Podcasts about chinese malaysian

After Trevor Noah started anchoring The Daily Show in 2015, he brought on Ronny Chieng as a field correspondent who could offer a global perspective. Now Chieng is one of the show's anchors. He's third generation Chinese Malaysian, and grew up in Malaysia, Singapore and the U.S. He has a new Netflix comedy special. Also, filmmaker and writer Miranda July talks about her novel, All Fours. It's about a 45-year-old married woman, her erotic affair with no actual sex, perimenopause, and the related fears of losing her libido and getting older.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

After Trevor Noah started anchoring The Daily Show in 2015, he brought on Ronny Chieng as a field correspondent who could offer a global perspective. Now Chieng is one of the show's anchors. He's third generation Chinese Malaysian, and grew up in Malaysia, Singapore and the U.S. He has a new Netflix comedy special. Also, filmmaker and writer Miranda July talks about her novel, All Fours. It's about a 45-year-old married woman, her erotic affair with no actual sex, perimenopause, and the related fears of losing her libido and getting older.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

News headlines // 7:15AM // A segment from this week's Women on the Line episode, in which Scheherezade revisited a conversation from 2021 between Eugenia Flynn and Tasnim Sammak as they reflected on their article, Blak Australia to Palestine: solidarity in decolonial struggle, published on Indigenous X on 10 June 2021. Eugenia Flynn is a writer, academic, arts worker and community organiser,  she is Aboriginal, Chinese Malaysian and Muslim and works within her multiple communities to create change. Tasnim Sammak is a PhD candidate at Monash University's Faculty of Education, a single mum of two boys and a local Palestinian Muslim organiser. To listen to the entire episode and to read the article mentioned in the interview, you can go to www.3cr.org.au/womenontheline. 7:30AM // Ola Addassi, Gaza-born medical scientist and Palestinian Community Association member, speaking at the Free Palestine Rally Naarm on Sunday 13 October, on the human toll in Palestine – the friends and colleagues she has lost, or lost communication with.  7:45AM // Tasnim Sammak, Palestinian woman and advocate from Yaffa, speaking at the Vigil for Gaza on 7 October, where the community marched silently from the Marquis of Linlithgow Monument to Victoria Parliament. Tasnim speaks about the history of Palestine and Zionism, and the context of the Western world's settler colonialism and denial of native stories. 8:00AM // Part 2 of a conversation between Phuong and Suzie Russell, a member of Save Bulga Forest - a grassroots organisation who are trying to stop native logging of the Bulga Forest on Biripi Country and to save the local wildlife such as the endangered Greater Gliders. Suzie discusses the neglect and harm caused by the NSW Forestry Corporation as well as the many concerned community members who are putting their bodies on the line to protect these native forests. To follow the Save Bulga Forest campaign, make sure to follow the group on Instagram at @savebulgaforest on Instagram or by going to their website, www.savebulgaforest.org 8:15AM // Upcoming events and fundraisers Songs:Guwop - Thelma Plum12 years too long - Rose Turtle Ertler

Faustina Agolley (Fuzzy) is Ghanaian and Chinese Malaysian. She hosted Video Hits, was a DJ for Oprah and is a writer, producer and presenter.  We chat about:  A london love story ft The Temptations  Growing up in a multi-generational Chinese household Having too much on her plate to study Chinese Learning about her dad through his music Going to Ghana Blackness being a celebration of the self  DJing for Oprah Hosting Video Hits Learning from Alicia Keys Hosted by: Maria Birch-Morunga and Kate Robinson Guest: Faustina Agolley Music by: the Green Twins Edited by: Kate Robinson This podcast was recorded on the lands of the Boon Wurrung and Wurundjeri Woi Wurrung peoples of the eastern Kulin Nations, and our guest joined us from land of the Gadigal people of the Eora Nation.You can find us on Instagram @beingbiracialpodcast or send us an email at beingbiracialpodcast@gmail.com

This week on 'Radio Architecture with Ilana Razbash', Ilana's special guest is Savanna Wegman. Savanna is a stage designer, maker and writer working across theatre, opera and dance. She is New Zealand born, of Chinese Malaysian and Dutch descent and is now based on unceeded Wurundjeri land in Naarm (Melbourne). Recent performance design credits include: Set & Costume Designer ‘Biographica' (Lyric Opera, Theatreworks), Set & Costume Designer ‘Brittany and The Mannequins' (Fever103 Theatre, Green Room Award Nominated for Best Set/Costume Design 2022), Set & Costume Designer ‘Climbers' (Fever103 Theatre, fortyfivedownstairs), Set & Costume Designer 'STAUNCH ASF' (Amelia Jean O'Leary, Melbourne Fringe)Set Designer 'A Certain Mumble' (Amelia Jean O'Leary, Darebin Arts Speakeasy), Associate Designer ‘Far Away' (Patalog Theatre, fortyfivedownstairs), 'The Crocodile' (Spinning Plates Co. fortyfivedownstairs), ‘The Dream Laboratory' (Essential Theatre) and ‘The Mermaid' (La Mama), AudioVisual Designer ‘Kill Climate Deniers' (Monash Uni Student Theatre), AudioVisual Production Designer ‘WE ARE AIR' (Melbourne Fringe). She was the Co-founder of the STRANGEkit Performance Collective and completed her Bachelor of Arts at Monash University's Centre for Theatre and Performance alongside studies in literature and digital humanities.

Ever wondered about the soothing voice behind “The Chant of Metta” or “Heart Sutra” often heard at Buddhist events?

Linda Marigliano is an Australian television and radio presenter, podcaster, musician and DJ, best known for her work on FBi Radio and Triple J.  Linda has built a career out of performing for other people. In her day-job as an on-air presenter or in her family home, she contorted herself into 'the cool girl' or 'the good girl'. Exploring how to wrestle with long-distance love and learning more about herself in her key relationships (including with her Mum) has become the pursuit of Linda's expressions - her podcast Tough Love is a podcast production masterpiece, and her book Love Language explore these theme's. We chat about vocabulary of love in all forms - intimate partners, families, and friendships. The importance of holding expectations loosely - learning how to express what we want and the ways we like to be loved - and the importance of weaving the threads of creativity and true presence with others to continue to grow. I couldn't have loved this conversation any more. Personal, practical, insightful and relevant for all who dance with love, soak up this conversation with Linda Marigliano. As she repeatedly over-committed and sought approval in all its guises, she started to ask herself: Why am I like this? Combing through her complex relationship with her mother, the sense of duty within her extended Italian and Chinese-Malaysian families, and the twisting turns of both her career path and her love life, she noticed a pattern emerging. Her love language had warped into acts of service that pleased everyone but herself, without boundaries or exceptions. And she'd lost the ability to translate the vocabulary of love being spoken all around her. Love Language is Linda's determined reclamation of her identity; a fiercely relatable and viscerally honest account of what it means to love and be loved.

On our season finale, interdisciplinary artist respectfulchild (they/them) shares a frank discussion with host Khadija Mbowe about their creative journey of experimentation and discovery. Born in Canada to Chinese-Malaysian parents, early on, respectfulchild yearned to defy expectations as a classical music student. Today, their compositions and artwork are a vehicle to imagine, discover, and occupy altogether new ways of being. Chapters:[00:00] Introduction - what's in a name? [04:35]  Early musical influences  [09:13]  Expectations of people with Asian heritage in classical music[14:22]  Finding spiritual connection through creating interactive art [22:43]  Upcoming album: breaking boundaries of gender & music [27:00]  Striving for enjoyment  Music from this episode:“Beauty," from respectfulchild's upcoming album, 更新 re:new (2023)"Forest," from In the Shadow of the Pines (2021), the original soundtrack to Anne Koizumi's 2021 animated short documentary of the same name “Glitter” from, respectfulchild's debut album, 在找 ::searching:: (2017)Links from this episode:respectfulchild website Native Women's Shelter of Montreal落叶归根 , Falling leaves return to their roots at Ramai Modern, Remai Modern Emerging Artist Series Girls Rock Saskatoon The Philadelphia Orchestra's HearTOGETHER series is generously supported by lead corporate sponsor Accordant Advisors. Additional major support has been provided by the Otto Haas Charitable Trust.

The Asian-led multiverse adventure "Everything Everywhere All at Once" turned out to be a big winner Sunday night at the 95th Academy Awards, held at the Dolby Theatre in Los Angeles, with seven trophies.3月12日晚，在洛杉矶杜比剧院举行的第95届奥斯卡颁奖典礼上，由亚洲人主演的多元宇宙冒险片《瞬息全宇宙》成为大赢家，斩获7座奖杯。The film, a hilarious and big-hearted sci-fi action adventure about an exhausted Chinese American woman who can't seem to finish her taxes, took home Best Picture.这是一部有深度的科幻搞笑动作冒险片，讲述了一个似乎无法完成纳税的疲惫华裔美国妇女的故事，获得了最佳影片奖。The film's Chinese-Malaysian actress Michelle Yeoh took home Best Actress in a Leading Role for her performance, becoming the first Asian woman to win an Oscar in the category.这部影片的马来西亚华裔女演员杨紫琼凭借她的表演摘得最佳女主角奖，成为首位获得奥斯卡最佳女主角奖的亚洲女性。The film also collected two other major acting awards -- Best Actor in a Supporting Role for Ke Huy Quan and Best Actress in a Supporting Role for Jamie Lee Curtis.这部电影还获得了另外两个主要表演奖项——柯慧泉获得最佳男配角奖，杰米·李·柯蒂斯获得最佳女配角奖。In addition, it also won Best Directing and Best Original Screenplay for Daniel Kwan and Daniel Scheinert. Paul Rogers walked away with the Best Film Editing prize for the film.此外，丹尼尔·关和丹尼尔·谢纳特还获得了最佳导演和最佳原创剧本奖。保罗·罗杰斯凭借这部电影获得了最佳剪辑奖。"Everything Everywhere All at Once" has led nominees for the 95th Academy Awards, with 11 nominations.《瞬息全宇宙》以11项提名领跑第95届奥斯卡提名。"Ladies, don't ever let anyone tell you that you are past your prime," Yeoh said during her acceptance speech. "For all the little boys and girls who look like me watching tonight, this is a beacon of hope and possibility."杨紫琼在获奖感言中说：“女士们，不需要任何人告诉你们，你们已经过了黄金时期。”“献给所有和我一样的男孩女孩们，这是希望和可能性的灯塔。”"All Quiet on the Western Front," the second-biggest winner of the night with four Academy Awards, became the third German film to win Best International Feature Film. The film also won Best Cinematography, Best Production Design, and Best Original Score.《西线无战事》以四项奥斯卡金像奖成为当晚第二大赢家，成为第三部获得最佳国际长片奖的德国电影。该片还获得了最佳摄影奖、最佳制作设计奖和最佳原创配乐奖。Ruth Carter made history by becoming the first Black woman to win two Oscars. She took home Best Costume Design for the Marvel sequel "Black Panther: Wakanda Forever." Carter also won in the same category in Oscars 2019 for "Black Panther."露丝·卡特创造了历史，成为第一位获得两项奥斯卡奖的黑人女性。她凭借漫威续集《黑豹:永远的瓦坎达》获得最佳服装设计奖。卡特曾凭借《黑豹》获得了2019年奥斯卡的同类奖项。It was a strong night for South Asian artists and filmmakers as well. "Naatu Naatu," the song from the Indian film "RRR," made history with its win for Best Original Song at the Oscars.这个夜晚对于南亚艺术家和电影之多人来说，同样精彩。印度电影《RRR》中的歌曲《Naatu Naatu》获得奥斯卡最佳原创歌曲奖，创造了历史。Another Indian film "The Elephant Whisperers" won Best Documentary Short at the Oscars. The documentary tells the story of an indigenous couple as they care for an orphaned baby elephant. The film explores the precious bond between the animal and his caretakers.另一部印度电影《象语者》赢得了奥斯卡最佳纪录短片奖。这部纪录片讲述了一对土著夫妇照顾一头孤儿小象的故事。这部影片探讨了动物和其照料者之间珍贵的纽带。Multiverse英 ['mʌltɪvɜ:s] 美 ['mʌltɪvɜs]n. 多元宇宙Hilarious英 [hɪˈleəriəs] 美 [hɪˈleriəs]adj.欢闹的Beacon英[ˈbi:kən] 美[ˈbikən]n.灯塔

