okay, well. The odds of me being with someone that's my exact same ethnic breakdown feel pretty low. So it's probably gonna be an interracial relationship in one way or the other.   Jessica Huang: [00:28:26] Totally. Yeah. And, and, and I don't, you know, it sounds, and it sounds like in your family and in mine too, like we just. Kept sort of adding culture to our family. So my grandfather's from Shanghai, my grandmother, you know, is, it was a very, like upper crust white family on the east coast. Then they had my dad. My dad married my mom whose people are from the Ukraine. And then my husband's Puerto Rican. We just keep like broadening the definition of family and the definition of community and I think that's again, like I said, like the story of this country.   Jalena Keane-Lee: [00:29:00] That's so beautiful. I'm curious about the role of place in this project in particular, mother of exiles, angel Island, obviously being in the Bay Area, and then the rest of it taking place, in Miami or in the future. The last act is also like Miami or Miami adjacent. What was the inspiration behind the place and how did place and location and setting inform the writing.   Jessica Huang: [00:29:22] It's a good question. Angel Island is a place that has loomed large in my work. Just being sort of known as the Ellis Island of the West, but actually being a place with a much more difficult history. I've always been really inspired by the stories that come out of Angel Island, the poetry that's come out of Angel Island and, just the history of Asian immigration. It felt like it made sense to set the first part of the play here, in the Bay. Especially because Eddie, our protagonist, spent some time working on a farm. So there's also like this great history of agriculture and migrant workers here too. It just felt like a natural place to set it. And then why did we move to Miami? There are so many moments in American history where immigration has been a real, center point of the sort of conversation, the national conversation. And moving forward to the nineties, the wet foot, dry foot Cuban immigration story felt like really potent and a great place to tell the next piece of this tale. Then looking toward the future Miami is definitely, or you know, according to the science that I have read one of the cities that is really in danger of flooding as sea levels rise.   Jalena Keane-Lee: [00:30:50] Okay. The Cuban immigration. That totally makes sense. That leads perfectly into my next question, which was gonna be about how did you choose the time the moments in time? I think that one you said was in the nineties and curious about the choice to have it be in the nineties and not present day. And then how did you choose how far in the future you wanted to have the last part?   Jessica Huang: [00:31:09] Some of it was really just based on the needs of the characters. So the how far into the future I wanted us to be following a character that we met as a baby in the previous act. So it just, you know, made sense. I couldn't push it too far into the future. It made sense to set it in the 2060s. In terms of the nineties and, why not present day? Immigration in the nineties , was so different in it was still, like I said, it was still, it's always been a important national conversation, but it wasn't. There was a, it felt like a little bit more, I don't know if gentle is the word, but there just was more nuance to the conversation. And still there was a broad effort to prevent Cuban and refugees from coming ashore. I think I was fascinated by how complicated, I mean, what foot, dry foot, the idea of it is that , if a refugee is caught on water, they're sent back to Cuba. But if they're caught on land, then they can stay in the us And just the idea of that is so. The way that, people's lives are affected by just where they are caught , in their crossing. I just found that to be a bit ridiculous and in terms of a national policy. It made sense then to set the second part, which moves into a bit of a farce at a time when immigration also kind of felt like a farce.   Jalena Keane-Lee: [00:32:46] That totally makes sense. It feels very dire right now, obviously. But it's interesting to be able to kind of go back in time and see when things were handled so differently and also how I think throughout history and also touching many different racial groups. We've talked a lot on this show about the Chinese Exclusion Act and different immigration policies towards Chinese and other Asian Americans. But they've always been pretty arbitrary and kind of farcical as you put it. Yeah.   Jessica Huang: [00:33:17] Yeah. And that's not to make light of like the ways that people's lives were really impacted by all of this policy . But I think the arbitrariness of it, like you said, is just really something that bears examining. I also think it's really helpful to look at where we are now through the lens of the past or the future. Mm-hmm. Just gives just a little bit of distance and a little bit of perspective. Maybe just a little bit of context to how we got to where we got to.   Jalena Keane-Lee: [00:33:50] That totally makes sense. What has your experience been like of seeing the play be put up? It's my understanding, this is the first this is like the premier of the play at Berkeley Rep.   Jessica Huang: [00:34:00] Yes. Yeah. It's the world premier. It's it incredible. Jackie Bradley is our director and she's phenomenal. It's just sort of mesmerizing what is happening with this play? It's so beautiful and like I've alluded to, it shifts tone between the first movement being sort of a historical drama on Angel Island to, it moves into a bit of a farce in part two, and then it, by the third movement, we're living in sort of a dystopic, almost sci-fi future. The way that Jackie's just deftly moved an audience through each of those experiences while holding onto the important threads of this family and, the themes that we're unpacking and this like incredible design team, all of these beautiful visuals sounds, it's just really so magical to see it come to life in this way. And our cast is incredible. I believe there are 18 named roles in the play, and there are a few surprises and all of them are played by six actors. who are just. Unbelievable. Like all of them have the ability to play against type. They just transform and transform again and can navigate like, the deepest tragedies and the like, highest moments of comedy and just hold on to this beautiful humanity. Each and every one of them is just really spectacular. So I'm just, you know. I don't know. I just feel so lucky to be honest with you. This production is going to be so incredible. It's gonna be, it feels like what I imagine in my mind, but, you know, plus,    Jalena Keane-Lee: [00:35:45] well, I really can't wait to see it. What are you hoping that audiences walk away with after seeing the show?   Jessica Huang: [00:35:54] That's a great question. I want audiences to feel connected to their ancestors and feel part of this community of this country and, and grateful and acknowledge the sacrifices that somebody along the line made so that they could be here with, with each other watching the show. I hope, people feel like they enjoyed themselves and got to experience something that they haven't experienced before. I think that there are definitely, nuances to the political conversation that we're having right now, about who has the right to immigrate into this country and who has the right to be a refugee, who has the right to claim asylum. I hope to add something to that conversation with this play, however small.   Jalena Keane-Lee:[00:36:43]  Do you know where the play is going next?   Jessica Huang: [00:36:45] No. No. I dunno where it's going next. Um, exciting. Yeah, but we'll, time will   Jalena Keane-Lee: [00:36:51] and previews start just in a few days, right?   Jessica Huang: [00:36:54] Yeah. Yeah. We have our first preview, we have our first audience on Friday. So yeah, very looking forward to seeing how all of this work that we've been doing lands on folks.   Jalena Keane-Lee: [00:37:03] Wow, that's so exciting. Do you have any other projects that you're working on? Or any upcoming projects that you'd like to share about?   Jessica Huang: [00:37:10] Yeah, yeah, I do. I'm part of the writing team for the 10 Things I Hate About You Musical, which is in development with an Eye Toward Broadway. I'm working with Lena Dunham and Carly Rae Jepsen and Ethan Ska to make that musical. I also have a fun project in Chicago that will soon be announced.   Jalena Keane-Lee: [00:37:31] And what is keeping you inspired and keeping your, you know, creative energies flowing in these times?   Jessica Huang: [00:37:37] Well first of all, I think, you know, my collaborators on this show are incredibly inspiring. The nice thing about theater is that you just get to go and be inspired by people all the time. 'cause it's this big collaboration, you don't have to do it all by yourself. So that would be the first thing I would say. I haven't seen a lot of theater since I've been out here in the bay, but right before I left New York, I saw MEUs . Which is by Brian Keda, Nigel Robinson. And it's this sort of two-hander musical, but they do live looping and they sort of create the music live. Wow. And it's another, it's another show about an untold history and about solidarity and about folks coming together from different backgrounds and about ancestors, so there's a lot of themes that really resonate. And also the show is just so great. It's just really incredible. So , that was the last thing I saw that I loved. I'm always so inspired by theater that I get to see.   Jalena Keane-Lee: [00:38:36] That sounds wonderful. Is there anything else that you'd like to share?   Jessica Huang: [00:38:40] No, I don't think so. I just thanks so much for having me and come check out the show. I think you'll enjoy it. There's something for everyone.   Jalena Keane-Lee: [00:38:48] Yeah. I'm so excited to see the show. Is there like a Chinese Cuban love story with the Miami portion? Oh, that's so awesome. This is an aside, but I'm a filmmaker and I've been working on a documentary about, Chinese people in Cuba and there's like this whole history of Chinese Cubans in Cuba too.   Jessica Huang: [00:39:07] Oh, that's wonderful. In this story, it's a person who's a descendant of, a love story between a Chinese person and a Mexican man, a Chinese woman and a Mexican man, and oh, their descendant. Then also, there's a love story between him and a Cuban woman.   Jalena Keane-Lee: [00:39:25] That's awesome. Wow. I'm very excited to see it in all the different intergenerational layers and tonal shifts. I can't wait to see how it all comes together.   Ayame Keane-Lee: [00:39:34] Next up we are back with Miko Lee, who is now speaking with photographer Joyce Xi about her latest exhibition entitled Our Language, our Story Running Through January in San Francisco at Galleria de Raza.    Miko Lee: [00:39:48] Welcome, Joyce Xi to Apex Express.    Joyce Xi: [00:39:52] Thanks for having me.    Miko Lee: [00:39:53] Yes. I'm, I wanna start by asking you a question I ask most of my guests, and this is based on the great poet Shaka Hodges. It's an adaptation of her question, which is, who are your people and what legacy do you carry with you?   Joyce Xi: [00:40:09] My people are artists, free spirits, people who wanna see a more free and just, and beautiful world. I'm Chinese American. A lot of my work has been in the Asian American community with all kinds of different people who dreaming of something better and trying to make the world a better place and doing so with creativity and with positive and good energy.   Miko Lee: [00:40:39] I love it. And what legacy do you carry with you?   Joyce Xi: [00:40:43] I am a fighter. I feel like just people who have been fighting for a better world. Photography wise, like definitely thinking about Corky Lee who is an Asian American photographer and activist. There's been people who have done it before me. There will be people who do it after me, but I wanna do my version of it here.   Miko Lee: [00:41:03] Thank you so much and for lifting up the great Corky Lee who has been such a big influence on all of us. I'm wondering in that vein, can you talk a little bit about how you use photography as a tool for social change?   Joyce Xi: [00:41:17] Yeah. Photography I feel is a very powerful tool for social change. Photography is one of those mediums where it's emotional, it's raw, it's real. It's a way to see and show and feel like important moments, important stories, important emotions. I try to use it as a way to share. Truths and stories about issues that are important, things that people experience, whether it's, advocating for environmental justice or language justice or just like some of them, just to highlight some of the struggles and challenges people experience as well as the joys and the celebrations and just the nuance of people's lives. I feel like photography is a really powerful medium to show that. And I love photography in particular because it's really like a frozen moment. I think what's so great about photography is that. It's that moment, it's that one feeling, that one expression, and it's kind of like frozen in time. So you can really, sit there and ponder about what's in this person's eyes or what's this person trying to say? Or. What does this person's struggle like? You can just see it through their expressions and their emotions and also it's a great way to document. There's so many things that we all do as advocates, as activists, whether it's protesting or whether it's just supporting people who are dealing with something. You have that moment recorded. Can really help us remember those fights and those moments. You can show people what happened. Photography is endlessly powerful. I really believe in it as a tool and a medium for influencing the world in positive ways.   Miko Lee: [00:43:08] I'd love us to shift and talk about your latest work, Our language, Our story.” Can you tell us a little bit about where this came from?   Joyce Xi: [00:43:15] Sure. I was in conversation with Nikita Kumar, who was at the Asian Law Caucus at the time. We were just chatting about art and activism and how photography could be a powerful medium to use to advocate or tell stories about different things. Nikita was talking to me about how a lot of language access work that's being done by organizations that work in immigrant communities can often be a topic that is very jargon filled or very kind of like niche or wonky policy, legal and maybe at times isn't the thing that people really get in the streets about or get really emotionally energized around. It's one of those issues that's so important to everything. Especially since in many immigrant communities, people do not speak English and every single day, every single issue. All these issues that these organizations advocate around. Like housing rights, workers' rights, voting rights, immigration, et cetera, without language, those rights and resources are very hard to understand and even hard to access at all. So, Nik and I were talking about language is so important, it's one of those issues too remind people about the core importance of it. What does it feel like when you don't have access to your language? What does it feel like and look like when you do, when you can celebrate with your community and communicate freely and live your life just as who you are versus when you can't even figure out how to say what you wanna say because there's a language barrier.    Miko Lee: [00:44:55] Joyce can you just for our audience, break down what language access means? What does it mean to you and why is it important for everybody?   Joyce Xi: [00:45:05] Language access is about being able to navigate the world in your language, in the way that you understand and communicate in your life. In advocacy spaces, what it can look like is, we need to have resources and we need to have interpretation in different languages so that people can understand what's being talked about or understand what resources are available or understand what's on the ballot. So they can really experience their life to the fullest. Each of us has our languages that we're comfortable with and it's really our way of expressing everything that's important to us and understanding everything that's important to us. When that language is not available, it's very hard to navigate the world. On the policy front, there's so many ways just having resources in different languages, having interpretation in different spaces, making sure that everybody who is involved in this society can do what they need to do and can understand the decisions that are being made. That affects them and also that they can affect the decisions that affect them.   Miko Lee: [00:46:19] I think a lot of immigrant kids just grow up being like the de facto translator for their parents. Which can be things like medical terminology and legal terms, which they might not be familiar with. And so language asks about providing opportunities for everybody to have equal understanding of what's going on. And so can you talk a little bit about your gallery show? So you and Nikita dreamed up this vision for making language access more accessible and more story based, and then what happened?   Joyce Xi: [00:46:50] We decided to express this through a series of photo stories. Focusing on individual stories from a variety of different language backgrounds and immigration backgrounds and just different communities all across the Bay Area. And really just have people share from the heart, what does language mean to them? What does it affect in their lives? Both when one has access to the language, like for example, in their own community, when they can speak freely and understand and just share everything that's on their heart. And what does it look like when that's not available? When maybe you're out in the streets and you're trying to like talk to the bus driver and you can't even communicate with each other. How does that feel? What does that look like? So we collected all these stories from many different community members across different languages and asked them a series of questions and took photos of them in their day-to-day lives, in family gatherings, at community meetings, at rallies, at home, in the streets, all over the place, wherever people were like Halloween or Ramadan or graduations, or just day-to-day life. Through the quotes that we got from the interviews, as well as the photos that I took to illustrate their stories, we put them together as photo stories for each person. Those are now on display at Galleria Deza in San Francisco. We have over 20 different stories in over 10 different languages. The people in the project spoke like over 15 different languages. Some people used multiple languages and some spoke English, many did not. We had folks who had immigrated recently, folks who had immigrated a while ago. We had children of immigrants talking about their experiences being that bridge as you talked about, navigating translating for their parents and being in this tough spot of growing up really quickly, we just have this kind of tapestry of different stories and, definitely encourage folks to check out the photos but also to read through each person's stories. Everybody has a story that's very special and that is from the heart   Miko Lee: [00:49:00] sounds fun. I can't wait to see it in person. Can you share a little bit about how you selected the participants?    Joyce Xi: [00:49:07] Yeah, selecting the participants was an organic process. I'm a photographer who's trying to honor relationships and not like parachute in. We wanted to build relationships and work with people who felt comfortable sharing their stories, who really wanted to be a part of it, and who are connected in some kind of a way where it didn't feel like completely out of context. So what that meant was that myself and also the Asian Law Caucus we have connections in the community to different organizations who work in different immigrant communities. So we reached out to people that we knew who were doing good work and just say Hey, do you have any community members who would be interested in participating in this project who could share their stories. Then through following these threads we were able to connect with many different organizations who brought either members or community folks who they're connected with to the project. Some of them came through like friends. Another one was like, oh, I've worked with these people before, maybe you can talk to them. One of them I met through a World Refugee Day event. It came through a lot of different relationships and reaching out. We really wanted folks who wanted to share a piece of their life. A lot of folks who really felt like language access and language barriers were a big challenge in their life, and they wanted to talk about it. We were able to gather a really great group together.    Miko Lee: [00:50:33] Can you share how opening night went? How did you navigate showcasing and highlighting the diversity of the languages in one space?    Joyce Xi: [00:50:43] The opening of the exhibit was a really special event. We invited everybody who was part of the project as well as their communities, and we also invited like friends, community and different organizations to come. We really wanted to create a space where we could feel and see what language access and some of the challenges of language access can be all in one space. We had about 10 different languages at least going on at the same time. Some of them we had interpretation through headsets. Some of them we just, it was like fewer people. So people huddled together and just interpreted for the community members. A lot of these organizations that we partnered with, they brought their folks out. So their members, their community members, their friends and then. It was really special because a lot of the people whose photos are on the walls were there, so they invited their friends and family. It was really fun for them to see their photos on the wall. And also I think for all of our different communities, like we can end up really siloed or just like with who we're comfortable with most of the time, especially if we can't communicate very well with each other with language barriers. For everybody to be in the same space and to hear so many languages being used in the same space and for people to be around people maybe that they're not used to being around every day. And yet through everybody's stories, they share a lot of common experiences. Like so many of the stories were related to each other. People talked about being parents, people talked about going to the doctor or taking the bus, like having challenges at the workplace or just what it's like to celebrate your own culture and heritage and language and what the importance of preserving languages. There are so many common threads and. Maybe a lot of people are not used to seeing each other or communicating with each other on a daily basis. So just to have everyone in one space was so special. We had performances, we had food, we had elders, children. There was a huge different range of people and it was just like, it was just cool to see everyone in the same space. It was special.    Miko Lee: [00:52:51] And finally, for folks that get to go to Galleria de la Raza in San Francisco and see the exhibit, what do you want them to walk away with?   Joyce Xi: [00:53:00] I would love for people to walk away just like in a reflective state. You know how to really think about how. Language is so important to everything that we do and through all these stories to really see how so many different immigrant and refugee community members are making it work. And also deal with different barriers and how it affects them, how it affects just really simple human things in life that maybe some of us take for granted, on a daily basis. And just to have more compassion, more understanding. Ultimately, we wanna see our city, our bay area, our country really respecting people and their language and their dignity through language access and through just supporting and uplifting our immigrant communities in general. It's a such a tough time right now. There's so many attacks on our immigrant communities and people are scared and there's a lot of dehumanizing actions and narratives out there. This is, hopefully something completely different than that. Something that uplifts celebrates, honors and really sees our immigrant communities and hopefully people can just feel that feeling of like, oh, okay, we can do better. Everybody has a story. Everybody deserves to be treated with dignity and all the people in these stories are really amazing human beings. It was just an honor for me to even be a part of their story. I hope people can feel some piece of that.    Miko Lee: [00:54:50] Thank you so much, Joyce, for sharing your vision with us, and I hope everybody gets a chance to go out and see your work.    Joyce Xi: [00:54:57] Thank you.   Ayame Keane-Lee: [00:55:00] Thanks so much for tuning in to Apex Express. Please check out our website at kpfa.org/program/apexexpress to find out more about the guests tonight and find out how you can take direct action.   Apex Express is a proud member of Asian Americans for civil rights and equality. Find out more at aacre.org. That's AACRE.org.   We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.    Apex Express is produced by  Miko Lee, Jalena Keene-Lee, Ayame Keene-Lee, Preeti Mangala Shekar, Anuj Vaida, Cheryl Truong, Isabel Li, Nina Phillips & Swati Rayasam. Thank you so much to the team at KPFA for their support and have a good night.       The post APEX Express – 11.20.25 – Artist to Artist appeared first on KPFA.