On this episode of The Meals That Made Me, Adam links up with his friend Anita Lo, a Michelin-star chef, restaurateur, author, Top Chef master, and winner of Iron Chef.Anita talks with Adam about growing up in the Midwest in a Chinese-Malaysian household, and traveling the world at an early age, where she was exposed to a multicultural array of flavors that influenced her palette. From her vivid food memories as a child visiting places like Malaysia and Iran, to her time spent in France studying classic French techniques and working with foods like foie gras and langoustines, to her solitary love of fishing, these are the meals that made Anita Lo.This podcast is produced by First We Feast in collaboration with Complex NetworksHost: Adam RichmanExecutive Producers: Chris Schonberger, Nicola Linge, and Justin BoloisHead of Podcast Production: Jen StewartSupervising Producer: Shiva BayatSenior Producer: Jocelyn AremAssociate Producers: Nina Pollock and Katherine HernandezProduction Managers: Shamara Rochester and Natasha BennettRecording Engineer / Sound Designer: Andrew GuastellaThanks to the team at BuzzfeedFor more First We Feast content, head to First We Feast on IG, Facebook, YouTube, and TikTok Hosted on Acast. See acast.com/privacy for more information.

Dr. Maple Goh is a physician-trainee of Chinese-Malaysian heritage who migrated alone to Aotearoa at the age of thirteen to forge her journey. She is passionate about healthcare equity, especially in Māori, Pasifika and refugee groups in Aotearoa. Outside of the hospital, Maple is a professional violinist, founder of a non-profit and podcast host of ‘Doctor NOS', aimed at providing career guidance and promoting diversity and representation in medicine. She is currently a medical registrar in Wellington and will be pursuing a Masters in Public Health at Harvard University in due time Find the Doctor NOS podcast here - https://doctornos.buzzsprout.com/    www.rnzcuc.org.nz podcast@rnzcuc.org.nz https://www.facebook.com/rnzcuc https://twitter.com/rnzcuc   Music licensed from www.premiumbeat.com Full Grip by Score Squad   This podcast is intended to assist in ongoing medical education and peer discussion for qualified health professionals.  Please ensure you work within your scope of practice at all times.  For personal medical advice always consult your usual doctor

Dr. Maple Goh is a physician-trainee of Chinese-Malaysian heritage who migrated alone to Aotearoa at the age of thirteen to forge her journey. She is passionate about healthcare equity, especially in Māori, Pasifika and refugee groups in Aotearoa. Outside of the hospital, Maple is a professional violinist, founder of a non-profit and podcast host of ‘Doctor NOS', aimed at providing career guidance and promoting diversity and representation in medicine. She is currently a medical registrar in Wellington and will be pursuing a Masters in Public Health at Harvard University in due time Find the Doctor NOS podcast here - https://doctornos.buzzsprout.com/    www.rnzcuc.org.nz podcast@rnzcuc.org.nz https://www.facebook.com/rnzcuc https://twitter.com/rnzcuc   Music licensed from www.premiumbeat.com Full Grip by Score Squad   This podcast is intended to assist in ongoing medical education and peer discussion for qualified health professionals.  Please ensure you work within your scope of practice at all times.  For personal medical advice always consult your usual doctor

Jack Lam (they/them) is an associate psychotherapist at the Yellow Chair Collective, a multicultural therapy practice focused on Asian and Asian American mental health. Jack is a genderqueer, non-binary Chinese Malaysian immigrant, who brings a compassionate, anti-oppressive lens to the work they do. Their work focuses on depression and anxiety treatment, suicidality and transgender/non-binary identities. Yellow Chair Collective ------ Instagram   Nita helps her clients navigate their strategies to work through major challenges offering responsive caregiving solutions in a warm and nurturing environment, through CBT modalities and a strengths based perspective. Nita utilizes a positive, holistic, and collaborative approach, building upon client strengths to produce meaningful change. As an individual who was raised between two cultures, she offers a warm and safe space to discuss cultural competency as it relates to her clients' life. For many minorities, there is a stigma toward psychotherapy; it's not something that's spoken about with friends and family. Nita approaches each client from a unique perspective, tailoring treatment to individual needs. Nita specializes in anxiety, depression, career, premarital counseling, love, dating, & relationships, children, teens, & families, and racial & cultural identity. Nita holds a Master of Social Work from University of Pennsylvania and is licensed in both New York and California. A Good Place Therapy ------ Instagram Facebook Linkedin   Dr. Simone is a board certified adult psychiatrist who specializes in the treatment of anxiety disorders (generalized anxiety, social anxiety, and more), depression, young adult mental health, ADHD, and insomnia. She has experience working in a variety of settings including academic, community, private, and veterans affairs. She is passionate about her integrative and culturally competent approach to mental health care. While she provides medication management, she also highlights the importance of non-pharmacologic interventions including healthy lifestyle changes, mindfulness, and psychotherapy. Dr. Simone is a Southern California native, where she also completed her education and training. She received her bachelor's of science degree in human biology and psychology from UCSD, earned her medical degree from Western University of Health Sciences, and completed her psychiatry residency at UCLA and West Los Angeles VA Medical Center, where she was Chief Resident. She has been awarded the Psychiatric Education & Research Foundation Excellence in Psychiatric Education Award, American Psychiatric Association Resident Recognition Award, and the Western University of Health Sciences Psychiatry Clinical Chair Award. She is currently offering both telehealth and in-person appointments at the CalPsychiatry Echo Park and Pasadena offices. CalPsychiatry ------ Facebook Instagram LinkedIn    

We had the pleasure of interviewing Erika Tham over Zoom video! LA-based pop/R&B singer-songwriter and actress Erika Tham makes a fiery entrance this year with new single “Shhh” and premieres the sultry coinciding Patrick Wilcox-directed video today. Co-written with GRAMMY-nominated producers Deion Gill (Kelly Rowland, Miguel, Playboi Carti, Usher) and Major Myjah (Chris Brown, J.Cole, Ty Dolla $ign), the tongue-in-cheek track demonstrates Erika's lyrical wit and seductive flow as she puts every mansplaining fuckboy firmly in their place. Paying homage to the unapologetic female pop stars of the ‘90s, “Shhh” is a loose spin off Shania Twain's 1997 megahit “That Don't Impress Me Much” and laced with alluring Asian string instrumentation against a modern R&B production.“Shhh” is the follow up to Erika Tham's 2021 debut release “Admit It” also co-written with Deion Gill and Major Myjah. The track landed on Spotify's 'Fresh Finds: The Wave' and received positive praise from Earmilk, HollywoodLife, Noctis Magazine, Ones To Watch, Raydar Magazine, Viper Magazine, Wonderland, among others. The acoustic ballad version, which arrived with a video this past November, featured Brian Kennedy (Rihanna, Jennifer Hudson, Kelly Clarkson) on the piano and grabbed the attention of Teen Vogue who listed it as their "pick for Best New Music Friday."A beautifully blended mix of four nationalities—her father is Chinese-Malaysian and a mother is Dutch/Ukrainian-Canadian—Erika Tham is a stunning representation of global beauty and a powerhouse singer, songwriter, and actor with the innate ability to reach a worldwide audience with her sultry, sophisticated, and nuanced pop vocals. With talent radiating from her every pore, Erika is a performer at heart. She is a natural on stage who is inspired by the phrasing and cadences in rap songs, but also the orchestral and melodic music of the Disney renaissance era. Following an outstanding acting career as a teen, where she starred as Corki in Nickelodeon's ‘Make It Pop' (executive produced by Nick Cannon) and appeared in other television shows including the Disney Channel original movie ‘Kim Possible' and FOX's ‘Star', Erika realized that her true passion and love were with music. She is most at home in the studio, and music is her creative outlet. Her yearning and desire to find where she fit in and belonged, gave her the strength and sense of purpose to create, to envision, and to elevate the ideas, emotions, and sounds that run rampant through her music.We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #ErikaTham #MakeItPop #Nickelodeon #Shhh #NewMusic #zoom Listen & Subscribe to BiB https://link.chtbl.com/BiB Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod

 “Audience journey is basically in any kind of presentation, or conversation or speech. It's the moment by moment, emotional, mental journey that the audience takes, while listening to what you're delivering. So, it's the actual in inner exploration, the path they take from where they are, when they come in, to the conversation, or the presentation or the speech to where they are when you finish. It's that path.”  “I took them on a journey themselves from when I didn't know what they don't know, to where I found out what they want to know. So, they came with me on that journey. So, part of it was the delivery and the way I styled it, but I think also, you know, I think I spoke to and about a huge part of the world and something that they're all feeling and going through.”  TIME STAMP SUMMARY00:54 Understanding the audience journey 08:25 Having 27 million views on a TEDX presentation15:02 How important is it to have stories?19:23 The importance of making people feel welcome  Where to find Marianna Pascal?Website                               www.mariannapascal.com LinkedIn                               https://www.linkedin.com/in/marianna-pascal  Who is Marianna Pascal?For over 20 years, Canadian former actor, Marianna Pascal has been helping ensure smooth collaboration and clear communication within organisations.  Her speciality is overcoming the challenges MNCs face when employees and other stakeholders come from diverse backgrounds and languages. She has helped professionals in over 100 organisations on 3 continents to improve their presentations, team collaboration, customer communications, business, policy, and report writing and more. Marianna is widely known for her humorous, interactive style. Married to a Chinese Malaysian for 15 years, with a Chinese-educated daughter, Marianna is a true authority on what works when it comes to raising the communication standards in the Asian workplace.  Global AchievementsOne of the 40 most watched TEDx Talk speakers in history27 million have watched her talk, “Learning a Language? Speak it Like You're Playing a Video Game”.One of 14 finalists in the 2019 World Championship of Public SpeakingVoted one of the 10 Most Inspiring Female Speakers worldwide by Toastmasters International, along with Oprah Winfrey, Brene Brown, and Indira Gandhi.#2 on Borders Bestseller List for Non-fiction with her book series, English Fast & Easy, designed to enhance practical English for work and daily life.