Today we talk about things we do at work outside of our typical job scope - including attending happy hours, helping to plan events or socials, and taking classes or optional programs to expand our expertise! We chat about ways to make work life feel more dynamic and catered to our personal interests and goals.Support the showFollow us on social media @eatyourcrustpod

Obamacare had the greatest cover-up in policy history! PLUS, Mike Zhao, Chair of Chinese Americans for the Constitution, talks to Shaun about Trump's plan to allow 600,000 Chinese student visas and the need to revamp our American education system. And researcher Peter A. Kirby, author of the upcoming book Chemtrails Exposed: A New Manhattan Project, talks to Shaun about the bio weapon system used to control the weather that has had negative consequences on human-kind and how the elites are shaping our futures. See omnystudio.com/listener for privacy information.

Join us for an inspiring conversation with Jessica Ng, Youth Pastor at Queens Herald Church in Queens, New York. In this episode, Jessica shares her transformative approach to youth ministry that's creating ripple effects throughout her multigenerational, multilingual Chinese-American church.Discover how Jessica has cultivated a culture of soul care among teenagers, teaching them to identify lies, hear God's voice, and pray for one another with remarkable spiritual maturity. Learn about her journey from being a teen in the youth group to becoming its leader, navigating cultural dynamics of honor and shame while empowering the next generation.Jessica discusses practical strategies for bridging generational gaps, creating safe spaces for authentic conversation, and helping youth see their schools as mission fields. She also shares insights on investing in volunteer leaders, partnering with parents, and the beautiful moments of reconciliation happening across generations.Whether you're in youth ministry, interested in soul care, or passionate about intergenerational church dynamics, this episode offers valuable wisdom on seeing young people the way God sees them - as deeply loved children with incredible potential to transform their families, schools, and communities.

Arise Africa, Roar China: Black and Chinese Citizens of the World in the Twentieth Century (University of North Carolina Press, 2021) explores the close relationships between three of the most famous twentieth-century African Americans, W. E. B. Du Bois, Paul Robeson, and Langston Hughes, and their little-known Chinese allies during World War II and the Cold War--journalist, musician, and Christian activist Liu Liangmo, and Sino-Caribbean dancer-choreographer Sylvia Si-lan Chen. Charting a new path in the study of Sino-American relations, Gao Yunxiang foregrounds African Americans, combining the study of Black internationalism and the experiences of Chinese Americans with a transpacific narrative and an understanding of the global remaking of China's modern popular culture and politics. Gao reveals earlier and more widespread interactions between Chinese and African American leftists than accounts of the familiar alliance between the Black radicals and the Maoist Chinese would have us believe. The book's multilingual approach draws from massive yet rarely used archival streams in China and in Chinatowns and elsewhere in the United States. These materials allow Gao to retell the well-known stories of Du Bois, Robeson, and Hughes alongside the sagas of Liu and Chen in a work that will transform and redefine Afro-Asia studies. Hettie V. Williams Ph.D., is an Associate Professor of African American history in the Department of History and Anthropology at Monmouth University where she teaches courses in African American history and U.S. history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

Arise Africa, Roar China: Black and Chinese Citizens of the World in the Twentieth Century (University of North Carolina Press, 2021) explores the close relationships between three of the most famous twentieth-century African Americans, W. E. B. Du Bois, Paul Robeson, and Langston Hughes, and their little-known Chinese allies during World War II and the Cold War--journalist, musician, and Christian activist Liu Liangmo, and Sino-Caribbean dancer-choreographer Sylvia Si-lan Chen. Charting a new path in the study of Sino-American relations, Gao Yunxiang foregrounds African Americans, combining the study of Black internationalism and the experiences of Chinese Americans with a transpacific narrative and an understanding of the global remaking of China's modern popular culture and politics. Gao reveals earlier and more widespread interactions between Chinese and African American leftists than accounts of the familiar alliance between the Black radicals and the Maoist Chinese would have us believe. The book's multilingual approach draws from massive yet rarely used archival streams in China and in Chinatowns and elsewhere in the United States. These materials allow Gao to retell the well-known stories of Du Bois, Robeson, and Hughes alongside the sagas of Liu and Chen in a work that will transform and redefine Afro-Asia studies. Hettie V. Williams Ph.D., is an Associate Professor of African American history in the Department of History and Anthropology at Monmouth University where she teaches courses in African American history and U.S. history. 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

Arise Africa, Roar China: Black and Chinese Citizens of the World in the Twentieth Century (University of North Carolina Press, 2021) explores the close relationships between three of the most famous twentieth-century African Americans, W. E. B. Du Bois, Paul Robeson, and Langston Hughes, and their little-known Chinese allies during World War II and the Cold War--journalist, musician, and Christian activist Liu Liangmo, and Sino-Caribbean dancer-choreographer Sylvia Si-lan Chen. Charting a new path in the study of Sino-American relations, Gao Yunxiang foregrounds African Americans, combining the study of Black internationalism and the experiences of Chinese Americans with a transpacific narrative and an understanding of the global remaking of China's modern popular culture and politics. Gao reveals earlier and more widespread interactions between Chinese and African American leftists than accounts of the familiar alliance between the Black radicals and the Maoist Chinese would have us believe. The book's multilingual approach draws from massive yet rarely used archival streams in China and in Chinatowns and elsewhere in the United States. These materials allow Gao to retell the well-known stories of Du Bois, Robeson, and Hughes alongside the sagas of Liu and Chen in a work that will transform and redefine Afro-Asia studies. Hettie V. Williams Ph.D., is an Associate Professor of African American history in the Department of History and Anthropology at Monmouth University where she teaches courses in African American history and U.S. history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Arise Africa, Roar China: Black and Chinese Citizens of the World in the Twentieth Century (University of North Carolina Press, 2021) explores the close relationships between three of the most famous twentieth-century African Americans, W. E. B. Du Bois, Paul Robeson, and Langston Hughes, and their little-known Chinese allies during World War II and the Cold War--journalist, musician, and Christian activist Liu Liangmo, and Sino-Caribbean dancer-choreographer Sylvia Si-lan Chen. Charting a new path in the study of Sino-American relations, Gao Yunxiang foregrounds African Americans, combining the study of Black internationalism and the experiences of Chinese Americans with a transpacific narrative and an understanding of the global remaking of China's modern popular culture and politics. Gao reveals earlier and more widespread interactions between Chinese and African American leftists than accounts of the familiar alliance between the Black radicals and the Maoist Chinese would have us believe. The book's multilingual approach draws from massive yet rarely used archival streams in China and in Chinatowns and elsewhere in the United States. These materials allow Gao to retell the well-known stories of Du Bois, Robeson, and Hughes alongside the sagas of Liu and Chen in a work that will transform and redefine Afro-Asia studies. Hettie V. Williams Ph.D., is an Associate Professor of African American history in the Department of History and Anthropology at Monmouth University where she teaches courses in African American history and U.S. history. 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

311 | Sasha Hom Sasha Hom lives an extraordinarily unconventional life. I'm so excited to introduce her to you. She's a writer, goat farmer, mother, and her new book Sidework is incredible. Today we talk about her experiences as a Korean adoptee, adopted to a Chinese American couple in California. Sasha tells us about her trips to Korea and China, we talk motherhood as adoptees, and how important writing is in her life.   Full Show Notes and Transcript Here   Join our adoptee community on Patreon here   Check out our upcoming live events here! This podcast is for educational and entertainment purposes only. Nothing stated on it, either by its hosts or any guests, is to be construed as psychological, medical or legal advice. Please seek out professionals in those fields if you need those services. The views expressed by the hosts of Adoptees On or any guests are their own and do not represent the opinions of any organization or other person unless otherwise stated.

Today our friends Tiffy and Cindy join us to talk about Girls Nights! We chat about whether we prefer a cozy night in or wild night out with our girlfriends, and discuss some of our favorite activities. We also chat about expectations of meeting or incorporating new people into girls nights, and reminisce about some of our favorite memories together!Support the showFollow us on social media @eatyourcrustpod

Join us as we discuss our October 2025 book club pick, Bat Eater and Other Names for Cora Zeng by Kylie Lee Baker, a Chinese American horror story taking place during the COVID-19 pandemic following Cora Zeng, a crime scene cleaner haunted by the trauma of witnessing her sister's murder in a NYC subway station, as well as what appears to be her sister's actual hungry ghost. We follow Cora and her co-workers on a blood-soaked quest as they try to simultaneously figure out how to exorcise her ghost, as well as solve a series of serial murders in NYC, all involving East Asian women.Books & Boba is a podcast dedicated to reading and featuring books by Asian and Asian American authorsSupport the Books & Boba Podcast by:Joining our Patreon to receive exclusive perksPurchasing books at our bookshopRocking our Books & Boba merchFollow our hosts:Reera Yoo (@reeraboo)Marvin Yueh (@marvinyueh)Follow us:InstagramTwitterGoodreadsFacebookThe Books & Boba November 2025 book club pick is Taiwan Travelogue by Shuang-zi Yang, translated by Lin KingThis podcast is part of Potluck: An Asian American Podcast Collective

In this episode of the Tiger Mom Podcast, in honor of Halloween, we get a solo Jiaoying as she discusses some of the paranormal and creepy experiences she's had in her life! From being locked in haunted houses to having her grandma's curse protecting her from bad vibes, this episode is filled with spooky (and hilarious) stories. Also don't forget Jiaoying's debut special drops on Hulu November 8th! #jiaoyingsummers #comedy #HuluAbout Jiaoying Summers:Jiaoying Summers is a Chinese-American stand-up comedian, actress, and social media influencer known for her bold humor, sharp wit, and unique perspectives on life, culture, and identity. A proud mother and successful performer, Jiaoying's journey from her beginnings in China to becoming a comedy sensation in the U.S. is nothing short of inspiring. She uses herplatform to tackle topics like cultural differences, family, and self-empowerment, always leaving audiences laughing and thinking.Stay Connected With Jiaoying:Facebook: https://www.facebook.com/jiaoyingsummers Instagram: https://www.instagram.com/jiaoyingsummers/TikTok: https://www.tiktok.com/@jiaoyingsummersX: https://x.com/jiaoyingsummersWebsite: https://summerscomedy.comCopyright Notice:This video and my YouTube channel contain dialog, music, and images that are property of Jiaoying Summers. You are authorized to share the video link and channel, and embed this video in your website or others as long as a link back to my YouTube channel is provided.Support the showFollow Jiaoying Summers Social media & get tickets for Tiger Milf Tour!Facebook | Youtube | TikTok | Twitter | Instagram | Merch | Tour | Patreon | OnlyFansSupport the showFollow Jiaoying Summers Social media & get tickets for Tiger Milf Tour!Facebook | Youtube | TikTok | Twitter | Instagram | Merch | Tour | Patreon | OnlyFans

Friday Focus provides listeners with a focused, half-hour masterclass on the big issues, events and trends driving the news and current events. The show features Janice Gross Stein, the founding director of the Munk School of Global Affairs and bestselling author, in conversation with Rudyard Griffiths, Chair and moderator of the Munk Debates. Rudyard and Janice preview our upcoming 2025 autumn mainstage Munk Debate on the Two-State Solution taking place on December 3rd in Toronto. What can we expect from the team of Ehud Olmert and Tzipi Livni, who believe Israel's future depends on pursuing two states for two peoples? Can the team of Ayelet Shaked and Micheal Oren make a compelling case that it is in Israel's best interest not to pursue this path? Rudyard explains how and why we landed on this debate and these speakers. In the second half of the show Rudyard and Janice turn to Chinese-American relations following Trump's trade meeting this week with Xi Jinping. The US backed down on a range of tariff threats and most importantly on high tech exports to China. Why did Trump agree to this? There is a codependency between these two superpowers that will only break when either China is able to manufacture advanced AI chips or the US breaks China's monopoly on critical rare earth minerals. Does Trump have the patience and resolve to stay the course? And how should Canada pursue its own trade relationship with China in order to protect our interests and specifically the struggling auto sector? To support the Friday Focus podcast consider becoming a donor to the Munk Debates for as little as $25 annually, or $.50 per episode. Canadian donors receive a charitable tax receipt. This podcast is a project of the Munk Debates, a Canadian charitable organization dedicated to fostering civil and substantive public dialogue. More information at www.munkdebates.com.