Poh Ling Yeow is a creative soul, she cooks, paints, is a makeup artist and graphic designer. Coming from a family of proud Chinese Malaysian home cooks, Poh first came to our attention on Masterchef Australia and has gone on to host her own cooking shows, but there’s far more to Poh than what we see on TV. In this episode Jess goes deep with Poh to find out how she processed her marriage break up, and what allowed their relationship to transform into something beautiful and unbreakable’ while her ex formed a relationship with her best friend. In fact, Poh talks to Jess about the beautiful relationships she has formed with both of her ex-husbands, even calling on them for dating advice Poh also reveals why she always felt ‘different and on the outer’ when growing up in both Australia and Malaysia, being obsessed with American movies and the notion of being popular, and what led to her decision to ‘ditch’ her given name Sharon, and embrace her Chinese name Poh. Catch Poh hosting Snackmasters or visit Jamface by PohSee omnystudio.com/listener for privacy information.

Today my guest is the excellent Phil Wang, stand-up comedian and soon-to-be published author. As a comic, Wang has appeared on a host of comedy panel shows including Would I Lie To You? and 8 out of 10 Cats. During the pandemic, he became the first UK comedian to tape and release a Netflix special at a sold-out London Palladium. His new memoir, Sidesplitter: How To Be From Two Worlds At Once examines his dual identity as the son of a white British mother and a Chinese-Malaysian father. He joins me to talk about failed shows, failed sporting endeavours and failing to learn Mandarin. We also discuss racism, introversion, height and why we're perfectly matched tennis partners. -- Sidesplitter by Phil Wang is out on 16th September. You can preorder it here. -- My new novel, Magpie, is out now. You can order it here. --- How To Fail With Elizabeth Day is hosted by Elizabeth Day, produced by Naomi Mantin and Chris Sharp. We love hearing from you. To contact us, email howtofailpod@gmail.com --- Social Media: Phil Wang @PhilNWang Elizabeth Day @elizabday How To Fail @howtofailpod     

One of the UK's brightest and best comedians takes an incisive look at race and belonging. But where are you really from? Phil Wang has been asked this question so many times he's lost count. So, finally, he decided to write a book about it. About how to be from two places at once. Phil was born in the UK, in Stoke-on-Trent to an English mother and a Chinese-Malaysian father. Three weeks after his birth, the Wang family returned to his father's hometown in Malaysia, and at age 16, Phil was uprooted once again, to return with his family to the UK. In Sidesplitter, Phil reflects on race, belonging and cultural cachet, bringing his trademark cynicism and wit to topics that range from food and comedy to empire and colonialism.

 This week Eugenia Flynn and Tasnim Sammak join us to explore the shared reality of erasure and history of struggle against settler-colonialism, genocide and oppression between Blak Australia and Palestine. Within that struggle emerges a shared decolonial solidarity between Palestinian and Aboriginal and Torres Strait Islander peoples where Tasnim and Eugenia talk about a need to move beyond 'reciprocal solidarity'. These issues are discussed in their recent article Blak Australia to Palestine: solidarity in decolonial struggle published on Indigenous X.Eugenia Flynn is a writer, academic, arts worker and community organiser. Eugenia is Aboriginal, Chinese Malaysian and Muslim and she works within her multiple communities to create change through art, literature and community engagement. Tasnim Sammak is a PhD candidate at Monash University's Faculty of Education, a single mum of two boys and a local Palestinian Muslim organiser.We also hear a poem by Larrakia, Kungarrakan, Gurindji and French writer and poet Laniyuk who performed at the Blak-Palestinian poetry night in Narrm/Melbourne on June 26th. Blak and Palestinian poets, artists and activists came together for a special evening of poetry, performances and discussions. You can hear the full broadcast of the night, and by extension all the poems, on the Salaam Radio Show at 3CR. 

During an era when our bodily autonomy is under increasing threat, doulas — for birth, for death, for abortion, and more — are essential to supporting our collective capacity to meet change. In this vital episode, host Amirio Freeman talks with abortion doula Michelle Loo about their experiences with full-spectrum carework. Through situating the work of abortion doulas within a long history of communities innovating systems of care, Amirio and Michelle unpack the link between abortion access and diverse movements for liberation. GUEST: Raised by Chinese-Malaysian immigrants in New York City and Philadelphia, and now residing in DC, Michelle Loo is an East Coast baby who is grounded by eating good food and building expansive networks of care. They are a queer and leftist trainer, educator, and doula. They like to ask good questions, listen, and make art. RESOURCES: The Radical Doula Guide by Miriam Zoila Perez DIY Doula Self-Care for Before, During, and After Your Abortion by the Doula Project

Sometimes the inspiration to change your life can come from unlikely places. Sarah shares the story of meeting the person who inspired her to apply for MasterChef Australia.Best known as one of MasterChef Australia’s favourite contestants from 2017 and 2020, Sarah Tiong’s passion for and love of sharing food is a joy to watch and be a part of. Sarah is the successful author of the sensational cookbook Sweet, Savory, Spicy and owner of pop-up market stall Pork Party. However, Sarah wasn’t always chasing her dreams in the hospitality industry. Growing up in a conservative, traditional Chinese-Malaysian family and carving out a career as a lawyer, Sarah found herself facing challenges and expectations to overcome in order to follow her passion and create her own path. See acast.com/privacy for privacy and opt-out information.

In episode 5 of Women Giving A Bleep, Tanyella Evans interviews Sarah Lian, a boundary pushing Chinese Malaysian actress who grew up in Canada now based in Kuala Lumpur, Malaysia. After beginning her acting journey in the US, Sarah made a name for herself in Southeast Asia and built her own boutique talent management agency Suppagood. In this episode Tanyella and Sarah dives deep into the world of wellness and how her experiences in the past lead her into building Supparetreat a safe space for beautiful powerful women to explore their own potential and shine in their own light. Sarah also shares with us her own experience with asian hate being born into a Chinese Malaysian family and how she is choosing to use her voice today for good. Make sure to subscribe to our Women Giving a Bleep podcast to tune into our next episode, follow our Instagram @nabuorg to be kept in the loop on all things social impact, culture, creativity and community. Share your thoughts in the comment section below, letting us know what inspired you most about Sarah's journey and her passion in serving other women.Show Notes:Follow Sarah Lian: Instagram @imsarahlian Official Website https://www.sarahlian.comFollow Supparetreat: Instagram @supparetreatCatch up on missed events See acast.com/privacy for privacy and opt-out information.

This week we hustled our way to Oxford street where we introduced ourselves to a building that will most likely see our faces again...Cafe Freda’s. It has only been a few hot minutes since the Chippendale nightclub Freda’s shut their doors after a fun nine years. And now, much like the original venue, Cafe Fredas has an emphasis on expression, art, and music. Which if you know us here at the OG headquarters well, you know those are three things we absolutely love. With a bright yellow exterior, the building itself is rather hard to miss, not to mention you can actually smell the Chinese/Malaysian inspired cooking from across the road as you strut right in. See acast.com/privacy for privacy and opt-out information.

25-year old Jocelyn Yow made history when she became the youngest woman of color to become a mayor of a California city. The new Mayor of Eastvale (Riverside County) in California, she is also a new mother and a grad student, who served as a district representative for the California State Senate and as an aide for the United States House of Representatives, where she worked to help seniors, families, small businesses, nonprofit organizations, and children access valuable government services. The daughter of a Vietnamese refugee and Chinese Malaysian, she knows how important it is for immigrant voices to be represented in politics, and hopes her story will help inspire younger generations to lead in their communities too. She joins us to share her story. Image Source: Mayor Jocelyn Yow Facebook

Chinese Malaysian born, Kelvin Tan - no doubt one of my favourite chefs of all time and a Sous Chef at 2 Michelin star restaurant, Sat Bains. We talk about his story, of how he became a chef and his desire to learn how to cook Chinese food as inspired by his Dad #PapaTan. Speaking of which, he tells us the background of how his Dad met his mum and when they moved over to Ireland. Give Kelvin a follow on Instagram https://www.instagram.com/kelvintanwc - but be warned, his page will leave you drooling with all the food porn.I've also snuck in a small solo clip of themahjongline news. More people trying to white wash the Chinese culture.  People should just leave our traditions alone and respect it.  Our culture doesn't need refining and it never will.If you're listening, please feel free to message me on Insta and let me know what you think of this show. https://www.instagram.com/chinesechippygirl

A Berkeley-born daughter of Chinese-Malaysian and Vietnamese heritage. She is a graduate of the MFA Directing program at the American Film Institute. Jennifer's award-winning debut feature film Half-Life premiered in 2008 at Sundance and Tokyo International, screened at SXSW, and was distributed by the Sundance Channel. Some of Jennifer's other projects include directing and editing the music video Glass Butterfly, and editing and producing the Sundance Short Crazy Beats Strong Every Time. Jennifer won the inaugural San Francisco Film Society Women’s Filmmaker Fellowship, and served as a filmmaking mentor for President Obama’s Call to Arts Pledge.  Jennifer's recent feature Advantageous won a Jury Prize  in Sundance and it was based on her acclaimed 2012 short.   Jennifer has guest-directed on episodic series television, including: The Expanse, Cloak & Dagger, and the upcoming Resident Alien.

Dorcas Tang is a third-generation Chinese-Malaysian artist and photographer who currently calls Sydney, Australia home. Her first documentary photo project, Los Paisanos del Puerto, offers an intimate glimpse of the historical Chinese community in Puntarenas, Costa Rica. Through her work, she seeks to question ideas of belonging, constructions of memory, and investigate intersections of cultural and gender identity. She explores these themes through the transnational Chinese diaspora spanning from Central America to Southeast Asia.

Our emotions are also stored non-verbally in our body, and the art process helps expresses ourselves. In this episode, we talk with Davy Yong about the role of art to explore our emotions. As adults, we often easily judge and rationalize art to be something we only do when we are younger. Connecting to the process of creating art, offers a gentler way to be open, reflect, wonder, what is being communicated from our inner selves. We also talk about the connection of art with mindfulness, emotional regulation, compassion, Buddhist philosophy, inner child, attachment theory, and transgenerational trauma. Davy Yong is an artist, educator, and emerging art psychotherapist of Dutch and Chinese-Malaysian heritage, currently living, working, and studying in London, he is already well involved in the field because of his work at the British Association of Art Therapists. He achieved his degree in Fine Art & Design in Education in Rotterdam, The Netherlands followed by a post-bachelor in Psychosocial studies. He specialized in Critical Studies, derived from the Frankfurt School which involves contemporary sociological- and philosophical- movements. Davy has been active as an art teacher and lecturer who has worked with all age groups across different countries. You can reach out to Davy and follow his work on Instagram @davyyong, his painting that reimagines the lockdown as a Gothic Romance, ‘The Bones of the Dying World', on @lockdown.residency, on 26th October - 30th November 2020, with online workshops, a panel discussion with arts and health professionals including Davy himself. You can read Davy's blog about Mindfulness, Emotion Regulation, Compassion, Mindfulness-Based Art Therapy here https://linktr.ee/davyyong Please share this episode with someone you think may benefit from listening to it!

In this episode, WTS invites a guest speaker, Natalie, an ethnically Chinese-Malaysian, born and raised as an Australian. She gets asked "where are you really from?" way too often and discusses the answer to this question. She talks about her family's roots and how growing up "without" those roots influence her. We link her story to how migrants often feel, especially feeling like we don't really belong or we don't quite fit in. We also juggle with not qualifying as "Indonesian" enough, "Javanese" enough, or "Malaysian" enough, or "Australian enough"

Daniel and Serena talk about Chinese Malaysian heritage, a compelling vision of church, and life as a church planter in Cambodia.

Benjamin Von Wong is Canadian mining engineer turned social artivist/photographer who designs campaigns around social impact and has succeeded in raising over 100 million views for different causes including plastics, fast fashion and electronic waste. He has a Guinness Book Record, a community of over 500,000 followers and tries to change the world through amplifying positive impact. *Who is Benjamin Von Wong?* Von was born in Canada and his parents are first-generation Chinese Malaysian immigrants. With something of a “chaotic” childhood - he went to 13 different schools in 3 different countries - there was nothing in his background that suggested that he would end up with an artistic career. Instead, he became a mining engineer in Nevada. Until one day, driven by a breakup, he purchased his first $100 camera from Walmart. A purchase that set him down the crazy, artistic trajectory he is currently on. I just woke up one day and realized that I didn't want to be an engineer for the rest of my life. *Becoming a Photographer* The transition into being a full-time creative wasn't immediate, and some of the things we discussed included: * Why quitting his engineering job was less a question of courage, and more out of “fear” * Why photography ended up being the thing that drew him in for the long term; * How he first got his start in the industry, and the most popular platforms to use at the time; * How he ran a Kickstarter to fund his Von Wong Does Europe Tour; * Some of his projects including the 365 day project; and * Von's 3 most impactful work prior to entering the social impact space. Within 3 years, Von obtained the highly sought after global campaign with Huawei where he had to create an angel with fire wings. *Entering the Social Impact* After the Huawei campaign, he felt empty. And this signified another pivotal point in his life, only this time it was into the social impact space: * Why was it so hard to enter the social impact space? * Why was the mermaid with 10,000 plastic bottles project so successful? * How does he measure the impact of art? * Does he worry about alienating potential clients after entering the social impact space? * What is his metric of success? To learn more, visit: www.sothisismywhy.com/10

Sarah Tiong is an accomplished Lawyer however her passion for food and cooking led her to apply for a spot on Masterchef and she hasn't looked back. Sarah is a passionate ally for the LGBTIQ community and shares with us her conflicts growing up in a Chinese/Malaysian family where the cultural expectations didn't fit her expressions of herself. Experiencing some degree of discrimination in society for her sense of dress, Sarah relates to and has enormous empathy for those in the LGBTIQ community  

It’s the Nerdette Book Club! And today we're talking with Lauren Ho, the author of this month’s selection, Last Tang Standing.It's a wonderful summer romance that follows the story of Andrea Tang, a 33-year-old Chinese-Malaysian lawyer, as she tries to make partner at her Singaporean law firm while fending off the unhealthy interest her relatives have in her love life.Before she wrote this novel, Lauren herself was a Chinese-Malaysian lawyer living in Singapore. So ahead of our panel discussion later this month, we talked with Lauren about the reasons behind her huge career change, where the similarities between her and Andrea begin and end, and how Andrea was born “from the ashes of a comedy set where I bombed. Badly.”

The trajectory of the Chinese Malaysian imaginary speaks to the fluid, multiple identities of the modern person. Malaysian literature in Mandarin is a prism through which we can discern the complexity of Chinese identity in our heated cultural melting-pot. What are the characters that inhabit the literary worlds of Mahua literature telling us about ourselves?  Speakers: Ho Sok Fong, Tee Kim Tong, Elaine Chiew Tan Cheng Sin  Moderator: Zhou Hau Liew

Let me reveal the truth about dating Malaysian women. If you are interested in traditional Indian and Malay women, you can check out my Malaysian Cupid review: https://www.globalseducer.com/malaysiancupid-review/ What if you want to date Chinese Malaysian women who are more open to dating foreign men like you? Check out my Asian Dating review: https://www.globalseducer.com/asiandating-review/ And don't forget to get my book: https://www.globalseducer.com/rise-of-the-phoenix/ Enjoy your time in Kuala Lumpur!

#3 Argot: Language, the way mankind communicates through voice and mainstream culture. Early south-east Asian music; kecak performance at sunset, Uluwatu, Indonesia; record played in Hong Kong; car radio, UK; man in the street with a boombox, London; Mark Leckey interview; extreme spin class, London; Harrods video; wedding; club, unknown; family in Hong Kong; TV channel, hotel in New York; Unknown; Gig, unknown; car radio, Mariah Carey; gym class; bar, Mayfair; HXE in club; something outside the window; radio in Indonesian taxi; restaurant, China; store, Hong Kong; Unknown; gallery, last London; girl in car at 6am in Vienna on the way back to the venue (sorry). Drawing inspiration from a story during a journey to the abandoned Arctic settlement of Pyramiden, Ubi Sunt is the culmination of years of collected sonic moments. It was said that from this archipelago in the far north, left behind by all of its 1000 inhabitants for over a decade, ‘ghost’ radio signals had suddenly been detected. A singer whose family were from the original town had been sent an anonymous cassette tape, with recordings of them picked up from the region. Ubi Sunt is a new audio work by Flora Yin-Wong, commissioned by Somerset House Studios, composed of a tetralogy of sound pieces that abruptly jump between, cut up and stitch over six years of recordings captured in known and unknown locations - unlabelled and often lost sources. The connection between memory, emotion, and recorded moments that have accumulated on an iPhone is something that everyone could have their own version of. Hundreds of these snippets represent connections between the recall of memories, alternate worlds and spaces intangible, yet can be connected to across physical spaces. In collaboration with artist Go Watanabe, the series will be accompanied by artwork that adopts the underlying themes via the camera work of the film. The scene slowly moves horizontally from left to right, which reminds of the viewer the movement of playing cassette tapes, or driving a car through a road. Household objects are placed as if they are constructing a town. The objects were developed submerged in natural light from a window, but for this piece, the shade remains on the surfaces in a new space of absolute darkness. The remaining shadows are the metaphor of memories that carried from the past, said to emerge as ghosts. Varying from the sound of deep crunching snow in a forest in Hokkaido, Turkish EDM on the car radio, the rush of a reservoir in rural Wales, Buddhist monks chanting in Hangzhou, K-Pop in a teen clothing store in Seoul, and old vocal recordings - fragments that shift from the highly personal, nostalgic, to the extremely banal, or contrived and obnoxious are momentarily placed together. Flora Yin-Wong is a London-born, Chinese-Malaysian artist working with field recordings, dissonance, and influences from contemporary club culture. 

#5 Apparatus: Equipment, methods, original recordings since used in tracks. Ceremony at temple starting, Ubud; machine? - unknown; instrument recording in Rotterdam; playing the organ; yangqin recording; unknown machine, Arctic; Unknown; Unknown; playing the piano, London; Greek wedding, Thessaloniki; crickets at night, Canada; running water, unknown; organ; fire safety training; unknown; kemence recording; vocal recording - unknown; exhibition; violin sampling; radio set in a gallery; gallery, Tokyo; violin recorded at home, wind chimes on a mountain on Teshima Island. Drawing inspiration from a story during a journey to the abandoned Arctic settlement of Pyramiden, Ubi Sunt is the culmination of years of collected sonic moments. It was said that from this archipelago in the far north, left behind by all of its 1000 inhabitants for over a decade, ‘ghost’ radio signals had suddenly been detected. A singer whose family were from the original town had been sent an anonymous cassette tape, with recordings of them picked up from the region. Ubi Sunt is a new audio work by Flora Yin-Wong, commissioned by Somerset House Studios, composed of a tetralogy of sound pieces that abruptly jump between, cut up and stitch over six years of recordings captured in known and unknown locations - unlabelled and often lost sources. The connection between memory, emotion, and recorded moments that have accumulated on an iPhone is something that everyone could have their own version of. Hundreds of these snippets represent connections between the recall of memories, alternate worlds and spaces intangible, yet can be connected to across physical spaces. In collaboration with artist Go Watanabe, the series will be accompanied by artwork that adopts the underlying themes via the camera work of the film. The scene slowly moves horizontally from left to right, which reminds of the viewer the movement of playing cassette tapes, or driving a car through a road. Household objects are placed as if they are constructing a town. The objects were developed submerged in natural light from a window, but for this piece, the shade remains on the surfaces in a new space of absolute darkness. The remaining shadows are the metaphor of memories that carried from the past, said to emerge as ghosts. Varying from the sound of deep crunching snow in a forest in Hokkaido, Turkish EDM on the car radio, the rush of a reservoir in rural Wales, Buddhist monks chanting in Hangzhou, K-Pop in a teen clothing store in Seoul, and old vocal recordings - fragments that shift from the highly personal, nostalgic, to the extremely banal, or contrived and obnoxious are momentarily placed together. Flora Yin-Wong is a London-born, Chinese-Malaysian artist working with field recordings, dissonance, and influences from contemporary club culture. 