"To me, that ark is: engaging deeply with our traditions. It's reclaiming some of what we lost when we were assimilating and trying to fit in. We have thousands of years of text that have such wisdom about the human condition, about how to be a good person, and lead a worthy life . . . What we can really do is, we can be Jews. And to be a Jew has always been to be different." Sarah Hurwitz—former White House speechwriter and New York Times bestselling author of Here All Along—returns to People of the Pod to discuss her new book, As a Jew: Reclaiming Our Story from Those Who Blame, Shame, and Try to Erase Us. Hurwitz reflects on why antisemitism remains, in her words, "the least mysterious phenomenon," and how Jews can reclaim pride, wisdom, and purpose through Jewish text, practice, and community. Drawing from her work as a hospital chaplain and her conversations with Jewish students on campus, she makes a powerful case for reconnecting with the depth and resilience of Jewish tradition. Key Resources: AJC's Translate Hate Glossary AJC's Efforts to Support the Hostages Listen – AJC Podcasts: Architects of Peace The Forgotten Exodus People of the Pod Follow People of the Pod on your favorite podcast app, and learn more at AJC.org/PeopleofthePod You can reach us at: peopleofthepod@ajc.org If you've appreciated this episode, please be sure to tell your friends, and rate and review us on Apple Podcasts or Spotify. Transcript of the Interview: Manya Brachear Pashman:     During the Obama administration, Sarah Hurwitz served as senior speech writer for President Barack Obama and chief speech writer for First Lady Michelle Obama. But after she left the White House, she did a little bit of soul searching, and in her mid 30s, reconnected with her Judaism. She wrote about it in a book titled Here All Along, and joined us at the time to talk about it. Sarah has returned with us this week to talk about the book that followed, titled As a Jew: Reclaiming Our Story from Those Who Blame, Shame, and Try to Erase Us.  Sarah, welcome back to People of the Pod. Sarah Hurwitz:  Thank you so much. I'm thrilled to be here. Manya Brachear Pashman:     So your title has a very powerful accusation. So tell us who is blaming, shaming and trying to erase us? Sarah Hurwitz:   Yeah. So, you know, it's funny. My first book, as you know, was this love letter toJudaism. This, this journey of discovery of Jewish tradition, and I loved it so much, and I wanted to share it. You know, as I was writing it, I was thinking, Oh, where has this been all my life. Kind of a lovely, almost rhetorical question. But after it came out, a few things kind of happened that made me actually ask that question more seriously. Like, Wait, why did I not see any of the 4000 years of Jewish wisdom growing up?  The first thing was, I trained to be a volunteer hospital chaplain, and you know, chaplaincy is multifaith, open to chaplains of all backgrounds. But you know, the training was kind of weirdly Christian. You know, we would talk about our ministry and our theology. And I was told that prayer is God, please heal so and so who's right here in front of me, and I'm just making this prayer up spontaneously, and they can hear me, and that's prayer. And everyone prays that way, I was told. I said, You know that that's not really a common form of Jewish prayer. But I was told, No, no, as long as you don't say Jesus, it is universal. That's interesting.  And then something else that happened is I visited a college campus probably a year before October 7, and I was talking to students there at the Hillel, talking to a bunch of Jewish students. And one of them asked me, What did you do to respond to antisemitism when you were in college? And I was so stunned, I didn't even understand the question at first. And then I said, I didn't, not once, never. Not a single time did I deal with antisemitism.  And the kids just looked kind of shocked, like they didn't believe me. And they started sharing stories of the antisemitism they were facing on campus. And I thought, uh oh, something's going on here. And then I really began kind of taking a deep dive into my identity.  Of like, wait, so why did I spend my whole life being like, oh, I'm just a cultural Jew. I knew nothing about Jewish culture. Which is a beautiful way to be Jewish, being a cultural Jew, but I knew nothing about history, language, anything like that. When I said I'm an ethnic Jew, but Jews are of every ethnicity, so that's nonsense.  Or I'd say social justice is my Judaism, but I didn't know anything about what Judaism said about social justice. Unlike these wonderful Jews who do know about social justice and spend their lives acting out Jewish social justice.  And so I took a deep dive into history, and what I discovered was 2000 years of antisemitism and anti-Judaism and 200 years of Jews in Western Europe in a very understandable attempt to escape that persecution, kind of erasing many of our traditions. And I think that was kind of my answer to, where has this been all my life? And also my answer to, why did I have such an apologetic Jewish identity for so much of my life? Manya Brachear Pashman:     In my introduction, I left off half the title of your first book because it was very long, but I am curious, kind of, when did you realize . . . well, let me give the full title of your book, it's Here All Along: Finding Meaning, Spirituality, and a Deeper Connection to Life--in Judaism (After Finally Choosing to Look There).  So I guess, how was that delayed connection to Judaism, can you elaborate a little bit more about how it was tied to these forces that you just talked about? Sarah Hurwitz:  Yeah, so, you know, something that I didn't really fully understand, I had intimations of this, but didn't really understand this, is that, you know, 2000 years ago, early Christianity very much defined itself against Judaism. There was actually a name for this, the Aversos Judeos tradition, which means against the Jews in Latin.  And you know, early Church Fathers very much were defining Christianity against Judaism, because back then, both of these traditions had originated from Judaism. And you know they parted ways at some point, and the Church Fathers were really trying to distinguish Christianity from Judaism, and to get people to stop kind of practicing both traditions. This tradition really continues with Judaism defined as unspiritual, legalistic, depraved, dead, spiritually superseded. A lot of very, very ugly tropes that kind of have common themes that say that Jews are diabolically powerful, so supernaturally powerful, you can't even believe it. They are also profoundly depraved, evil, bloodthirsty, perverse, and they're in a conspiracy to hurt you. So there may be very few of them, but man, they are working together to really do harm.  And you see these three themes kind of making their way through history, unfortunately, all the way basically, until the Holocaust. And I based a lot of my writing on the work of a number of really distinguished Christian scholars who make this argument. It's actually a pretty common argument among Christian scholars.  And, you know, in recent decades, the church has very much disavowed its historic anti-Judaism and has worked very hard to, you know, fight antisemitism in the church. But, you know, these things really did kind of continue on through the 20th century. Manya Brachear Pashman:     So you do describe in your book moments when you got oddly defensive about your Judaism, or perhaps a bit revisionist about Jewish history and the origin of Jewish traditions, or the reason why they exist now in modern day. Can you elaborate on some of those moments for our listeners and explain how you've self-corrected thatdefense? Sarah Hurwitz:  You know, I think a lot of it took the form of, oh, I'm Jewish, but not that Jewish. It was just sort of this immediate, but I'm not one of those Jews. You know, those really Jewish Jews. Well, I'm sorry, would it be a problem if I were? What if social justice wasn't my Judaism, but Judaism was my Judaism? Would that be okay? You know, just beginning to notice, like, Why am I always kind of pushing it away, claiming that I'm not too Jewish? That's a very strange way to announce someone's identity. I think, you know, Dara Horn has actually a really, quite an amazing essay called The Cool Kids, and she talks about these two different types of antisemitism. And one is this kind of eliminationist antisemitism which says the Jews are bad, there's nothing they can do to be good. We must kill them. And you know, that is the Holocaust, pogroms. We learn about that kind of antisemitism in school. But there's another kind of antisemitism, which is conversionist, which says, yes, the Jews are bad, but there is something they can do to be okay and saved. And that is, they can disavow whatever we, the majority, find disgusting about Jewish civilization.  So you know, back in the day, it was, reject Jewish religion and convert to Christianity, and you'll be saved, maybe. For some amount of time, possibly. In my parents and grandparents generation, it was, you know, reject your last name, get a nose job. Stop being so "Jewy", be a little bit more "waspy," and then maybe we'll let you into our club. Then maybe we'll accept you.  And today, what you see is you have to reject your ancestral homeland, you know, reject Israel, and then you'll be okay. And, you know, I visited 27 college campuses, and I kind of saw how this sometimes takes on the format of almost like a Christian conversion narrative, where it goes something like, you know, growing up, my rabbi and my parents told me Israel was perfect and amazing and a utopia. And then I got to college, and I realized that actually it's a colonialist, Nazi, racist society, and I had an epiphany. I saw the light, and I took anti-Zionism and anti-colonialism into my heart, and now I'm saved. Now I'm a good Jew. And their classmates are like, now you're a good Jew.  And as Dara Horn puts it, this kind of antisemitism involves the weaponization of shame. It involves really trying to convince Jews that there is something fundamentally shameful about some aspect of themselves, their identity, their tradition. And today, that thing is Israel. This idea that there's something fundamentally . . . it's like the original sin of the world. Manya Brachear Pashman:     And you also talk about the tradition of circumcision, and how that came up, and you found yourself explaining this to someone. Can you elaborate on that for our listeners? Which I thought was really interesting.  Sarah Hurwitz:  This was during an encounter with a patient. I was doing a chaplaincy shift, and  usually I don't tell my patients my religious background, I'm very neutral, unless they're Jewish, in which case, I do tell them I'm Jewish. But, you know, I was finishing up a conversation with this very lovely lady. And she was very curious about my background. And so I told her, you know, I'm Jewish. And her eyes kind of lit up, and she said, Oh, you know, many of my neighbors are Jewish. I've actually been to two brisses in the past month.  And she just, you know, and she was so lovely, like, she actually seemed to be just really happy to be included in this tradition of her neighbors. And I got weirdly defensive, and was like, Oh, well, you know, just so, you know, medical professionals, they say whether you circumcise or don't circumcise, it's really, it's equally safe either way. And you know, we often, you know, when we do brisses, they're often done by a medical provider.  And I'm going on and on and like, this woman did not say the slightest negative thing about this tradition, but suddenly I am defensive. Suddenly it's like, Huh, interesting. You know, I think that it was an illustration to me of the way that we can sometimes really imbibe all of the kind of negative views about Jews and Jewish traditions that are around us, and become defensive, and sometimes we don't even realize that they're there. It's almost like they're the air that we breathe. Manya Brachear Pashman:     But let me challenge that and push back a little bit. I mean, is it okay to not agree with some of the traditions of the Jewish faith and be open about your disagreement with that? I certainly know a lot of Christians who don't like things that emerge from their tradition or from their community. Is that okay? Or is it not when Judaism is threatened? Sarah Hurwitz:  So I actually do think that's okay. You know, I have no problem with that, but I think the problem in this situation was that I have no problem with circumcision, but I'm suddenly getting defensive and trying to convince this woman that it's not weird. And I'm thinking, why am I doing this? It was very interesting to me that I felt so suddenly defensive and anxious. You know, it was very surprising to me. Manya Brachear Pashman:     And similarly, it's okay to criticize Israeli policy too, right? I mean, it's totally acceptable.  Sarah Hurwitz:  Absolutely. This is the thing that I'm so confused about. Where people are saying, well, you know, you're saying that it's not okay to criticize Israel. And I'm like, I'm sorry. Have you been to Israel? It's like the national pastime there to criticize the government. I criticize the Israeli government all the time, as do millions of American Jews.  This idea that this is somehow… that we're somehow reacting to criticism of Israel, that's ridiculous. I think what we're reacting to is not criticism of Israel, but it's something else. You know, when you have students on a college campus saying from water to water, Palestine should be Arab, or Israelis are Nazis. I just, with all due respect, I don't see that as criticism. Nor would I see it as criticism if, God forbid, a Jewish student ever said from water to water, Israel should be Jewish, or, Palestinians are terrorists. That is hateful, disgusting, racist, eliminationist language. And if I ever heard a Jewish student say that, I mean, let me tell you, I would have quite a talking to with that kid.  So that's not criticism. Criticism is, I am vehemently opposed and abhor, this policy, this ideology, this action, for these reasons. That's criticism. And I think you can use real strong language to do that kind of criticism. But there's a difference between a criticism and slurs and baseless accusations. And I think we need to be just clear about that. Manya Brachear Pashman:     All right, so you just use the term from water to water instead of from river to sea. Was that on purpose? Sarah Hurwitz:  Not necessarily. It's just a clearer illustration of what I think from the river to the sea really means, you know, I think  that is the Arabic that is used. Infrom the river to the sea, Palestine shall be free. It's like, you can kind of make an argument that this is about Palestinian Liberation. And okay, fair enough. But I think when you get the from water to water, it shall be Arab, that's when I think there's less of an argument that it's about freedom, and it seems a little bit more eliminationist to me. Manya Brachear Pashman:     Interesting. I've not heard that before. But I like that. So you call antisemitism the least mysterious phenomenon. Can you please explain what you mean by that? Sarah Hurwitz:  Yeah, you know, I think, like a lot of young people, my antisemitism education was mainly just Holocaust education. And I kind of walked away thinking like, huh, how wild that the civilized world just lost its mind in the mid-20th century and started killing Jews. That's so shocking and disturbing, you know, why is that? And the answer was kind of like, well, you know, the Germans lost World War I. They blamed the Jews. There was a depression. They blamed the Jews.  And when you ask why the Jews, it's like, well, because of prejudice and scapegoating. I'm like, Okay, right. But again, why the Jews? Prejudice and scapegoating, that's the answer. It's like, well, actually, the answer really is because of 2000 years of Christian anti-Judaism that preceded that. It wasn't mysterious why the Jews were targeted.  This was a 2000-year neural groove that had been worn into the Western world psyche. And this is not my argument. This is the argument of countless Christian scholars whose brilliant work I cite. And so I think that the unfortunate thing about some forms of Holocaust education is that it leaves you with the impression that, oh, this is so mysterious, it's just kind of eternal and kind of comes out of nowhere. Or even worse, you might even think maybe we did something to deserve this. But it's not mysterious. I can show you its path through history.  And I think it's very important that Jews understand this history. And look, I think this is very hard to teach in an average American public school. Because, you know, we live in a country where, you know, saying Happy Holidays instead of Merry Christmas is very upsetting for some people. They feel very threatened and triggered by that.  So for a teacher to say, like, Okay, kids today we're going to learn about how 2000 years of Christian anti-Judaism paved the way for the Holocaust . . . I don't think that's going to go well. Even if many mainstream Christian scholars would agree that that's true, this is a challenge that we face. Manya Brachear Pashman:     So you have continued, as you said, to visit college campuses where antisemitism has been an issue since October 7, more of an issue than it even was beforehand. And yet, when you were at Harvard and Harvard Law, you've said you could have walked through Harvard Yard wrapped in an Israeli flag and no one would have said a word or reacted negatively. So what has changed, and does it signal a more general shift on campuses of kind of uncensored, unbridled speech?  In other words, if black students support black lives matter, or gay students are marching for pride, do you feel like there's a sense that students who disagree with that from either the right or the left, have kind of claimed a license to criticize that too? Sarah Hurwitz:  No. I try to explain to college students when they say, Well, okay, my campus isn't that bad, you know, I can wear my Jewish star, and I won't get, you know, harassed or ostracized. And I say, like, okay, great, if it's not that bad, I'll just wear my Israel t-shirt and we'll see how it goes. They're like, No.  And then I have to go through this long litany of like, okay, if your black classmate said to you, well, this campus isn't so bad for black students, but I can't wear my Black Lives Matter t-shirt or else I'll be harassed and ostracized. I hope you would say that's not okay, that's racism, pretty clear. Or if your queer classmate said, Well, this campus is pretty good for queer people, but I can't wear my pride t-shirt, I hope you would say, That's not pretty good. That's homophobia.  You know, when the majority feels entitled to decide how the minority can embody and express their identity, I think we have a really serious problem. And  sometimes the kids will push back on me. Well, no, no, but the problem isn't being Jewish. It's Israel. I'm like, okay, but if your Chinese American classmate wore a t-shirt that said China, even if all your classmates knew that the Chinese government had been interning a million Muslim Uighurs in camps and subjecting them to horrific human rights violations, would they harass and ostracize her?  And they're like, Well, probably not. Right, because they would assume that she has a relationship to China that maybe involves having heritage there, or maybe she studied abroad there, or maybe she's studying Chinese, maybe she has family there. I think they would assume that she has some connection to the country that doesn't involve agreeing with the policies of the Chinese government, and Jewish students on campus really aren't afforded that courtesy.  And I'll tell you, most of the Jewish students I spoke with on campus, they, like me, are extremely critical of this current Israeli government. Extremely, extremely critical. They have all sorts of criticisms about what's happening in Gaza, of the occupation.  You know, their views are quite nuanced and complex, but there is no room given for that. You know, I think on some college campuses, Israel has been put into the same bucket as the KKK and the Nazi party. So I can't say to you, look, you know, I'm a Nazi, but I'm a liberal Nazi. Or, oh, you know, I'm in the KKK, but I'm not racist. It's like, come on, right?  These are vile entities with which no connection is acceptable, period. And I think once Israel ceases to be a country and instead becomes the representation of all evil in the world, there's really no relationship that you can have with it that's acceptable. And I think that is a pretty devastating place for it to be today.  And I'll tell you, I think it's a really challenging moment right now where I, like a lot of American Jews, I'm a Zionist. I believe that Jews have a right to a safe and secure home state in their ancestral homeland. I believe we have the right to national independence and self determination, like Japanese people have in Japan and Latvians have in Latvia, and on and on. And you know, we've run that experiment of Jewish powerlessness for 2000 years, and it didn't go well. Even as late as the 20th century. It wasn't just that two thirds of Jews in Europe got wiped out because of the Holocaust.  It's that nearly a million Jews who lived in Arab lands had to flee persecution, most of them to Israel. It's that 2 million Russian Jews had to flee persecution, half of them to Israel. It's that 10s of 1000s of Ethiopian Jews, I can go on and on. So we know, we've run that experiment of Jewish statelessness, and it doesn't go well.  And at the same time, we are looking at this current Israeli government, and we are appalled. We're appalled by the ideology, we're appalled by many of the policies. And you know, for me as an American, this feels very familiar, because I love this country. I'm a proud, patriotic American, and I happen to very much disagree with the current president. I happen to be very much appalled by the current president's policies and ideology. And so, I think many people are able to hold that, but somehow it's harder with Israel, because of what is in the air right now. Manya Brachear Pashman:     So, really you're saying that antisemitism has distorted history. Distorted people's understanding of Israel's history, their understanding of modern Israel's rebirth and existence. It spawned anti-Zionism. Correct?  Sarah Hurwitz:   Yes. Manya Brachear Pashman:     Did you encounter that during your time in the Obama administration? Do you see it now, in hindsight or or is it a more recent emergence? Sarah Hurwitz:   I think this is more recent. I mean, you know, probably in some spaces it was, you know, I was in the administration from 2009 to 2017. I never once saw any kind of anti-Zionism or antisemitism. I mean, it was one of the best places to be a proud, passionate Jew. I knew my colleagues could not have been more supportive of my Jewish exploration. They were so proud when I wrote my first book.  So I never saw any of this ever, once. And I think, you know, I think what is so confusing about this is that we often think about antisemitism as a kind of personal prejudice, like, oh, you know, Jews are fill in the blank, nasty thing. They are dirty, cheap, crass. I don't want my daughter to marry one. I don't want one in my country club.  You don't really see that kind of antisemitism in the circles where I travel anymore. What you see instead is more of political antisemitism, which is antisemitism as a kind of conspiracy theory that says that we, the majority, are engaged in a grand moral project, and the only thing stopping us are these Jews. We the majority are Christianizing the Roman Empire.  The only thing stopping us, these Jews who won't convert. We the majority are bringing about the brotherhood of man, the great communist revolution. The only thing stopping us, these capitalist Jews. We the Germans, are bringing about the great, racially pure Aryan fatherland. The only thing stopping us – these race-polluting Jews.  And today in America, you see it on the right and the left. On the right, it's, you know, we white Christian Americans are bringing back white Christian civilization to America. And the only thing stopping us are these Jews who are importing black and brown immigrants to replace white people. That is the extremely racist and antisemitic theory known as the Great Replacement theory. It is an ugly, disgusting lie.  On the left you have, you know, we this very moral group of people. we are bringing about the revolution of anti-colonialism, anti-Zionism. And the only thing stopping us are these colonialist Zionists, which is a polite way of saying Jews. And so, you know, I think it's very important to understand, as Yossi Klein Halevi, the journalist, puts it, you know, what you see again and again is whatever is the worst thing in a society, that is what the Jews are deemed to be. Whatever is the worst thing among a particular population, that is what the Jews are deemed to be. And I think we're kind of seeing that on both the right and the left today. Manya Brachear Pashman:     If antisemitism defines so much, or has defined so much of Jewish identity, how do we reclaim that? How have you reclaimed that? And how have you found joy in your Jewish identity, especially after doing this book and immersing yourself and all of this extremely depressing perspective? Sarah Hurwitz:   I hear this kind of line among many Jews that breaks my heart. It's this sort of self-flagellation, of like, if we just had the right PR campaign, if we just had the right tweet, then we would fight antisemitism. It's our fault, we're doing such a bad job fighting antisemitism. And, you know, I love the ambition there. I think that is so sweet.  But there are 16 million of us in the whole world. That's with an M, million, like the size of like, the fifth largest city in China. We are a Chinese city. There are billions of people who don't really love us out there. And the idea that we, this tiny group of people, is going to somehow change the minds of billions of people. I really respect the ambition, but I think that's a tough one.  I think it's sort of like trying to bail out a tsunami with buckets. You know, if enough of us do it, I'm sure we can make a difference. And I have such respect for the people who are doing that work. I think it's very important. But I also would just suggest that maybe we should put a little more of our energy into building an ark to weather the storm.  And you know, to me, that ark is, engaging deeply with our traditions. It's reclaiming, I think, some of what we lost when we were assimilating and trying to fit in. You know, we have thousands of years of text that have such wisdom about the human condition, about how to be a good person and lead a worthy life and find profound spiritual connection. We have just so many beautiful traditions. And so I think that what we can really do is, we can be Jews. And to be a Jew has always been to be different.  That was kind of our value proposition thousands of years ago when we came along and said, hey guys, monotheism. Totally different way of thinking. We said, hey, every human being is created in the image of God, which is an idea that every human being is infinitely worthy. Which, again, this is the idea that underlies things like liberalism, democracy, human rights. These are really Earth-shatteringly different counter cultural ideas, and we have so many more of those that I still think the world needs today.  So I think that rather than just being anti-anti-semites, that we can be proud Jews instead, and we can really focus on becoming more learned, more vibrant members of our communities, you know, engaging in more of our traditions and our rituals.  I also think, you know, Dara Horn has been doing a lot of great work about educating kids about Jewish civilization. Rather than having young people only know about the Jews via the Holocaust, she really wants to teach young people about Jewish civilization, ideas, and people. I think that is a very, very powerful and very helpful idea. Manya Brachear Pashman:     So how are you doing this? How do you spend each week? How do you reclaim some of these traditions and joy? Sarah Hurwitz:    For me, it's studying. That's really how I engage, you know, I have various chavrutas or I study Jewish texts. I love reading Jewish books, and I love participating in the Jewish community. You know, I love engaging with various Jewish organizations, you know, serving on various committees, and just trying to be part of this project of reclaiming Judaism, of making it more accessible to more Jews. This is what I love doing, and I'll be starting in January. I'm actually going to be starting a rabbinic program at the Hartman Institute. It's a part time program.  And I'm not not planning to be a congregational rabbi, but I do want to keep writing books, and I am really grateful for this opportunity to get a much deeper, more thorough Jewish education than the one I've kind of given to myself, and, you know, kind of cobbled together. I think this is going to be a really extraordinary opportunity. So I'm very excited about that.  Manya Brachear Pashman:     Oh, wow. Well, congratulations. I look forward to welcoming you back to the podcast and calling you Rabbi.  Sarah Hurwitz: Thank you. Manya Brachear Pashman:     Thank you so much for joining us, Sarah. Sarah Hurwitz:  Such a pleasure. Thank you for having me.   

A new picture book by a trio of well-known Twin Cities creatives tells the story of an American couple whose social justice writing and activism had wide-ranging influence. They were James Boggs, who was a Black union organizer in Detroit, and Grace Lee Boggs, a Chinese-American philosopher. When they got married in 1954, their interracial relationship was illegal in parts of the country.The new book about their lives is called "Revolutions Are Made of Love." It was written by Sun Yung Shin and Mélina Mangal and illustrated by Leslie Barlow. They spoke with MPR News' Emily Bright. The Loft Literary Center in Minneapolis will host a book launch Saturday from 2-4 p.m. ahead of the book's release on Tuesday.

See what Portland media won't show you. Victoria Taft breaks down the so-called “cleanup” of Antifa's encampment—a carefully timed stunt ahead of a key Ninth Circuit decision. You'll watch how police literally negotiate with Antifa while harassing ordinary citizens just trying to drive home.You'll also hear about the government shutdown and how Democrats are using working families, air traffic safety, and food stamps as political leverage.Then, Victoria speaks with Yukong "Mike" Zhao from Chinese Americans for the Constitution. He shares his firsthand story of escaping communist China, facing harassment in California, and fighting back against Gavin Newsom's radical Prop 50 power grab.#antifa, #portland, #governmentshutdown, #victoria_taft, #mikezhou, #communism,#free_speech, #lawandorder, #pjmedia, #anarchists

Last time we spoke about the beginning of the Wuhan Campaign. As Japanese forces pressed toward central China, Chiang Kai-shek faced a brutal choice: defend Wuhan with costly sieges or unleash a dangerous flood to buy time. The Yellow River breached its banks at Huayuankou, sending a wall of water racing toward villages, railways, and fields. The flood did not erase the enemy; it bought months of breathing room for a battered China, but at a terrible toll to civilians who lost homes, farms, and lives. Within Wuhan's orbit, a mosaic of Chinese forces struggled to unite. The NRA, split into competing war zones and factions, numbered about 1.3 million but fought with uneven equipment and training. The Japanese, deploying hundreds of thousands, ships, and air power, pressed from multiple angles: Anqing, Madang, Jiujiang, and beyond, using riverine forts and amphibious landings to turn the Yangtze into a deadly artery. Yet courage endured as troops held lines, pilots challenged the skies, and civilians, like Wang Guozhen, who refused to betray his country, chose defiance over surrender. The war for Wuhan was not a single battle but a testament to endurance in the face of overwhelming odds.   #173 The Fall of Wuhan Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. In the last episode we began the Battle of Wuhan. Japan captured Anqing and gained air access to Jiujiang, Chinese defenses around the Yangtze River were strained. The southern Yangtze's Ninth War Zone held two key garrisons: one west of Poyang Lake and another in Jiujiang. To deter Japanese assault on Jiujiang, China fortified Madang with artillery, mines, and bamboo booms. On June 24, Japan conducted a surprise Madang landing while pressing south along the Yangtze. Madang's fortress withstood four assaults but suffered heavy bombardment and poison gas. Chinese leadership failures contributed to the fall: Li Yunheng, overseeing Madang, was away at a ceremony, leaving only partial contingents, primarily three battalions from marine corps units and the 313th regiment of the 53rd division, participating, totaling under five battalions. Reinforcements from Pengze were misrouted by Li's orders, arriving too late. Madang fell after three days. Chiang Kai-shek retaliated with a counterattack and rewarded units that recaptured Xiangshan, but further progress was blocked. Li Yunheng was court-martialed, and Xue Weiying executed.   Madang's loss opened a corridor toward Jiujiang. The Japanese needed weeks to clear minefields, sacrificing several ships in the process. With roughly 200,000 Chinese troops in the Jiujiang–Ruichang zone under Xue Yue and Zhang Fukui, the Japanese captured Pengze and then Hukou, using poison gas again during the fighting. The Hukou evacuation cut off many non-combat troops, with over 1,800 of 3,100 soldiers successfully evacuated and more than 1,300 missing drowned in the lake. Two weeks after Hukou's fall, the Japanese reached Jiujiang and overtook it after a five-day battle. The retreat left civilians stranded, and the Jiujiang Massacre followed: about 90,000 civilians were killed, with mass executions of POWs, rapes, and widespread destruction of districts, factories, and transport. Subsequently, the Southern Riverline Campaign saw Japanese detachments along the river advance westward, capturing Ruichang, Ruoxi, and other areas through October, stretching Chinese defenses thin as Japan pressed toward Wuchang and beyond. On July 26, 1938, the Japanese occupied Jiujiang and immediately divided their forces into three routes: advancing toward De'an and Nanchang, then striking Changsha, severing the Yue-Han Railway, and surrounding Wuhan in an effort to annihilate the Chinese field army. The advance of the 101st and 106th Infantry Divisions slowed south of the Yangtze River, yet the Central China Expeditionary Army remained intent on seizing Ruichang and De'an to cut off Chinese forces around Mount Lu. To this end, the 9th and 27th Infantry Divisions were deployed to the sector, with the 9th regarded as an experienced unit that had fought in earlier campaigns, while the 27th was newly formed in the summer of 1938; this contrast underscored the rapidly expanding scope of the war in China as the Japanese Army General Staff continued mobilizing reservists and creating new formations. According to the operational plan, the 101st and 106th Divisions would push south toward De'an to pin Chinese defenders, while the 9th and 27th Divisions would envelop Chinese forces south of the river. Okamura Yasuji ordered five battalions from the 9th to move toward De'an via Ruichang, and the Hata Detachment was tasked with securing the area northwest of Ruichang to protect the 9th's flank. North of the Yangtze, the 6th Infantry Division was to move from Huangmei to Guangji, with Tianjiazhen as the ultimate objective; capturing Tianjiazhen would allow the 11th Army to converge on Wuhan from both north and south of the river.  The operation began when the 9th Division landed at Jiujiang, threatening the left flank of the Jinguanqiao line. The Chinese responded by deploying the 1st Corps to counter the 9th Division's left flank, which threatened the Maruyama Detachment's lines of communication. The Maruyama Detachment counterattacked successfully, enabling the rest of the 9th Division to seize Ruichang on August 24; on the same day, the 9th attacked the 30th Army defending Mount Min. The Chinese defense deteriorated on the mountain, and multiple counterattacks by Chinese divisions failed, forcing the 1st Corps to retreat to Mahuiling. The seizure of Ruichang and the surrounding area was followed by a wave of atrocities, with Japanese forces inflicting substantial casualties, destroying houses, and damaging property, and crimes including murder, rape, arson, torture, and looting devastating many villages and livelihoods in the Ruichang area. After Ruichang and Mount Min fell, the Maruyama Detachment and the 106th Infantry Division advanced on Mahuiling, seeking to encircle Chinese forces from the northwest, with the 106th forming the inner ring and the Maruyama Detachment the outer ring; this coordination led to Mahuiling's fall on September 3. The 27th Infantry Division, arriving in late August, landed east of Xiaochikou, providing the manpower to extend Japanese offensives beyond the Yangtze's banks and outflank Chinese defenders along the river. Its main objective was to seize the Rui-wu highway, a vital route for the continued advance toward Wuhan. After the fall of Mahuiling, Japanese command altered its strategy. The 11th Army ordered the Maruyama Detachment to rejoin the 9th Infantry Division and press westward, while the 101st Infantry Division was to remain at Mahuiling and push south toward De'an along with the 106th Infantry Division. This divergent or “eccentric” offensive aimed to advance on Wuhan while protecting the southern flank. The renewed offensive began on September 11, 1938, with the 9th Infantry Division and Hata Detachment advancing west along the Rui-yang and Rui-wu highways toward Wuhan, followed days later by the 27th Infantry Division. Initially, the Japanese made solid progress from Ruichang toward a line centered on Laowuge, but soon faced formidable Chinese defenses. The 9th and 27th Divisions confronted the Chinese 2nd Army Corps, which had prepared in-depth positions in the mountains west of Sanchikou and Xintanpu. The 27th Division encountered stiff resistance from the 18th and 30th Corps, and although it captured Xiaoao by September 24, its vanguard advancing west of Shujie came under heavy attack from the 91st, 142nd, 60th, and 6th Reserve Infantry Divisions, threatening to encircle it. Only the southward advance of the 101st and 106th Divisions relieved the pressure, forcing the Chinese to redeploy the 91st and 6th Reserve Divisions to the south and thereby loosening the 27th's grip. After the redeployment, the 9th and 27th Divisions resumed their push. The 9th crossed the Fu Shui on October 9 and took Sanjikou on October 16, while the 27th seized Xintanpu on October 18. The Hata Detachment followed, capturing Yangxin on October 18 and Ocheng on October 23, further tightening Japanese control over the highways toward Wuhan. By mid-October, 11th Army commander Okamura Yasuji resolved to sever the Guangzhou-Hankou railway to disrupt Chinese lines. On October 22, the 9th and 27th Divisions attacked toward Jinniu and Xianning. By October 27, the 9th had captured Jinniu and cut the railway; the 27th Division extended the disruption further south. These actions effectively isolated Wuchang from the south, giving the Imperial Japanese Army greater leverage over the southern approaches to Wuhan. The push south by the 101st and 106th Infantry Divisions pressed toward De'an, where they encountered the entrenched Chinese 1st Army Corps. The offensive began on September 16 and by the 24th, elements of the 27th Division penetrated deep into the area west of Baishui Street and De'an's environs. Recognizing the growing crisis, Xue Yue mobilized the nearby 91st and 142nd Divisions, who seized Nanping Mountain along the Ruiwu Line overnight, effectively cutting off the 27th Division's retreat. Fierce combat on the 25th and 26th saw Yang Jialiu, commander of the 360th Regiment of the 60th Division, die a heroic death. Zhang Zhihe, chief of staff of the 30th Group Army and an underground CCP member, commanded the newly formed 13th Division and the 6th Division to annihilate the Suzuki Regiment and recapture Qilin Peak. Learning of the 27th Division's trap, Okamura Yasuji panicked and, on the 25th, urgently ordered the 123rd, 145th, and 147th Infantry Regiments and mountain artillery of the 106th Division on the Nanxun Line, along with the 149th Regiment of the 101st Division on the Dexing Line, to rush to Mahuiling and Xingzi. To adapt to mountain warfare, some units were temporarily converted to packhorse formations. On the 27th, the 106th Division broke through the Wutailing position with force, splitting into two groups and pushing toward Erfangzheng and Lishan. By the 28th, the three regiments and mountain artillery of the 106th Division advanced into the mountain villages of Wanjialing, Leimingguliu, Shibaoshan, Nantianpu, Beixijie, and Dunshangguo, about 50 li west of De'an. On the same day, the 149th Regiment of the 101st Division entered the Wanjialing area and joined the 106th Division. Commanded by Lieutenant General Junrokuro Matsuura, the 106th Division sought to break out of Baicha and disrupt the Nanwu Highway to disrupt the Chinese retreat from De'an. At this juncture, Xue Yue's corps perceived the Japanese advance as a predatory, wolf-like maneuver and deemed it a strategic opportunity to counterattack. He resolved to pull forces from Dexing, Nanxun, and Ruiwu to envelop the enemy near Wanjialing, with the aim of annihilating them. Thus began a desperate, pivotal battle between China and Japan in northern Jiangxi, centered on the Wanjialing area. The Japanese 106th Division found its rear communications cut off around September 28, 1938, as the Chinese blockade tightened. Despite the 27th Division's severed rear and its earlier defeat at Qilin Peak, Okamura Yasuji ordered a renewed push to relieve the besieged 106th by directing the 27th Division to attack Qilin Peak and advance east of Baishui Street. In this phase, the 27th Division dispatched the remnants of its 3rd Regiment to press the assault on Qilin Peak, employing poison gas and briefly reaching the summit. On September 29, the 142nd Division of the 32nd Army, under Shang Zhen, coordinated with the 752nd Regiment of the same division to launch a fierce counterattack on Qilin Peak at Zenggai Mountain west of Xiaoao. After intense fighting, they reclaimed the peak, thwarting the 27th Division's bid to move eastward to aid the 106th. Concurrently, a portion of the 123rd Regiment of the 106th Division attempted a breakout west of Baishui Street. Our 6th and 91st Divisions responded with a determined assault from the east of Xiaoao, blocking the 123rd Regiment east of Baishui Street. The victories at Qilin Peak and Baishui Street halted any merger between the eastern and western Japanese forces, enabling the Chinese army to seal the pocket and create decisive conditions for encircling the 106th Division and securing victory in the Battle of Wanjialing. After the setback at Qilin Peak, Division Commander Masaharu Homma, defying Okamura Yasuji's orders to secure Baishui Street, redirected his focus to Tianhe Bridge under a pretext of broader operations. He neglected the heavily encircled 106th Division and pivoted toward Xintanpu. By September 30, Chinese forces attacked from both the east and west, with the 90th and 91st Divisions joining the assault on the Japanese positions. On October 1, the Japanese, disoriented and unable to pinpoint their own unit locations, telegrammed Okamura Yasuji for air support. On October 2, the First Corps received orders to tighten the encirclement and annihilate the enemy forces. Deployments were made to exploit a numerical advantage and bolster morale, placing the Japanese in a desperate position. On October 3, 1938, the 90th and 91st Divisions launched a concerted attack on Nantianpu, delivering heavy damage to the Japanese force and showering Leimingguliu with artillery fire that endangered the 106th Division headquarters. By October 5, Chinese forces reorganized: the 58th Division of the 74th Army advanced from the south, the 90th Division of the 4th Army from the east, portions of the 6th and 91st Divisions from the west, and the 159th and 160th Divisions of the 65th Army from the north, tightening the surrounding cordon from four directions. On October 6, Xue Yue ordered a counterattack, and by October 7 the Chinese army had effectively cut off all retreat routes. That evening, after fierce hand-to-hand combat, the 4th Army regained the hilltop, standing at a 100-meter-high position, and thwarted any Japanese plan to break through Baicha and sever Chinese retreat toward De'an. By October 8, Lieutenant Colonel Sakurada Ryozo, the 106th Division's staff officer, reported the division's deteriorating situation to headquarters. The telegram signaled the impending collapse of the 106th Division. On October 9, Kuomintang forces recaptured strategic positions such as Lishan, tightening encirclement to a small pocket of about three to four square kilometers in Nantianpu, Leimingguliu, and Panjia. That night, the vanguard attacked the Japanese 106th Division's headquarters at Leimingguliu, engaging in close combat with the Japanese. Matsuura and the division's staff then took up arms in defense. In the early hours of October 10, Japanese forces launched flares that illuminated only a narrow arc of movement, and a limited number of troops fled northwest toward Yangfang Street. The two and a half month battle inflicted tremendous casualties on the Japanese, particularly on the 101st and 106th divisions. These two formations began with a combined strength of over 47,000 troops and ultimately lost around 30,000 men in the fighting. The high casualty rate hit the Japanese officer corps especially hard, forcing General Shunroku Hata to frequently airdrop replacement officers onto the besieged units' bases throughout the engagement. For the Chinese, the successful defense of Wanjialing was pivotal to the Wuhan campaign.  