#2 Remains: Fragments of memories, friends, voices. Unknown - Berlin?; Unknown; Car radio - South London; club, Hong Kong; club, Greece; car radio, UK; Paris, France; car factory, Belgium; gallery, Paris, Sai Wan, Hong Kong; store, Seoul, South Korea; car journey, Hong Kong; London; Chicago; Tokyo supermarket, Japan; taxi, Hong Kong; traffic, Bali; Billie Piper, Unknown; escalators district, Hong Kong; tunnel, London; Camden gig; gallery, Paris; Soundcheck - unknown; Turkish wedding, London. Drawing inspiration from a story during a journey to the abandoned Arctic settlement of Pyramiden, Ubi Sunt is the culmination of years of collected sonic moments. It was said that from this archipelago in the far north, left behind by all of its 1000 inhabitants for over a decade, ‘ghost’ radio signals had suddenly been detected. A singer whose family were from the original town had been sent an anonymous cassette tape, with recordings of them picked up from the region. Ubi Sunt is a new audio work by Flora Yin-Wong, commissioned by Somerset House Studios, composed of a tetralogy of sound pieces that abruptly jump between, cut up and stitch over six years of recordings captured in known and unknown locations - unlabelled and often lost sources. The connection between memory, emotion, and recorded moments that have accumulated on an iPhone is something that everyone could have their own version of. Hundreds of these snippets represent connections between the recall of memories, alternate worlds and spaces intangible, yet can be connected to across physical spaces. In collaboration with artist Go Watanabe, the series will be accompanied by artwork that adopts the underlying themes via the camera work of the film. The scene slowly moves horizontally from left to right, which reminds of the viewer the movement of playing cassette tapes, or driving a car through a road. Household objects are placed as if they are constructing a town. The objects were developed submerged in natural light from a window, but for this piece, the shade remains on the surfaces in a new space of absolute darkness. The remaining shadows are the metaphor of memories that carried from the past, said to emerge as ghosts. Varying from the sound of deep crunching snow in a forest in Hokkaido, Turkish EDM on the car radio, the rush of a reservoir in rural Wales, Buddhist monks chanting in Hangzhou, K-Pop in a teen clothing store in Seoul, and old vocal recordings - fragments that shift from the highly personal, nostalgic, to the extremely banal, or contrived and obnoxious are momentarily placed together. Flora Yin-Wong is a London-born, Chinese-Malaysian artist working with field recordings, dissonance, and influences from contemporary club culture. 

#4 Orison: Efficacy of Prayer and Pilgrimage. Kecak performance, Indonesia; instrument recordings; gamelan from a banjar in the street, Bali; monks in Cantonese, Po Lin monastery; Chinese temple, unknown; Unknown - Tokyo; chants, Sha Tin; prayer, unknown; yangqin recordings; gong recording, Tirta Empul water temple ceremony; unknown; Bali airport; train journey - unknown; monk on car radio, Martyrria, Crete; gong recordings. Drawing inspiration from a story during a journey to the abandoned Arctic settlement of Pyramiden, Ubi Sunt is the culmination of years of collected sonic moments. It was said that from this archipelago in the far north, left behind by all of its 1000 inhabitants for over a decade, ‘ghost’ radio signals had suddenly been detected. A singer whose family were from the original town had been sent an anonymous cassette tape, with recordings of them picked up from the region. Ubi Sunt is a new audio work by Flora Yin-Wong, commissioned by Somerset House Studios, composed of a tetralogy of sound pieces that abruptly jump between, cut up and stitch over six years of recordings captured in known and unknown locations - unlabelled and often lost sources. The connection between memory, emotion, and recorded moments that have accumulated on an iPhone is something that everyone could have their own version of. Hundreds of these snippets represent connections between the recall of memories, alternate worlds and spaces intangible, yet can be connected to across physical spaces. In collaboration with artist Go Watanabe, the series will be accompanied by artwork that adopts the underlying themes via the camera work of the film. The scene slowly moves horizontally from left to right, which reminds of the viewer the movement of playing cassette tapes, or driving a car through a road. Household objects are placed as if they are constructing a town. The objects were developed submerged in natural light from a window, but for this piece, the shade remains on the surfaces in a new space of absolute darkness. The remaining shadows are the metaphor of memories that carried from the past, said to emerge as ghosts. Varying from the sound of deep crunching snow in a forest in Hokkaido, Turkish EDM on the car radio, the rush of a reservoir in rural Wales, Buddhist monks chanting in Hangzhou, K-Pop in a teen clothing store in Seoul, and old vocal recordings - fragments that shift from the highly personal, nostalgic, to the extremely banal, or contrived and obnoxious are momentarily placed together. Flora Yin-Wong is a London-born, Chinese-Malaysian artist working with field recordings, dissonance, and influences from contemporary club culture. 

#1 Terrene, 'of, or like earth', focuses on the physicality of land and air.  Dungeness, UK: wind, gravel, Hokkaido, Japan: crows in the mountain, snow, Polyrrhenia ruins, Crete: aquaduct at night, Ubud, Bali: running stream, insects in rice paddy fields, Budapest, Hungary: tunnel, Chicago: subway, Unknown, Hong Kong: construction in distance, Belgium: car warehouse, Unknown: thunderstorm, snow.  Drawing inspiration from a story during a journey to the abandoned Arctic settlement of Pyramiden, Ubi Sunt is the culmination of years of collected sonic moments. It was said that from this archipelago in the far north, left behind by all of its 1000 inhabitants for over a decade, ‘ghost’ radio signals had suddenly been detected. A singer whose family were from the original town had been sent an anonymous cassette tape, with recordings of them picked up from the region. Ubi Sunt is a new audio work by Flora Yin-Wong, commissioned by Somerset House Studios, composed of a tetralogy of sound pieces that abruptly jump between, cut up and stitch over six years of recordings captured in known and unknown locations - unlabelled and often lost sources. The connection between memory, emotion, and recorded moments that have accumulated on an iPhone is something that everyone could have their own version of. Hundreds of these snippets represent connections between the recall of memories, alternate worlds and spaces intangible, yet can be connected to across physical spaces. In collaboration with artist Go Watanabe, the series will be accompanied by artwork that adopts the underlying themes via the camera work of the film. The scene slowly moves horizontally from left to right, which reminds of the viewer the movement of playing cassette tapes, or driving a car through a road. Household objects are placed as if they are constructing a town. The objects were developed submerged in natural light from a window, but for this piece, the shade remains on the surfaces in a new space of absolute darkness. The remaining shadows are the metaphor of memories that carried from the past, said to emerge as ghosts. Varying from the sound of deep crunching snow in a forest in Hokkaido, Turkish EDM on the car radio, the rush of a reservoir in rural Wales, Buddhist monks chanting in Hangzhou, K-Pop in a teen clothing store in Seoul, and old vocal recordings - fragments that shift from the highly personal, nostalgic, to the extremely banal, or contrived and obnoxious are momentarily placed together. Flora Yin-Wong is a London-born, Chinese-Malaysian artist working with field recordings, dissonance, and influences from contemporary club culture. 

When you’ve grown up in a country other than your own, what happens when you return to live in your home country and explore your roots? What stories will you uncover about your identity and family’s multicultural heritage?   In episode 26, I talk to Chrislyn Choo, multicultural storyteller and host of the Chrysalis Chronicles & a multimedia content officer at My China Roots about her inspiring and fascinating journey to trace her roots through story and Chinese history. Her story will inspire you to explore your family’s history, heritage and the pieces of their stories that they bring to the table and that shape who you are. In other words, quite literally, a family potluck.   We talk about the following: Returning to one’s home country and culture after growing up in a country and culture completely different than your own Why Chrislyn felt misunderstood during her studies at Duke University and what she did to find her place at the table The experience of being Asian in the United States How and why Chris Lynn decided to start exploring her Chinese - Malaysian roots and share other people's migration stories What Chrislyn learned about herself and her family while tracing her Chinese heritage The importance of understanding one's roots

Pamela See is one of the artists featured in the Sydney Lunar Festival in 2019. Born in Brisbane to Chinese Malaysian parents who migrated to Australia, Pamela is the artist behind the beautiful sheep lantern inspired by the traditional art of Chinese paper cutting.  Her technique bears resemblance to Foshan papercutting that emerged during the Song Dynasty (960-1279 CE) in her maternal family home province of Guangdong.  Using a variety of knives, this style of papercutting is also applied to thin foils of metal. Over the past 20 years, Pamela has exhibited in Australia, China and the United States of America. This includes contributing to exhibitions at the International Curatorial and Studio Program (ICSP) in the US, the Qing Tong Museum in China, and the National Gallery of Australia.   Her artwork is held in several institutional and corporate collections including: The Australian War Memorial, Parliament House (Canberra), The Art Gallery of South Australia, Chinachem (Hong Kong) and Swire Properties (Beijing). She is presently undertaking a PhD at Griffith University investigating the capacity of papercut to be translated into a variety of media including: knitting, animation and sculpture. https://newstories.net.au/pamela-see/

Never Alone, Never Unarmed by Bobby Sun   The fighting spider sat heavily in Kian Boon’s left palm, where he’d knocked it from its leafy abode. It was maybe a centimeter and a half from the tip of its pedipalps to the silky spinnerets of its abdomen, black and silver like one of the sleek Chinese centipedals that increasingly frequented the roads below his building. He could feel the weight of the thing as he cupped his hand around it and it jumped, smacking against the roof of his fingers.     Oh hi, Rey. Hi. What are you doing? Oh, are you coming over here to smell. I know, Rey. I know. You're a good dog. But, I gotta do this recording. Yeah. [Intro music plays] Hello, welcome to GlitterShip Episode 59 for August 27th, 2018. This is your host, Keffy, and I'm super excited to be sharing this story with you. Today, we have a GlitterShip original, "Never Alone, Never Unarmed" by Bobby Sun, and a poem, "Feminine Endlings" by Alison Rumfitt. Before we get started, I want to let you know that GlitterShip is part of of the Audible Trial Program. This means that just by listening to GlitterShip, you are eligible for a free 30 day membership on Audible, and a free audiobook to keep. One book that I listened to recently is They Both Die at the End by Adam Silvera. I will warn you, this young adult book is full of feelings. That said, I thought it was a great example of queer tragedy rather than tragic queers. In a near future world, everyone gets a phone call between midnight and 3am of the day that they're going to die. They Both Die at the End follows two teen boys who got that call on the same day. I loved how tender the book was, but here's your warning: have tissues on hand. To download a free audiobook today, go to www.audibletrial.com/glittership and choose an excellent book to listen to. Whether that's They Both Die at the End or maybe even something that's a little less emotionally strenuous.     Alison Rumfitt is a transgender writer who studies in Brighton, UK. She loves, amongst other things: forest, folklore, gothic romance, and wild theories about her favorite authors being trans. Her poetry has previously been published in Liminality, Strange Horizons, and Eternal Haunted Summer. Two of her poems were nominated for the Rhysling award in 2018. You can find her on Twitter @gothicgarfield.     Feminine Endlings by Alison Rumfitt   I’m the last one with a mouth I think the last onewho still has a tongue that can dance the lastto dance or move the last to use her lungs likelungs were used like they used to be likea soft ball of feathers being blown by a galeI am the full stop I think the forest is different for menow, I can’t see the others, and I cannot think of them,all the trees have changed shapethey now carry new sub-meaningsdeep in their bark new grubs are bornscreaming from podsto chew at my placethis citywhich I knew so wellwhich I knew automatically could navigate as an automatonturning left and right the moment I sensed itit’s gone, somewhere, when I had my back turneddrinking away in a clearingnow the people have different colored eyesit’s far less bursting and different than my old days tell methe sun left along withall of the people I was in love with the city the forestthe cave-system the desert the habitat adapts to thethings that dwell in it the things inside itevolve to be more like their future selvesand I hate the way it makes me feelbecause I like knowing where I am— the last Tasmanian Tiger died in a zoo from neglectas a storm ripped at her cage she lay in the cornerhead tucked under her arm the lastStephens Island wren was clawed to deathby the first cat she fell to the grass feeling theteeth around her shallow headthe last Passenger Pigeon was stuffedshe sits in a glass boxtelling everyone who visits that everything will changeand you will die eventuallyand nothing really matters if you don’t want it toand there’s so many of uswho died somewhere alone the last of a kindwithout a name or a grave-marker or ashesto be put upon a fireplace or manteland I hate that I could end up the sameforgotten under piles of new babies with new waysof thinking new streets built over my houseas a lightning strike burns down the tree I hid inthe end of a line marks the place where you know what the lineis the end of a species or a group or a life marks thedefinition of said species or group or lifeso the end of me matters and the end of mewill live on past the rest of me so if I endthe same way all the others do I becomethe same as all the others I am notme I am them but I am me if I end neveror if I end when it becomes thematicallymeaningful which is why nothing matters nowbut then it will it will really matter everything will matterthe last trans woman on earthstanding on a pile of trans womenthe only thing that tells you she is ‘she’ isshe rhymes unstressed which is arbitrarymaybe we won then if the last woman is herif the last trans woman in a new worldwhere everyone is nothingshe is this wonderfulthing happy in a house builton the dead made of the dead maybe eating the deadon her own making her own fun readingcoding tattooing herself with notes and appendixesif it's her then perhaps the perfect final note of Us is— This, old Death slowly walking opening the door to meet herand he nods and she nods and the world becomes a little darker.     Bobby Sun is a Chinese-Malaysian author and spoken-word poet who grew up in Singapore and is studying in London. His work has previously been published on Tor.com as well as in the inaugural Singapore Poetry Writing Month ("SingPoWriMo") anthology (as Robert Bivouac), and in Rosarium Publishing's anthology of Southeast Asian steampunk, The SEA is Ours: Tales from Steampunk Southeast Asia as Robert Liow.     Never Alone, Never Unarmed by Bobby Sun   The fighting spider sat heavily in Kian Boon’s left palm, where he’d knocked it from its leafy abode. It was maybe a centimeter and a half from the tip of its pedipalps to the silky spinnerets of its abdomen, black and silver like one of the sleek Chinese centipedals that increasingly frequented the roads below his building. He could feel the weight of the thing as he cupped his hand around it and it jumped, smacking against the roof of his fingers. He kept his left hand closed and extracted a jar from a raggedy, home-made satchel. The jar was double-layered; between the inner and outer layers of chitinous plastic shrilk was water, kept reasonably below the ambient temperature with a simple synthorg heat sink he’d Shaped himself. The spring-sealed jar flicked open as Kian Boon visualized and nudged a couple of its Shape-threads. He dropped the spider in, snapped the jar shut and let the cooling take effect. This little thing, all of approximately two grams, was worth about a dollar; iced Coklat for two at the kopitiam near his school. The jar, of course, wasn’t part of the deal. His buyers would need a container of their own. Kian Boon swatted at a mosquito, then pushed his way deeper into the vegetation. He winced as a twig scratched his cheek. There were still four jars left to fill, though, and it was only nine on a Saturday morning. The air was thick with mist, and the leaves still hung with dew. White-headed birds hopped through the trees, leaping from branch to branch and snatching red berries off their stems. Somewhere above him a male koel sounded off. The sun filtered through the canopy, dappling the ground in pixel-patterns; Kian Boon made a game of dancing through them. This area was new to him. He’d heard of it only because Aidil, a rival spider-hunter from the neighbouring class, had let it slip to his sister. She’d told her best friend, and it had eventually ended up with Ravi Pillai (who’d, naturally, told Kian Boon). Ravi was the bright-eyed Indian boy in his class he’d noticed during orientation, on their first day of Form One. He’d been assigned to Kian Boon’s group, and was the very first to get picked for “Whacko”. Kian Boon hadn’t recalled his classmates’ names in time, so Ravi had hit him hard enough with the rolled-up newspaper that he’d sustained a paper cut on his forehead. The horrified facilitator had excluded Ravi from the rest of that game, though Kian Boon hadn’t really minded. The only name Ravi really remembered at the end of that day was his. It was, well, best friends at first sight. They hung out at recess almost every day, sometimes joined in a game of soccer and occasionally went to the kopitiam or spider-fighting rings after school with their friends. Not alone, though, he thought. Not yet. He’d get there later. There was a plan, and he needed the spiders for it. Kian Boon exhaled. He picked through the thickest bush he could find, searching for the tell-tale bivouac of a fighting spider. They preferred the densest vegetation, making their home in glued-together leaves. Finding a nest, he gently unzipped it, dissolving the silk into its constituent proteins. The spider hung onto the upper leaf, but with a quick motion of the wrist it was resting in his cupped left palm. He felt its silken trail as it darted about, and he closed his hands to gauge its weight. A good spider, if a little sluggish. It was well-fed. He peeked through a gap in his fingers. Its silver-banded abdomen iridesced a bottle-green; a rare and valuable variety. Kian Boon slipped it into another jar, watching as the critter paced, then slowed, then eventually fell asleep. There was a swift rustling. Kian Boon turned around and there, maybe ten meters away from him, was a tiger about three meters in length. Perhaps he could make it turn away? He pulled its Shape-threads up, but they were greyed-out; it was too strong for him to Shape. Kian Boon hissed in frustration. He backed further into the vegetation, praying he hadn’t been spotted. He hadn’t expected a tiger. Singaporean tigers were rare. The British had set bounties on each head for the century they’d colonized the island, and their subjects had been happy to deliver. The Great War, just under a decade ago, had taken its toll on them too; fierce fighting between the British Malayan Army and the Nanyang Republic’s coalition had driven them across the Straits, setting large tracts of its old growth ablaze. This place, though, had been almost completely untouched. Some of the trees were massive, and looked decades, if not centuries, old. Of course there’d be tigers here. What had his mother told him about tigers? They were fast, strong and intelligent. They could climb trees, and there was no point playing dead. Think, Kian Boon thought to himself. You are never alone, and never unarmed. He’d heard the Combat Shaper Corps’ motto on the thinscreen dozens of times in recruitment advertisements, and his parents had served with them in the war. Anything alive, or once alive, could be useful. Think. Dead leaves on the ground. Live leaves everywhere else. Wood, if he could tear it away. Several blade-like mushrooms sprouting from a lightning-blackened stump. Bugs of all kinds; swarming midges in the air, nests of kerengga ants streaming down the taller trees, large crickets, caterpillars and butterflies. Think. The tiger snuffled. It knew Kian Boon was there, but didn’t want to advance just yet. It would wait for the boy to let his guard down and then strike. Kian Boon could see it pacing, its stripes slipping through gaps in the vegetation. He kept it in front of him. His gaze leapt from tree to tree as he wracked his brain for solutions; his guard was up, and multi-coloured Shape-threads popped in and out of his vision. He blinked sweat out of his eyes, though it was a relatively cool morning, and then he attacked. Kian Boon realigned the threads near the bottom of two of the nearest trees with a slash of his fingers, loosening their cells, and thrust his hand forward, dislodging them. The trees splintered at the breaks, but didn’t fall; he only wanted to scare the tiger, not hurt it. The tiger leapt back, wary, then stepped around the obstruction. Kian Boon locked eyes with it, just a leap away from him. The sun turned it a dappled gold, its stripes shifting as it padded towards him. It licked its muzzle. Trembling, Kian Boon reached into his satchel for his pocketknife, but instead felt one of his empty spider jars. He pulled back, then looked again. The synthorg heat sink was a simple construct. Kian Boon could put one together in an hour from kitchen scraps. Powered by a small reservoir of ethanol, it dispersed heat from the water insulating the jar into the external environment, keeping the inside cool. Kian Boon snapped the empty jar open, snatched up a handful of dead leaves and stuffed them in. He Shaped them into a slurry, then sealed the jar. He tore at its Shape-threads roughly, until the outer layer cracked and the water drained out. The heat sink began to glow, and Kian Boon hurled the jar as hard as he could at the tiger’s face. It smashed, the slurry spilled out, and the red-hot heat sink set it ablaze. It was merely a fistful of fire, but the tiger roared and swiped at its face, singed by the improvised weapon. Kian Boon made a run for it. He sprinted past the temporarily blinded creature, no longer caring to dance through the sunlight. He burst through shrubs, trod on ant trails, snapped every twig in his path as he rushed to the safety of the small capillary road he’d entered by. The spiders he’d caught slept on.   The Transit Authority centibus stop was deserted. The factory beside it had closed for the weekend, and only three buses served this stop. Kian Boon flipped through his bus guide and figured out a route. It would cost him a flat ten cents, out of his weekly state school allowance of seven dollars and fifty cents. He sat on one of the fan-shaped seats, which had been painted a bright shade of orange, and kicked the gravelled ground absent-mindedly. It finally hit him. That was the first tiger he’d seen in the flesh. The captive ones in the Zoo, behind panes of mesh and hardened shrilk, didn’t count. He recalled its eyes, staring into his as he’d reached in panic for his pocket knife, for all the good that would’ve done. The smell of the tiger’s burning fur, acrid like the time he’d accidentally let his hair catch on his elder cousin’s sparkler two New Years ago. He’d panicked and run headlong into her, putting out the fire but also burning a hole in her pretty red qipao. She’d been able to fix the damage, but the fabric had been stretched thin and eventually fell apart in the wash. He looked into his satchel again. Four remaining jars, half of them empty. He slapped the seat in frustration. The trees could have been knocked down, instead of snapped. He’d been too soft to risk hurting a fucking tiger that was about to eat him alive. He could’ve used the insects to his advantage, sending ants and flies to blind the predator while he fled. He could’ve crumbled the humus beneath his enemy’s feet, trapping it in place, but no. He’d overloaded the fuel cell on the heat sink, instead, because he’d had it in his hand and stopped thinking. He sighed. Getting the materials for another jar hadn’t been in the plan, and it would set him back a couple of weeks in savings. The state school allowance was alright, but it was hard to save much of it when the Ministry-mandated lunch service deducted a dollar each weekday. That left him with two-fifty a week, of which one dollar went to transport to and from school. Most kids ran errands for extra money or joined a semi-legal enterprise, like the spider-fighting rings. Some, like the ahbengs and ahlians at school, joined up with the secret societies that the Nanyang administration hadn’t managed to stamp out. He mostly stayed away from those, though he did sell spiders and tech to the few he trusted. Ravi didn’t like them at all, but it was business. Perhaps he’d scavenge something, repair some junk, and maybe that’d pay for a few more dates at the kopitiam. The plan would go on; he only had enough for a first date, now, but Ravi would probably forgive iced Coklat. Kian Boon leaned back, staring at the ceiling of the bus stop. A nest of communal spiders had made their webs between two of the scaffolds. The dense, grey mesh surrounded the lone tube light, a fatal attraction for moths; he presumed this stop was so out of the way that the Transit Authority’s street cleaners didn’t come here. He focused on their Shape-threads and sliced a bit of the web off with a pinch of his fingers. Several spiders emerged, startled. He let go, and they drifted lazily until a gust of wind sent them, and the chunk of web they clung to, into the distance. He knew this species; that bit he’d just cut off would eventually establish its own colony somewhere else, if it found a safe home. The rest of the web would adjust, rebuilding what he’d torn off. He wondered if it would be the same for him, if he pinched a little bit off himself and someone else let it go. Would it grow back? His centibus arrived. The thumping undulations of its rubberised legs slowed as it pulled up to the stop. Kian Boon shrugged his satchel on, hoisted himself off the orange seat and climbed aboard.   