Zooming out at a macro level a lot of action was occurring all over the place. Over in Shandong, 1,000 soldiers under Shi Yousan, who had defected multiple times between rival warlord cliques and operated as an independent faction, occupied Jinan and held it for a few days. Guerrillas briefly controlled Yantai. East of Changzhou extending to Shanghai, another non-government Chinese force, led by Dai Li, employed guerrilla tactics in the Shanghai suburbs and across the Huangpu River. This force included secret society members from the Green Gang and the Tiandihui, who conducted executions of spies and perceived traitors, losing more than 100 men in the course of operations. On August 13, members of this force clandestinely entered the Japanese air base at Hongqiao and raised a Chinese flag. Meanwhile, the Japanese Sixth Division breached the defensive lines of Chinese 31st and 68th Armies on July 24 and captured Taihu, Susong, and Huangmei Counties by August 3. As Japanese forces advanced westward, the Chinese Fourth Army of the Fifth War Zone deployed its main strength in Guangji, Hubei, and Tianjia Town to intercept the offensive. The 11th Army Group and the 68th Army were ordered to form a defensive line in Huangmei County, while the 21st and 29th Army Groups, along with the 26th Army, moved south to outflank the Japanese. The Chinese recaptured Taihu on August 27 and Susong on August 28. However, with Japanese reinforcements arriving on August 30, the Chinese 11th Army Group and the 68th Army were unable to sustain counteroffensives and retreated to Guangji County to continue resisting alongside the 26th, 55th, and 86th Armies. The Chinese Fourth Army Group directed the 21st and 29th Army Groups to flank the Japanese from the northeast of Huangmei, but they failed to halt the Japanese advance. Guangji fell on September 6, and while Guangji was recovered by the Chinese Fourth Corps on September 8, Wuxue was lost on the same day. Zooming back in on the Wuhan Front, the Japanese focus shifted to Tianjiazhen. The fortress of Tianjiazhen represented the 6th Infantry Division's most important objective. Its geographic position, where the Yangtze's two banks narrow to roughly 600 meters, with cliffs and high ground overlooking the river, allowed Chinese forces to deploy gun batteries that could control the river and surrounding terrain. Chinese control of Tianjiazhen thus posed a serious obstacle to Japan's amphibious and logistical operations on the Yangtze, and its seizure was deemed essential for Japan to advance toward Wuhan. Taking Tianjiazhen would not be easy: overland approaches were impeded by mountainous terrain on both sides of the fortress, while an amphibious assault faced fortified positions and minefields in the narrow river. Recognizing its strategic importance, Chinese forces reinforced Tianjiazhen with three divisions from central government troops, aiming to deter an overland assault. Chinese preparations included breaching several dykes and dams along the Yangtze to flood expanses of land and slow the Japanese advance; however, the resulting higher water levels widened the river and created a more accessible supply route for the Japanese. Instead of relying on a long overland route from Anqing to Susong, the Japanese could now move supplies directly up the Yangtze from Jiujiang to Huangmei, a distance of only about 40 kilometers, which boosted the 6th Division's logistics and manpower. In August 1938 the 6th Infantry Division resumed its northward push, facing determined resistance from the 4th Army Corps entrenched in a narrow defile south of the Dabie Mountains, with counterattacks from the 21st and 27th Army Groups affecting the 6th's flank. The Dabie Mountains are a major mountain range located in central China. Running northwest to southeast, they form the main watershed between the Huai and Yangtze rivers. The range also marks the boundary between Hubei Province and its neighboring provinces of Henan to the north and Anhui to the east. By early September the 6th had captured Guangji, providing a staging ground for the thrust toward Tianjiazhen, though this extended the division's long flank: after Guangji fell, it now faced a 30-kilometer front between Huangmei and Guangji, exposing it to renewed Chinese pressure from the 21st and 27th Army Groups. This constrained the number of troops available for the main objective at Tianjiazhen. Consequently, the Japanese dispatched only a small force, three battalions from the Imamura Detachment, to assault Tianjiazhen, betting that the fortress could be taken within a week. The KMT, learning from previous defeats, reinforced Tianjiazhen with a stronger infantry garrison and built obstacles, barbed wire, pillboxes, and trench networks, to slow the assault. These defenses, combined with limited Japanese logistics, six days of rations per soldier, made the operation costly and precarious. The final Japanese assault was postponed by poor weather, allowing Chinese forces to press counterattacks: three Chinese corps, the 26th, 48th, and 86th, attacked the Imamura Detachment's flank and rear, and by September 18 these attacks had begun to bite, though the floods of the Yangtze prevented a complete encirclement of the eastern flank. Despite these setbacks, Japanese riverine and ground operations continued, aided by naval support that moved up the Yangtze as Matouzhen's batteries were overtaken. After Matouzhen fell and enabled a secure riverine supply line from Shanghai to Guangji, 11th Army commander Okamura Yasuji quickly sent relief supplies upriver on September 23. These replenishments restored the besieged troops near Tianjiazhen and allowed the Japanese to resume the offensive, employing night assaults and poison gas to seize Tianjiazhen on September 29, 1938, thereby removing a major barrier to their advance toward Wuhan along the Yangtze. The 11th Army pressed north along the Yangtze while the 2nd Army, commanded by Prince Naruhiko Higashikuni, concentrated the 3rd, 10th, 13th, and 16th Infantry Divisions around Hefei with initial aims at Lu'an and Heshan and the broader objective of moving toward the northern foothills of the Dabie Mountains. When Chinese forces began destroying roads west of Lu'an, Naruhiko shifted the 2nd Army's plan. Rather than pushing along a line from Lu'an to Heshan, he redirected toward the Huangchuan–Shangcheng corridor, where more intact roads remained accessible, and Chinese withdrawals in the Huangchuan–Shangceng area to counter the 11th Army's Yangtze advance allowed the 2nd Army to gain speed in the early stage of its offensive. The 10th and 13th Infantry Divisions were ordered to begin their advance on August 27, facing roughly 25,000 Chinese troops from the Fifth War Zone's 51st and 77th Corps, and achieving notable early gains. The 10th captured Lu'an on August 28, followed by the 13th taking Heshan on August 29. The 10th then seized Kushi on September 7. Meanwhile, the 13th crossed the Shi River at night in an attempt to seize Changbailing, but encountered stiff resistance from multiple Chinese divisions that slowed its progress. To bolster the effort, Naruhiko ordered the Seiya Detachment from the 10th Division—three infantry battalions—to reinforce the 13th. Despite these reinforcements, momentum remained insufficient, so he deployed the 16th Infantry Division, which had arrived at Yenchiachi, to assault Shangcheng from the north. After crossing the Shi River at Yanjiachi, the 16th outflanked Shangcheng from the north, coordinating with the 13th from the south; the Chinese withdrew and Shangcheng fell. Following this success, Naruhiko ordered the 13th and 16th Divisions to push deeper into the Dabie Mountains toward Baikou and Songfu, while the 10th and 3rd Divisions moved toward Leshan and Xinyang, with Xinyang, a crucial Beijing–Wuhan Railway node, representing a particularly important objective. The Japanese advance progressed steadily through the Dabie Mountains, with the 10th executing bold maneuvers to outflank Leshan from the south and the 3rd penetrating toward the Beijing–Wuhan railway north of Xinyang, collectively disrupting and cutting the railway near Xinyang in October. An independent unit, the Okada Detachment, operated between these forces, advancing through Loshan before sealing Xinyang on October 12. The seizure of Xinyang effectively severed Wuhan's northern artery from external reinforcement and resupply, signaling a decisive turn against Wuhan as a Chinese stronghold. While the 2nd Army advanced in the Dabie Mountains, another critical development was taking place far to the south. By the end of 1937, southern China became more crucial to the Republic of China as a lifeline to the outside world. Guangzhou and Hong Kong served as some of the last vital transportation hubs and sources of international aid for Chiang Kai-Shek, with approximately 80 percent of supplies from abroad reaching Chinese forces in the interior through Guangzhou. Imperial General Headquarters believed that a blockade of Guangdong province would deprive China of essential war materiel and the ability to prolong the war. As I always liked to term it, the Japanese were trying to plug up the leaks of supplies coming into China, and Guangzhou was the largest one. In 1936 the Hankow-Canton railway was completed, and together with the Kowloon-Canton railway formed a rapid all-rail link from south China to central and northern China. For the first sixteen months of the war, about 60,000 tons of goods transited per month through the port of Hong Kong. The central government also reported the import of 1.5 million gallons of gasoline through Hong Kong in 1938, and more than 700,000 tons of goods would eventually reach Hankou using the new railway. In comparison, the Soviet Union in 1937 was sending war materiel through Xinjiang to Lanzhou using camels, with Chinese raw materials traveling back either the same route or via Hong Kong to Vladivostok. By 1940, 50,000 camels and hundreds of trucks were transporting 2,000–3,000 tons of Soviet war material per month into China. Japanese planning for operations began in early November 1937, with the blockade's objectives centered on seizing a portion of Daya Bay and conducting air operations from there. In December 1937, the 5th Army, including the 11th Division, the Formosa Mixed Brigade, and the 4th Air Brigade, were activated in Formosa under Lt. Gen. Motoo Furusho to achieve this objective. Due to the proximity of Daya Bay to Hong Kong, the Japanese government feared potential trouble with Britain, and the operation was subsequently suspended, leading to the deactivation of the 5th Army. By June 1938, the Battle of Wuhan convinced Imperial General Headquarters that the fighting could not be localized. The headquarters reversed policy and began preparations to capture Guangzhou and to expedite the settlement of the war. During the peak of the battles of Shanghai and Nanjing, urgent demands for aerial support at the Battle of Taiyuan in the north and at Canton in the south forced the Nationalist Air Force of China to split the 28th Pursuit Squadron and the 5th Pursuit Group , based at Jurong Airbase in the Nanking defense sector. The squadron was divided into two smaller units: Lt. Arthur Chin led one half toward Canton, while Capt. Chan Kee-Wong led the other half to Taiyuan. On September 27, 1937, the 28th PS under Lt. Arthur Chin dispatched four Hawk IIs from Shaoguan Airbase, and the 29th PS under Lt. Chen Shun-Nan deployed three Hawk IIIs from Tianhe Airbase. Their mission was to intercept Japanese IJNAF G3M bombers attempting to strike the Canton–Hankow railway infrastructure. The two flights engaged the Japanese bombers over Canton, claiming at least two kills; one G3M dumped fuel and ditching off the coast of Swatow, with its crew rescued by a British freighter, though one of the gunners died of battle injuries. In October 1937, amid mounting demands and combat losses, the Chinese government ordered 36 Gloster Gladiator Mk.I fighters, whose performance and firepower surpassed that of the Hawk IIs and IIIs, and most of these would become frontline fighters for the Canton defense sector as the war extended into 1938. On February 23, 1938, Capt. John Huang Xinrui, another Chinese-American volunteer pilot, took command of the renewed 29th PS, now equipped with the Gladiators. He led nine Gladiators from Nanxiong Airbase on their first active combat over Canton, supporting three Gladiators from the 28th PS as they intercepted thirteen Nakajima E8N fighter-attack seaplanes launched from the seaplane tenders Notoro Maru and Kinugasa Maru. The battle proved challenging: most of the Gladiators' machine guns jammed, severely reducing their firepower. Despite this, five of the E8Ns were shot down, confirmed by Capt. Huang and his fellow pilots who managed to strike the Japanese aircraft with only one, two, or three functioning guns per Gladiator. Chin later revealed that the gun jams were caused by defective Belgian-made ammunition. The combat nevertheless proved tragic and costly: Lt. Xie Chuanhe (Hsieh Chuan-ho) and his wingman Lt. Yang Rutong pursued the E8Ns but were stymied by inoperable weapons, with Lt. Yang killed in the counterattack, and Lt. Chen Qiwei lost under similar circumstances. The 4th War Area Army, commanded by He Yingqin, was assigned to the defense of south China in 1938. General Yu Hanmou led the 12th Army Group defending Guangdong province. The region's defense included about eight divisions and two brigades of regular army troops stationed around Guangzhou, with an additional five divisions of regular troops deployed in Fujian. The 4th War Area Army totaled roughly 110,000 regular army troops. By this time, most regular army units in Guangxi and four Guangdong divisions had been redirected north to participate in the Battle of Wuhan. Beyond the regular army, two militia divisions were deployed near Guangzhou, and the Guangxi militia comprised five divisions. Militia units were typically raised from local civilians and disbanded as the army moved through new areas. Their roles centered on security, supply transportation, and reconnaissance. Guangdong's main defensive strength was concentrated in Guangzhou and the immediate environs to the city's east. Other Chinese forces defended Chaozhou and western Guangdong. Defensive fortifications included the Humen fortress guarding the Pearl River mouth and three defensive lines near Daya Bay. Guangzhou housed three batteries of four three-inch guns, a battery of three 120mm guns, and Soviet-supplied 37mm anti-aircraft guns. The Imperial Japanese Navy conducted an aerial and naval interdiction campaign aimed at China's communication lines to neighboring regions. Japan believed that the blockade would hasten the end of the war, and disruption of the Chinese logistics network was the primary objective in Guangdong province from August 1937 until October 1938. The 5th Fleet's blockading actions extended along the coast from Haimenchen, Zhejiang to Shantou, with the 5th Destroyer Squadron patrolling the coast south of Shantou. At times, units from the Marianas were deployed to support coastal blockade operations in south China, usually consisting of cruisers accompanied by destroyer flotillas. One or two aircraft carriers and fleet auxiliaries would also be on station. Naval interdictions focused on stopping junks ferrying military supplies from Hong Kong to coastal China. The first recorded attack occurred in September 1937 when eleven junks were sunk by a Japanese submarine. Although Japan successfully blockaded Chinese shipping and ports, foreign shipping could still enter and depart from Hong Kong. The central government had established Hong Kong as a warehouse for munitions and supplies to pass through. Aerial interdictions targeted Chinese railway bridges and trains in Guangdong. Starting in October 1937, the Japanese launched air raids against the Sunning railway, focusing on government facilities and bridges in Jiangmen and towns along the railway. By 1938, airstrikes against the Kowloon–C Canton railway became common, with damaged trains periodically found along the line. An air-defense early warning system was created to divert trains during raids into forested areas that offered overhead concealment. In May 1938, the Colonial Office and the Foreign Office approved a Chinese request to construct and operate a locomotive repair yard within the New Territories to keep the railway operational. Airstrikes against rail facilities in Guangzhou were designed to interrupt rail supplies from Hong Kong so Japan would not need to commit to land operations in south China. However, the air raids did not severely impede railway operations or stop supplies moving through Hunan or Guangxi. The blockade in south China also targeted aircraft flying out of Hong Kong. In November 1937, a Royal Navy aircraft from HMS Eagle encountered Japanese naval anti-aircraft fire off the coast of Hong Kong. In December 1937, fifteen Japanese bombers overflew Lantau Island and the Taikoo docks. In August 1938, Japanese naval aircraft shot down a China National Aviation Corporation passenger plane, and two Eurasia Aviation Corporation passenger planes were shot down the following month. Beyond military targets, the Japanese conducted politically motivated terror bombing in Guangzhou. Bombing intensified from May to June 1938 with incendiary munitions and low-level strafing attacks against ships. The Imperial Japanese Navy Air Service, operating from Formosa and the carrier Kaga, conducted about 400 airstrikes during this period and continued into July. By the end of the summer, Guangzhou's population had dwindled to approximately 600,000 from an original 1.3 million. From August 1937 to October 1938, casualties in Guangzhou were estimated at 6,000 killed and 8,000 injured. On October 12, 1938, Japanese forces from the 21st Army, including the 5th, 18th, and 104th Infantry Divisions, landed in Guangzhou, launching the operation at 4:00 am with elements of the 5th and 18th Divisions hitting Aotou and elements of the 104th Division landing at Hachung in Bias Bay. Initially totaling about 30,000 men, they were soon reinforced by a further 20,000, and resistance was minimal because most of Yu Hanmou's 12th Army Group had been redeployed to central China to defend approaches to Wuhan, leaving only two regular Chinese divisions, the 151st and 153rd, to defend the region. By the night of October 12, the Japanese had established a 10-kilometer-deep beachhead and advanced inland; on October 13 they seized the towns of Pingshan and Tamshui with little opposition, and on October 15 they converged on Waichow and captured it. The fall of Pingshan, located on the Sai Kong River with a deep, broad river and only a flimsy crossing, and Waichow, where Chinese defenses included trenches and concrete pillboxes, surprised observers since these positions had been prepared to resist invasion; nonetheless, Chinese forces fled, opening the road to Guangzhou for the Japanese. Between October 16 and 19, three Japanese columns pushed inland, with the easternmost column crossing the East River on the 16th and the 5th Infantry Division capturing Sheklung on the 19th as Chinese forces retreated. By the night of October 20, Guangzhou's defenders withdrew and adopted a scorched-earth policy to deny resources to the invaders. On October 21, Japanese tanks entered Guangzhou without infantry support, and a regiment from the 5th Infantry Division captured the Bocca Tigris forts with no resistance. With Guangzhou secured, the Guangzhou–Wuhan railway and the Hong Kong–Guangzhou railway were severed, supplies to Wuhan were cut, Chiang Kai-Shek faced a daunting and depressing task, he had to abandon Wuhan. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. The Yangtze became a bloodied artery as Chinese and Japanese forces clashed from Anqing to Jiujiang, Madang to Tianjiazhen. A mosaic of Chinese troops, filled with grit and missteps, held lines while civilians like Wang Guozhen refused to surrender. The siege of Wanjialing crowned Chinese resilience, even as Guangzhou buckled under a relentless blockade. The Fall of Wuhan was all but inevitable.

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Last time we spoke about the flooding of the Yellow River. As Japanese forces pressed toward central China, Chiang Kai-shek weighed a desperate gamble: defend majestic Wuhan with costly sieges, or unleash a radical plan that would flood its heart. Across/Xuzhou, Taierzhuang, and the Yellow River's bend near Zhengzhou, commanders fought a brutal, grinding war. Chinese units, battered yet stubborn, executed strategic retreats and furious counteroffensives. But even as brave soldiers stalled the enemy, the longer fight threatened to drain a nation's will and leave millions unprotected. Then a striking idea surfaced: breach the dikes of the Yellow River at Huayuankou and flood central China to halt the Japanese advance. The plan was terrifying in its moral cost, yet it offered a temporary shield for Wuhan and time to regroup. Workers, farmers, soldiers, laborers—pushed aside fear and toiled through the night, water rising like a raging tide. The flood bought months, not victory. It punished civilians as much as it protected soldiers, leaving a nation to confront its own hard choices and the haunting question: was survival worth the price?   #172 The Road to Wuhan Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. Following the Battle of Xuzhou and the breaching of the Yangtze dykes, Wuhan emerged as Japan's next military objective for political, economic, and strategic reasons. Wuhan served as the interim capital of the Kuomintang government, making it a crucial center of political authority. Its fall would deprive China of a vital rail and river hub, thereby further crippling the Chinese war effort. From a strategic perspective, Japanese control of a major rail and river junction on the Yangtze would enable westward expansion and provide a base for further advances into central and southern China. For these reasons, the Intelligence Division of the Army General Staff assessed that the capture of Wuhan would likely deliver the decisive blow needed to conclude the Second Sino-Japanese War.  Recognizing Wuhan's strategic importance, both the National Revolutionary Army and the Imperial Japanese Army committed substantial forces to the city and its approaches. The IJA deployed roughly 400,000 troops, while the NRA fielded at least 800,000. China began the war with an estimated regular force of 1.7 to 2.2 million men, organized into six broad loyalty-based categories around Chiang Kai-shek's command. Directly loyal troops formed the first group, followed by a second tier of soldiers who had previously supported Chiang but were less tightly controlled. The next category consisted of provincial troops that Chiang could ordinarily influence, while a fourth group included provincial units over which his sway was weaker. The fifth category comprised Communist forces, the Eighth Route Army in the northwest and the New Fourth Army forming in the central Yangtze region. The final category consisted of Northeastern or Manchurian units loyal to Zhang Xueliang, known as the “Young Marshal.” The first two categories together accounted for roughly 900,000 men, with about a million more in independent provincial armies, and roughly 300,000 in Communist and Manchurian forces. As commander-in-chief, Chiang could effectively command only about half of the mobilizable units at the outbreak of war in July 1937, which meant that military decisions were often slow, fraught with negotiation, and administratively cumbersome. Division-level coordination and communication proved particularly challenging, a stark contrast to the Japanese command structure, which remained clean and disciplined. Geographically, most of Chiang's loyal troops were located in the corridor between the Yangtze and the Yellow rivers at the start of 1938. Having participated heavily in the defense of Shanghai and Nanjing, they retreated to Wuhan at about half strength, with an already decimated officer corps. They then numbered around 400,000 and were commanded by generals Chen Cheng and Hu Zongnan. The northern regional armies, especially Han Fuju's forces in Shandong, had suffered severe losses; some units defected to the Japanese and later served as puppet troops. After six months of Japanese onslaught that cost the coastal and central regions—Peiping-Tianjin to Shanghai and inland toward Nanjing—much of the relatively autonomous, sizable armies remained from the southwest or northwest, under leaders such as Li Zongren, Bai Chongxi (Guangxi), Long Yun (Yunnan), and Yan Xishan (Shanxi and Suiyuan). Roughly 700,000 of these troops—predominantly from Guangxi under Li and Bai—were committed to the defense of Wuhan. The Communist forces, by contrast, numbered about 100,000 and remained relatively unscathed in bases north and east of Xi'an. In total, approximately 1.3 million men were under arms in defense of Wuhan. In December 1937, the Military Affairs Commission was established to determine Wuhan's defense strategy. Following the loss of Xuzhou, the National Revolutionary Army redeployed approximately 1.1 million troops across about 120 divisions. The commission organized the defense around three main fronts: the Dabie Mountains, Poyang Lake, and the Yangtze River, in response to an estimated 200,000 Japanese troops spread over 20 divisions of the Imperial Japanese Army. Li Zongren and Bai Chongxi, commanding the Fifth War Zone, were assigned to defend the north of the Yangtze, while Chen Cheng, commanding the Ninth War Zone, was tasked with defending the south. The First War Zone, situated to the west of the Zhengzhou–Xinyang segment of the Pinghan Railway, was responsible for halting Japanese forces advancing from the North China Plain, and the Third War Zone, located between Wuhu, Anqing, and Nanchang, was charged with protecting the Yuehan Railway. Following the Japanese occupation of Xuzhou in May 1938, they sought to expand the invasion. The IJA decided to dispatch a vanguard to occupy Anqing as a forward base for an assault on Wuhan. The main force would then advance north of the Dabie Mountains along the Huai River, with the objective of eventually capturing Wuhan via the Wusheng Pass. A second detachment would move west along the Yangtze. However, a flood from the Yellow River forced the IJA to abandon plans to advance along the Huai and instead to attack along both banks of the Yangtze. Despite Chinese numerical superiority on the Wuhan front, roughly a 2:1 advantage, the offensive faced several complicating factors. The NRA was a heterogeneous, fragmented force with a variety of tables of organization and equipment, and it lacked the unified command structure that characterized the IJA. Historian Richard Frank notes the broad diversity of Chinese forces at the outbreak of the war, which hindered cohesive mobile and strategic operations: “Chiang commanded armies of 2,029,000 troops of highly variegated capability and loyalty. His personal forces included an elite cadre of three hundred-thousand German-trained and eighty-thousand German armed men. A second stratum of the Chinese armies, numbering roughly 600,000 included various regional commands loyal to Chiang in the past that generally conformed to his directives. These troops were better armed and trained than the rest. The third category encompassed a million men who were neither loyal nor obedient to Chiang”. The NRA faced a significant disadvantage in both quantity and quality of equipment compared to the Japanese. The disparity was stark in artillery allocations. An IJA infantry division possessed 48 field and mountain guns, whereas a German-equipped Chinese division had only 16. In terms of regiment and battalion guns, a Japanese division had 56, while a German-equipped Chinese division possessed just 30. Of roughly 200 Chinese infantry divisions in 1937, only 20 were German-equipped, and merely eight of those met their paper-strength standards. Many Chinese divisions had no artillery at all, and those that did often lacked radios or forward-observation capabilities to ensure accurate fire. These deficiencies placed the NRA at a clear disadvantage in firepower when facing the Japanese. These equipment gaps were compounded by poor training and tactical doctrine. The NRA lacked adequate training facilities and did not incorporate sufficient field maneuvers, gun handling, or marksmanship into its program. Although the 1935 drill manual introduced small-group “open order” tactics, many formations continued to fight in close-order formations. In an era when increased firepower rendered close-order tactics obsolete, such formations became a liability. The NRA's failure to adapt dispersed assault formations limited its tactical effectiveness. Defensively, the NRA also faced serious shortcomings. Units were often ordered to create deep positions near key lines of communication, but Chinese forces became overly dependent on fixed fortifications, which immobilized their defense. Poor intelligence on Japanese movements and a lack of mobile reserves, there were only about 3,000 military vehicles in China in 1937, meant that Japanese infantry could easily outflank fixed NRA positions. Moreover, the Japanese enjoyed superiority in artillery, enabling them to suppress these fixed positions more effectively. These realities left Chinese defenses vulnerable, especially in the war's first year. The leadership deficit within the NRA, reflected in limited officer training, further constrained operational effectiveness. Chiang Kai-shek reportedly warned that Chinese commanders often equaled their counterparts in rank but did not outmatch them in competence. Only 2,000 commanders and staff officers had received training by 1937, and many staff officers had no military training at all. Overall, about 29.1 percent of NRA officers had no military education, severely limiting professional development and command capability. With the exception of the Guangxi divisions, Chinese units were hampered by an unnecessarily complex command structure. Orders from Chiang Kai-shek needed to pass through six tiers before action could be taken, slowing decision-making and responsiveness. In addition, Chiang favored central army units under direct control with loyal commanders from the Whampoa clique when distributing equipment, a pattern that bred discord and insubordination across levels of the Chinese field forces. Beyond structural issues, the Chinese force organization suffered from a lack of coherence due to competing influences. The forces had been reorganized along German-inspired lines, creating large field armies arranged as “war zones,” while Russian influence shaped strategic positioning through a division into “front” and “route” armies and separate rear-area service units. This mix yielded an incoherent force facing the Japanese. Troop placement and support procedures lacked rationalization: Chiang and his generals often sought to avoid decisive confrontation with Japan to minimize the risk of irreversible defeat, yet they also rejected a broad adoption of guerrilla warfare as a systematic tactic. The tendency to emphasize holding railway lines and other communications tied down the main fighting forces, around which the Japanese could maneuver more easily, reducing overall operational flexibility. Despite these deficiencies, NRA officers led roughly 800,000 Chinese troops deployed for the Battle of Wuhan. On the Wuhan approaches, four war zones were organized under capable if overextended leadership: 1st, 3rd, 5th, and 9th. The 5th War Zone, commanded by Li Zongren, defended north of the Yangtze to protect the Beijing–Wuhan railway. Chen Cheng's Ninth War Zone defended south of the Yangtze, aiming to prevent seizure of Jiujiang and other key cities on approaches to Wuhan. The 1st War Zone focused on stopping Japanese forces from the northern plains, while Gu Zhutong's 3rdWar Zone, deployed between Wuhu, Anqing, and Nanchang, defended the Yuehan railway and fortified the Yangtze River. Japan's Central China Expeditionary Army, commanded by Hata Shunroku, spearheaded the Wuhan advance. The CCEA consisted of two armies: the 2nd Army, which included several infantry divisions under Prince Naruhiko Higashikuni, and the 11th Army, advancing along the Yangtze's northern and southern banks under Okamura Yasuji. The 2nd Army aimed to push through the Dabie Mountains and sever Wuhan from the north, while the 11th Army would converge on Wuhan in a concentric operation to envelop the city. The Japanese forces were augmented by 120 ships from the 3rd Fleet of the Imperial Japanese Navy under Koshirō Oikawa, more than 500 aircraft from the Imperial Japanese Army Air Service, and five divisions from the Central China Area Army tasked with guarding Shanghai, Beijing, Hangzhou, and other key cities. These forces were intended to protect the back of the main Japanese thrust and complete the preparations for a major battle. The Kuomintang, led by Chiang Kai-shek, was acutely aware that Japan aimed to strike at Wuhan. Facing Japan's firepower and bold offensives, Chiang and his commanders pursued a strategy of attrition at the Wuchang conference in January 1938. Central China would be the primary theater of China's protracted struggle, distant from Japan's existing center of gravity in Manchuria. Chiang hoped Japan's manpower and resources would be exhausted as the empire pushed deeper into Central China. Eventually, Japan would be forced either to negotiate a settlement with China or to seek foreign assistance to obtain raw materials. The mountainous terrain to the north and south of the Yangtze presented natural obstacles that the Chinese believed would hinder large-scale concentration of Japanese forces. North of the Yangtze, the Dabie Mountains provided crucial flank protection; to the south, rugged, roadless terrain made expansive maneuvering difficult. In addition to these natural barriers, Chinese forces fortified the region with prepared, in-depth defenses, particularly in the mountains. The rugged terrain was expected to help hold back the Japanese offensive toward Wuhan and inflict substantial casualties on the attackers. The Yangtze itself was a critical defensive factor. Although the Chinese Navy was largely absent, they implemented several measures to impede amphibious operations. They constructed gun positions at key points where the river narrowed, notably around the strongholds at Madang and Tianjiazhen. Specialized units, such as the Riverine Defense Force, were deployed to defend these river fortifications against amphibious assaults. To reinforce the Riverine Defense Force, Chinese forces sank 79 ships in the Yangtze to create obstacles for potential Japanese naval advances. They also laid thousands of mines to constrain Japanese warships. These defensive measures were designed to slow the Japanese advance and complicate their logistics. The Chinese aimed to exploit stalled offensives to strike at exposed flanks and disrupted supply lines, leveraging terrain and fortified positions to offset Japan's superior firepower. On 18 February 1938, an Imperial Japanese Navy Air Service strike force comprising at least 11 A5M fighters of the 12th and 13th Kōkūtais, led by Lieutenant Takashi Kaneko, and 15 G3M bombers of the Kanoya Kokutai, led by Lieutenant Commander Sugahisa Tuneru, raided Wuhan and engaged 19 Chinese Air Force I-15 