Kian Boon reached home at eleven, just as his Ma began preparing lunch. She was washing rice while little Siew Gim, all of sixteen months old, played with their Ba in the living room. Ma scowled at him through the kitchen doorway; he shouted, “sorry, Ma,” and hurried to his room. He looked at himself, covered in scratches and forest grime, and sighed. If Ma had started to cook, she’d have washed up beforehand. The water would be cold for a while before the solar heater managed to warm it up. He exhaled and slumped to the cold, green-grey floor, letting the heat drain out of him. Rolling onto his stomach, he crawled over to his satchel and removed the spiders he’d caught. They slumbered peacefully in their jars, legs tucked beneath their bellies. He looked into their tiny black eyes, open but unaware, and the streaks upon their shiny bodies. He picked himself up and set them down on his homework-cluttered desk. His cheek stung; the cut he’d sustained had reopened, slightly, and blood began to well in the laceration. Kian Boon sighed, brushed his hair back and opened the door. Siew Gim was waiting for him, babbling “Gor-gor” excitedly in Ba’s arms. She’d been born with nubby stumps instead of legs. Ba’s transport had been hit by a fungal mine the Brits had left behind during their final retreat. He’d been evacuated back to Pontianak and put out of action for the rest of the war. Kian Boon recalled sitting by Ba’s bed in the base hospital while the doctors purged the disease from his father’s body. They hadn’t discovered the mutations until they’d had Siew Gim. Kian Boon reached for his little sister, but Ba pulled her back at the last moment, laughing. Siew Gim squealed and shook her head to get her fringe out of her face. She pouted at Ba, and he rubbed her nose with his finger. He gently chided Kian Boon in Hokkien. “Boon, go shower, then can play with Gim. Water warm already.” Kian Boon nodded and headed for the master bedroom, where their shared bathroom was. He stripped his dirt-covered clothes off and shook them to make sure nothing had come back home with him. He spotted and ripped the legs off a biting bug that had attached itself to his collar; his spiders would need the food, but he couldn’t afford to have the thing loose in the house. Thankfully, nothing else had hitched a ride out of the forest. He stepped into the bathroom and hit the showers, relaxing as the sun-warmed water rolled over his body.   The smell of fried fish filled the house as Kian Boon sat on the living room floor. Siew Gim bounced on his lap, giggling as she tried to headbutt him on the chin. He threw her favourite toy, a synthorg turtle plushie named “Turtle”, across the room, where it landed on its back and started to scrabble in the air. Siew Gim took off after it, crawling on her rubberized elbow and wrist pads. Kian Boon watched her; she wiggled her butt and stumps in sync with the movements of her arms. It looked as if she was swimming on the ground, almost effortlessly; they’d put her in a pool once, and she’d taken off like a fish. He wondered, not for the first time, what he’d looked like at that age. Ma and Ba hadn’t seen Kian Boon often. Ma had fallen pregnant just before the war, given birth and been called back to duty once he’d turned three months old, leaving him in a military childcare facility on the outskirts of Pontianak. Ma was a combat-Shaping instructor, and Ba was a maintenance specialist with a mechanized infantry company; they’d been assigned to separate units as a result. Kian Boon had one official picture of himself for each of the four years he’d been a ward of the state. Still, he knew he’d had it good. At least they were alive, and they treated him well. Ba sat at the workbench in the living room, tinkering with one of his latest creations. Ba had service injury compensation in addition to the social dividend which the Nanyang government had implemented several years ago. It was more than enough to live on, but he insisted on working full-time with the Reconstruction Trust. He maintained residential buildings with his team, and built things in his spare time. Ba was currently working on a lifelike in the shape of a pigeon. There were scraps of gore wedged under his fingernails as he carved up a pig brain with a scalpel and threaded the grey matter into the pigeonlike’s soft, shrilk body, weaving neural circuits that would link his creation’s brain to the rest of its body and allow it to move and respond to stimuli once he’d given it a circulatory system, sensory organs and muscles. A pile of animal hair and feathers, bought from the local butcher, remained by the side of the table as raw material for its feathers and beak. Kian Boon picked Siew Gim up and walked over. She loved to see her father working on things, even though she was years away from getting her Shaping, and often crudely mimicked his hand movements as he flicked at threads, waving her hands as if to help him in his work. Upon seeing the greyish pig brain she squealed with delight, babbling “hooi, foo!” when she recognized  the colour. Ba smiled at her, then motioned to Kian Boon. “Boon, put Gim down. Come sit here.” Kian Boon lowered Siew Gim to the floor. She scooted off to the middle of the living room to play with Turtle. He sat down next to Ba, as Ba resumed weaving the pigeonlike’s neural circuits. The fingers of Ba’s right hand traced the grooves he’d etched into its body, pulling the grey matter along with it. Kian Boon watched as he guided them along their paths. He studied the threads, observing how Ba shifted the different, intersecting colours as he bound the circuits to their shrilk housing. Ba hummed a tune while he worked. It was an old marching song based on the Chinese classic, “Man Jiang Hong”. He’d taught Kian Boon that song on one of their weekend outings earlier that year, while they searched the hills of Bukit Timah for rare wildlife. Kian Boon had thought the guy who’d played the Chinese hero Yue Fei on thinscreen a couple of years back had looked good, and Ba had teased him about his “heroic boyfriend” all the way home. Ma had laughed when Kian Boon complained, and told him not to let other boys distract him from his schoolwork. Ba tapped Kian Boon on the hand with a gory finger. “Boon, can see the threads on the grey matter?” “Can see, Ba, can see.” “Good. You try to move them a bit. Fill in the gap.” Ba passed the grey matter to Kian Boon. Kian Boon summoned and seized hold of just one strand, manipulating it with his index finger. He could see the etching, and he let the material stretch and fill it up. Where it branched, he picked a path and continued on it, only returning to the original when it ended. He traced the circuits of the pigeonlike precisely, looking back to Ba every now and then for approval. Ba simply nodded and smiled at his son. Kian Boon, for his part, was happy to be working on one of Ba’s projects. “Ba, this one use for what?” “This one for singing. See the circuits at the neck, there? For vocal chords.” “Go market show?” “Yeah. Let neighbour they all see.” This was to be a showbird, the kind old folks hung up in cages and let sing to each other in the mornings. On the days the family went out for breakfast, Kian Boon would often sit in the market’s sheltered concourse with Siew Gim, listening to their melodious tweeting. Each showbird was controlled by a single brain, Shaped into accepting musical instructions; the quality of the song then depended on how the Shaper constructed its inner workings. He wondered if Ravi would like the showbirds. There were orioles living in their school. Their feathers were a brilliant yellow, and their eyes and wings were ringed in black. He’d pointed one out to Ravi, who’d immediately picked a brilliant feather off to use as a bookmark. Ravi loved their calls, which reminded him of mornings, waking up and walking to school in the cool half-light. The sweet, clear chirps even evoked the smell, he’d said, of damp leaves and dewy air. Kian Boon had asked him then, “I smell like what?” Ravi had thought for a bit before shrugging. “School, I guess. Just like school.” Ba gently tapped Kian Boon’s hand. Kian Boon’s finger had gone off course. Grey matter had now forced itself into a crevice it had no right to be in, awkwardly bulging the shrilk surface of a wing. Kian Boon grimaced. It was a minor accident, but if not corrected, it would affect the pigeonlike’s function. Ba was still smiling, though. “Can fix one, Boon. Don’t worry. Just think.” Kian Boon focused. He pulled the grey matter back, slowly; it grudgingly slid back out of the crevice, leaving a crack behind. He summoned the Shape-threads around the crack and the bulge on the pigeonlike’s wing and obligingly, they rose. A firm prodding applied directly to the bulge shifted the material inwards, and a pinch closed the crack entirely. He gave the thing a once-over. It looked fine now, like it had before, and he breathed a sigh of relief. Ba patted him on the shoulder and took the unfinished pigeonlike from him. The sound of plates caused them to turn their heads. Ma was setting the table for lunch, with fried fish, a pot of rice and some bok choy. Ba and Kian Boon got up, then headed to the toilet to wash their hands.   It was four in the afternoon, and Kian Boon lay on his bed. A completed sheaf of Math worksheets lay on his desk. Kian Boon was more interested in science and Shaping than totting up numbers and letters, and often found himself asking Ravi for help with the tougher questions. The other boy had a knack for logic and rhetoric and dreamt of being an architect. His mother had been one before the war, he’d told Kian Boon, and now worked in the Reconstruction Trust as a restoration engineer, supervising the restoration of historic buildings. Kian Boon had asked Ba if he knew her, but Ba didn’t know much about her except that she had her own team and a reputation for efficiency. As he turned the cordless phone over in his hands, Kian Boon wondered what meeting Ms Pillai would be like. It would have to happen someday, he reasoned. She sometimes picked up when he called Ravi over the weekend, and her voice had a sunny warmth that Ravi had inherited. He turned the dial three times, and then stopped. This was part of the plan, he reminded himself. He’d prepared something for this, folded it up in an old exercise book and kept it away just for this moment. It was a love letter, at first, until he realized he couldn’t do it in person; it then became a script, memorized over the past week so he wouldn’t sound like he was reading off it. He’d thoroughly grilled Ravi on his plans for the weekend. Ravi had said he’d be back from soccer practice and lunch at three, and Kian Boon had done his homework in double-time so he’d be free to call at four. This was all part of the plan. He redialled the eight digits of Ravi’s phone number, forcing himself to drag his finger clockwise. He could already feel the resistance building up. His heart rate rose each time he released the dial, and the muscles in his neck and jaw tensed up. He exhaled slowly as the dial returned to its original position for the eighth time, and somewhere in Singapore, a phone began to ring.   On the fourth ring, Ravi picked up. Kian Boon’s mouth went dry at the lilt of his voice. Everything seemed to snap into focus, and Shape-threads began to encroach on his vision. He forced them away, breathing deeply. He struggled to get the words out. “Hi, Ravi, Kian Boon here. You free?” “Yeah, what’s up?” “Uh, I actually been thinking. You know we been friends for a while now, right? We, uh, got to know each other quite well over the past few months. We become kind of close.” “Yeah, got that. What’s this about?” Think. “Um, actually, I want ask you something. You’re, uh, not like other guys. Like, more mature, more smart, more handsome. Uh. Um. Uh. You want to go out? With me. Like. Date.” Ravi was quiet for a while. Kian Boon could hear him breathing through clenched teeth, the slightly wet sound of air coming up against wet enamel, before he finally said something. “Boon, you’re a good friend, but that’s it. I’m really flattered, but I don’t think I like you like that.” Kian Boon felt his stomach giving way and a pressure in his nose. He lowered the phone, so if he began to cry Ravi wouldn’t hear it. The Shape-threads returned, and this time he couldn’t force them down. He wanted to scream at Ravi, hang up on the insensitive, undeserving boy, but he stopped himself. Think. There were other people out there. Plus, Ravi hadn’t sounded weird, or creeped out. It wasn’t like this was the end. Can fix one. Don’t worry, Boon. Just think. Kian Boon exhaled through his nose and brought the phone back up. “Hey Ravi, you there or not?” “Uh, yeah.” “It’s alright. I, uh, don’t mind. Heh. You still want hang out, though? Like, not in that way. Friend friend only. I got two good spiders today, we can get iced Coklat after school tomorrow.” Ravi laughed and said, “Yeah, sure.” The pressure dissipated. Kian Boon sighed, smiled, and responded. “Alright, set.” He chuckled. “Eh, Ravi, by the way. You seen a tiger before?” END     “Feminine Endlings” is copyright Alison Rumfitt 2018. “Never Alone, Never Unarmed” is copyright Bobby Sun 2018. This recording is a Creative Commons Attribution-NonCommercial-NoDerivatives license which means you can share it with anyone you’d like, but please don’t change or sell it. Our theme is “Aurora Borealis” by Bird Creek, available through the Google Audio Library. You can support GlitterShip by checking out our Patreon at patreon.com/keffy, subscribing to our feed, or by leaving reviews on iTunes. Thanks for listening, and we’ll be back soon with another GlitterShip original.  