fighters from the 22nd and 23rd Pursuit Squadrons and 10 I-16 fighters from the 21st Pursuit Squadron, all under the overall command of the 4th Pursuit Group CO Captain Li Guidan. They faced a Soviet Volunteer Group mix of Polikarpov fighters as well. The 4th Group fighters claimed at least four A5Ms shot down, while the Soviet group claimed no fewer than three A5Ms. Both the Japanese fighter group commander, Lieutenant Kaneko, and the Chinese fighter group commander, Captain Li, were killed in action during the battle. A largely intact A5M downed in the engagement was recovered with a damaged engine; it was the second intact A5M to be recovered, repaired, and flight-tested in the war, following the first recovered-intact A5M credited to Colonel Gao Zhihang during an air battle over Nanjing on 12 October 1937. On 3 August 1938, 52 Chinese fighters, including 20 I-15s, 13 I-16s, 11 Gloster Gladiators, and 7 Hawk IIIs, intercepted at least 29 A5Ms and 18 G3Ms over Hankou. The Guangxi era pilots Zhu Jiaxun and He Jermin, along with Chinese-American fighter pilots Arthur Chin and Louie Yim-qun, all flying Gladiators, claimed at least four A5Ms shot down on that day. The Wuhan Campaign began in earnest when the Imperial Japanese Army's 3rd and 13th Infantry Divisions advanced north of the Yangtze River. Central China Expeditionary Army commander Hata Shunroku designated Shouxian, Zhengyangguan, and the Huainan coal mine as the objectives for the 3rd and 13th Infantry Divisions. Meanwhile, the 6th Infantry Division, part of the 11th Army, advanced toward Anqing from Hefei. The 6th Infantry Division coordinated with the Hata Detachment, which launched an amphibious assault from the river. The 2nd Army's sector saw immediate success. On June 3, the 3rd Infantry Division seized the Huainan coal mine; two days later, it captured Shouxian. The 13th Infantry Division also secured Zhengyangguan on that day. The 6th Infantry Division then made rapid progress immediately north of the Yangtze River, taking Shucheng on June 8 and Tongcheng on June 13. These advances forced the Chinese 77th Corps and the 21st and 26th Army Groups to withdraw to a line spanning Huoshan, Lu'an, and Fuyang. More critically, the Hata Detachment crossed the Yangtze River and landed behind the Chinese 27th Army Group's 20th Corps. The sudden appearance of Japanese forces in their rear forced the two Chinese divisions defending Anqing to withdraw. The fall of Anqing represented a major Japanese success, as they gained control of an airfield crucial for receiving close air support. After battles around Shucheng, Tongcheng, and Anqing, all three cities and their surrounding countryside suffered extensive damage. Much of this damage resulted from air raids that indiscriminately targeted soldiers and civilians alike. In Shucheng, the raids were reportedly aided by a Chinese traitor who displayed a red umbrella to guide daylight bombing on May 10, 1938. This air raid caused substantial destruction, killing or wounding at least 160 people and destroying more than a thousand homes. The town of Yimen also endured aerial destruction, with raids killing over 400 people and destroying 7,000 homes. Yimen and Shucheng were among many Chinese towns subjected to terror bombing, contributing to widespread civilian casualties and the destruction of livelihoods across China. The broader pattern of air raids was enabled by a lack of quality fighter aircraft and trained pilots, allowing Japanese bombers free rein against Chinese cities, towns, and villages. While the aerial assaults caused immense damage, the atrocities committed in these cities were even more severe. In Anhui, where Shucheng, Anqing, and Tongcheng were located, the Japanese brutality was on full display. The brutality can be partly understood as an attempt to destroy China's will and capacity to wage war, yet the extremity of some acts points to a warped martial culture within the Japanese Army, which appeared to encourage murder, torture, rape, and other crimes. Indeed, the Army eventually enshrined this brutality in its doctrine with the so-called “three alls”: kill all, burn all, loot all.  These acts, and more, were carried out in Anhui during the summer of 1938 as the Japanese advanced up the Yangtze River. In Anqing, the Hata Detachment killed at least 200 people without compunction. A further 36 civilians on a boat were detained and killed by Japanese marines, who claimed they were potentially Chinese soldiers. The countryside around Anqing, Shucheng, and Tongcheng witnessed continued atrocities. In Taoxi village of Shucheng County, the Japanese burned over 1,000 houses and killed more than 40 people. At Nangang, Japanese soldiers killed more than 200 people and committed numerous rapes, including many victims over 60 years old. Tongcheng also became a site of forced sexual slavery. The Japanese atrocities, intended to terrify the Chinese into submission, did not achieve their aim. Chinese resistance persisted. After a brief withdrawal, the 20th Army held stoutly at Jinshan for four days before retreating to Xiaochiyi and Taihu. These withdrawals, while costly, lured the Japanese deeper into the interior of China. As the Japanese advanced, their flanks became increasingly vulnerable to counterattack. On June 26, 1928, the Chinese 26th Army Group attacked the flanks of the 6th Infantry Division at Taihu. The 26th Army Group was supported by the 20th and 31st Armies, which attacked from the front to pin the 6th Infantry Division in place. The 6th Infantry Division was ill-prepared to respond, suffering a malaria outbreak that left about 2,000 soldiers unfit for combat. Fighting continued until June 29, when the Japanese withdrew. The focus of operations north of the Yangtze shifted to Madang, a key river fortress protected by obstacles and river batteries. Roughly 600 mines were laid in the Yangtze near Madang, and the fortress was largely manned by the Riverine Defense Force, with a small garrison; including stragglers from the 53rd Infantry Division, the Madang garrison totaled roughly 500 men. Initial expectations had Madang holding, since Japanese ships could not easily remove obstacles or suppress the batteries. On the dawn of June 24, however, news reached Madang that Xiangkou had fallen to the Japanese, enabling a land threat to Madang, and many Madang defenders, including most officers above the platoon level, were absent at a nearby ceremony when the attack began.  On 24 June, Japanese forces conducted a surprise landing at Madang, while the main body of the Japanese Eleventh Army advanced along the southern shore of the Yangtze. The Chinese garrison at the Madang river fortress repelled four assaults, yet suffered casualties from intense bombardment by Japanese ships on the Yangtze and from poison gas attacks. Compounding the difficulty, most of the Chinese officers responsible for Madang's defense were absent due to a ceremony at a local military school by Li Yunheng, the overseeing general. Consequently, only three battalions from the second and third Marine Corps and the 313th regiment of the 53rd Division took part in the defense, totaling no more than five battalions. When the 167th Division, stationed in Pengze, was ordered by War Zone commander Bai Chongxi to move swiftly along the highway to reinforce the defenders, divisional commander Xue Weiying instead sought instructions from his direct superior, Li Yunheng, who instructed him to take a longer, more navigationally challenging route to avoid Japanese bombers. Reinforcements arrived too late, and Madang fell after a three-day battle. Chiang Kai-shek promptly ordered a counterattack, offering a 50,000 yuan reward for the units that recaptured the fortress. On June 28, the 60th Division of the 18th Corps and the 105th Division of the 49th Corps retook Xiangshan and received 20,000 yuan, but made no further progress. As the Japanese army pressed the attack on Pengze, Chinese units shifted to a defensive posture. Chiang Kai-shek subsequently had Li Yunheng court-martialed and Xue Weiying executed. After the fall of Madang, the broader Wuhan campaign benefited from Madang as a foothold along the Yangtze, as the river continued to function as a dual-use corridor for transport and amphibious landings, aiding later operations and complicating Chinese defensive planning. The rapid capture of Madang demonstrated the effectiveness of combined arms, amphibious insertion, and secure supply routes along a major river, while Chinese defenses showed weaknesses such as reliance on rough terrain, underestimation of Japanese amphibious capabilities, and delayed reinforcement, which, coupled with gas warfare, produced a swift loss. The fall influenced subsequent Chinese fortifications and defensive doctrine along the Yangtze and affected decisions regarding garrison allocations and riverine operations. After Madang fell, Japan's 11th Army pressed toward its next major objectives, Jiujiang, Huangmei, and Xiaochikou. It took nearly three weeks for the Japanese to clear the waterway around Madang of mines, costing them five minesweepers, two warships, and a landing craft full of marines. Jiujiang stood out as the most important due to its status as a key river port and railway junction. To defend these targets, China deployed the 1st Army Corps to Jiujiang, the 2nd Army Corps to cover the area west of Jiujiang, and the 4th Army Corps to defend Xiaochikou. Despite these reinforcements, the Japanese continued their advance.  The Japanese initially captured Pengze but met strong resistance at Hukou, where they again deployed poison gas during a five-day battle. During the breakout, there were insufficient boats to evacuate the auxiliary troops of the defending 26th Division from Hukou, leaving only a little over 1,800 of the more than 3,100 non-combat soldiers able to be evacuated, and the majority of the more than 1,300 missing soldiers drowned while attempting to cross the Poyang Lake. On July 23, they conducted an amphibious operation at Gutang, with the Hata Detachment landing at Jiujiang shortly thereafter. These landings south of the Yangtze represented another step toward Wuhan, which lay about 240 kilometers away. The Chinese responses consisted of relentless counterattacks, but they failed to dislodge the Japanese from their bridgeheads. Consequently, the Japanese captured Xiaochikou by July 26 and Jiujiang by July 28, with a note that poison gas may have been used at Jiujiang. North of the Yangtze, the 6th Infantry Division moved forward and seized Huangmei on August 2. Despite stubborn Chinese resistance, the Japanese had gained considerable momentum toward Wuhan. Soon after the fall of Jiujiang and surrounding areas, the local population endured a renewed surge of war crimes. The Imperial Japanese Army sought to break China's will to resist and its capacity to endure the onslaught. Male civilians were executed indiscriminately, along with any POWs unable to retreat in time, while women and children were subjected to mass rape. In addition, numerous urban districts and suburban villages were deliberately razed, including the city's ceramics factories and its maritime transportation system. The widely documented “three alls” policy proved devastating in the Yangtze region: in Jiujiang alone, as many as 98,461 people were killed, 13,213 houses destroyed, and property losses reached 28.1 billion yuan. Yet numbers fail to convey the brutality unleashed in Jiujiang, Hukou, and Xiaochikou south of the Yangtze. On July 20, the Japanese confined 100 villagers in a large house in Zhouxi village, Hukou County, and erased them with machine guns and bayonets. Tangshan village witnessed similar brutality on July 31, when eight people were drowned in a pond and 26 houses burned. That September, learning that children and the elderly at Saiyang Township were taking refuge in caves on Mount Lushan, the Japanese proceeded to bayonet defenseless civilians, many beheaded, disemboweled, or amputated. These acts, among others, were carried out on a mass scale south of the Yangtze, resulting in tens of thousands of deaths around Jiujiang. Despite the enormity of these crimes, Chinese people did not surrender. Among those who resisted was Wang Guozhen of Wang Village in Pengze County. Upon learning of the Japanese approach to Pengze on July 1, Wang, a teacher, led women, children, and the elderly into mountains and forests to seek safety. However, Wang and his followers soon encountered Japanese troops who attacked them, instantly killing over 20 people. Wang denounced their actions as the Japanese took him captive and had him whipped for over an hour. They had hit him so hard his skin was peeling off and he had broken his left thigh. They then demanded he collaborate with them, but to this Wang responded “a common man cannot resist the enemy for his country and he will only die”. After hearing these words, the Japanese simply stabbed him with a bayonet in his left eye and in his chest area, ultimately killing him. Wang's small act of defiance would earn him a plaque from the KMT that states “Eternal Heroism”. Even though Wang's heroism was commendable, bravery alone could not halt the Japanese advance along the Yangtze. After securing Jiujiang, Xiaochikou, and Gutang, the 106th and 101st Infantry Divisions carried out amphibious operations further upriver. The 106th Infantry Division landed on the Yangtze's east bank, pushing south of Jili Hu. Concurrently, the Sato Detachment, two infantry battalions plus a field artillery battalion from the 101st Infantry Division, landed east of Xiaochikou and concentrated on the east side of Mount Lu. The Japanese advance soon faced firm Chinese resistance despite these early gains. The 106th Infantry Division encountered the in-depth defenses of Xue Yue's 1st Corps. These defenses formed an isosceles triangle with Jiujiang at the apex and the Jinguanqiao line at the base. Although Jiujiang was abandoned in late July, the triangle's base at Jinguanqiao remained strong, with the 8th, 74th, 18th, 32nd, 64th, 66th, 29th, 26th, 4th, and 70th Armies concentrated in the Jinguanqiao area. These forces inflicted heavy losses on the 106th Infantry Division, which saw nearly half of its captains killed or wounded during the fighting. To aid the 106th Division's breakthrough near Jinguanqiao, the 11th Army deployed the 101st Infantry Division to the area east of Xiaochikou in mid-August. From there, the division pushed toward the east side of Mount Lu, aiming to seize Xingzi in an amphibious assault via Lake Poyang. The objective was to outflank De'an and the nearby Nanxun Road. On August 19, the 101st Infantry Division executed the plan and landed at Xingzi, where they faced strong resistance from the 53rd Infantry Division. However, the division found itself isolated and thus vulnerable to being outflanked. By August 23, the 53rd Infantry Division had withdrawn to the east. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. In 1938 Wuhan stood as China's fragile beacon. Wuhan's defense hinged on a patchwork of war zones and weary commanders, while Japan poured in hundreds of thousands of troops, ships, and air power. The Yangtze became a deadly artery, with river fortresses, brutal bombings, and mass casualties. Yet courage endured: individuals like Wang Guozhen chose defiance over surrender.