Tonight on our program we have a very interesting discussion for those who play the lottery in hopes of winning.  We talk with an incredible young man who won $52 million dollars in the lottery, and the amazing things he is doing with it.  He is a Navy veteran, he began his career in the cruise line industry with a Chinese/Malaysian company, Star Cruises, and while working in China he learned the Mandarin language before transitioning to Norweigan Cruise Lines which had been purchased by his present employer Star Cruises.  He worked for Norwegian Cruise Lines for a decade before starting his own business, The Pilgram Group, a real estate company that focuses on renovating commercial, residential and maritime real estate.  Listen and learn the rewards of philanthropy and community activism, as well as the responsibility we all have to give back.  

'Throughout this process I don't know how many times I've broken down crying, together with my partner.' ChatterSquare catches up with Benjamin Oh as the marriage law postal survey in Australia closes. Ben is co-chair of Equal Voices, a national LGBTI-affirming ecumenical organisation. In this episode, he talks about what it is like to be gay, Catholic and Asian-Australian. What are the things that have helped him deal with homophobia? How does his faith sit with his sexuality? What does he think about the institutional language around gays and lesbians, given strong Catholic support for same-sex marriage compared to other Christian churches? Ben also talks about the ways in which his Chinese Malaysian family has embraced his partner, and grounds for hope. Music: Aces High by Kevin MacLeod (incompetech.com)licensed under CCBYA 3.0.

Retired agent Marc Ruskin served 27 years with the FBI. During his Bureau career, he spent more than 20 of those years as an undercover agent. Marc successfully infiltrated a New York Mafia crime family, a Chinese Malaysian heroin organization, a Wall Street trading exchange, right-wing terrorist groups, and worked on espionage cases. In this episode of FBI Retired Case File Review, Marc Ruskin reviews his false flag espionage undercover role posing as a French operative seeking to purchase uranium enrichment equipment that had been stolen from a U.S. Department of Energy facility in Oak Ridge, Tennessee. His undercover work in this case resulted in a former employee at the Oak Ridge Complex being sentenced to six years in prison. Marc Ruskin was awarded five Commendations from the Director of the FBI for his work. A native French and Spanish speaker, he has worked at several US Embassies including Paris, Madrid, and Buenos Aires. As an FBI certified police instructor, Marc has lectured at universities and law enforcement academies. Since his retirement from the FBI in 2012, he has divided his time between a law practice in New York and extended stays in Liaoning Province, China, where he writes and studies Mandarin. Marc Ruskin recently published The Pretender - My Life Undercover for the FBI, a true crime narrative about his undercover roles and the FBI's undercover operations—the procedures, the successes, and the failure.

Da Han talked about the production stories of the 2nd episode of the "Star Trek: Axiom" fan film, "Yorktown: A Time to Heal", starring George Takei and James Shigeta, and his thoughts and lessons learned during the failed production process working with producer Stan Woo. After that, we talked about the plot of the ongoing fan film "TReK'd" and our plans. Any help is greatly welcomed. Join our Wechat group or contact us through feedback channels below.Recorded on 20170111, guest: Da Han, his Wechat: da-han1, host: CrazyEMH(Sid in this interview)————04:42 Fanboys (2009) - IMDb05:14 Andrew Probert, a famed artist & illustrator, worked as senior consulting illustrator on the first season of Star Trek: The Next Generation, designing the USS Enterprise-D07:36 James Shigeta18:38 This left/right brain lateralization theory is scientifically NOT TRUE. See the links below:• https://www.verywell.com/left-brain-vs-right-brain-2795005• https://en.wikipedia.org/wiki/Lateralization_of_brain_function#Failures_of_lateralization20:01 Camera dolly23:49 Stephen J. Cannell Productions provided incidental Sound FX25:10 Bill Conti, composer and conductor of Rocky27:47 Peter Kuran of ILM fame for SPFX offered consulting services37:38 We're wrong again :)42:23 apostrophe: '42:45 Star Wreck, Hardware Wars49:22 Trailer of TReK'd　　https://v.qq.com/x/page/h0191mq0dhl.html49:58 Galaxy Quest50:42 Airplane! (1980)50:43 "Lower Decks" TNG 7x1552:15 Michelle Yeoh is a Chinese Malaysian actress54:07 Horatio Hornblower54:11 Walter Mitty1:19:28 Get Smart, Blazing Saddles, by Mel BrooksSome adds:• Any body wants to have your designs 3D printed, contact us.Other links:• Star Trek: Axiom | The Fan Film Compendium Wiki　　http://thefanfilm-compendium.wikia.com/wiki/Star_Trek:_Axiom• Yorktown: A Time to Heal | Star Trek Expanded Universe:　　http://stexpanded.wikia.com/wiki/Yorktown:_A_Time_to_Heal●Feedbacks●Email: subspacesignal@qq.com, all frequencies open.QQ chat group: 591546843Sina Weibo：迷于星际迷航播客

Da Han talked about the production stories of the 2nd episode of the "Star Trek: Axiom" fan film, "Yorktown: A Time to Heal", starring George Takei and James Shigeta, and his thoughts and lessons learned during the failed production process working with producer Stan Woo. After that, we talked about the plot of the ongoing fan film "TReK'd" and our plans. Any help is greatly welcomed. Join our Wechat group or contact us through feedback channels below.Recorded on 20170111, guest: Da Han, his Wechat: da-han1, host: CrazyEMH(Sid in this interview)————04:42 Fanboys (2009) - IMDb05:14 Andrew Probert, a famed artist & illustrator, worked as senior consulting illustrator on the first season of Star Trek: The Next Generation, designing the USS Enterprise-D07:36 James Shigeta18:38 This left/right brain lateralization theory is scientifically NOT TRUE. See the links below:• https://www.verywell.com/left-brain-vs-right-brain-2795005• https://en.wikipedia.org/wiki/Lateralization_of_brain_function#Failures_of_lateralization20:01 Camera dolly23:49 Stephen J. Cannell Productions provided incidental Sound FX25:10 Bill Conti, composer and conductor of Rocky27:47 Peter Kuran of ILM fame for SPFX offered consulting services37:38 We're wrong again :)42:23 apostrophe: '42:45 Star Wreck, Hardware Wars49:22 Trailer of TReK'd　　https://v.qq.com/x/page/h0191mq0dhl.html49:58 Galaxy Quest50:42 Airplane! (1980)50:43 "Lower Decks" TNG 7x1552:15 Michelle Yeoh is a Chinese Malaysian actress54:07 Horatio Hornblower54:11 Walter Mitty1:19:28 Get Smart, Blazing Saddles, by Mel BrooksSome adds:• Any body wants to have your designs 3D printed, contact us.Other links:• Star Trek: Axiom | The Fan Film Compendium Wiki　　http://thefanfilm-compendium.wikia.com/wiki/Star_Trek:_Axiom• Yorktown: A Time to Heal | Star Trek Expanded Universe:　　http://stexpanded.wikia.com/wiki/Yorktown:_A_Time_to_Heal●Feedbacks●Email: subspacesignal@qq.com, all frequencies open.QQ chat group: 591546843Sina Weibo：迷于星际迷航播客

Da Han talked about the production stories of the 2nd episode of the "Star Trek: Axiom" fan film, "Yorktown: A Time to Heal", starring George Takei and James Shigeta, and his thoughts and lessons learned during the failed production process working with producer Stan Woo. After that, we talked about the plot of the ongoing fan film "TReK'd" and our plans. Any help is greatly welcomed. Join our Wechat group or contact us through feedback channels below. Recorded on 20170111, guest: Da Han, host: CrazyEMH(Sid in this interview) ———— 04:42 Fanboys (2009) - IMDb 05:14 Andrew Probert, a famed artist & illustrator, worked as senior consulting illustrator on the first season of Star Trek: The Next Generation, designing the USS Enterprise -D 07:36 James Shigeta 18:38 This left/right brain lateralization theory is scientifically NOT TRUE. See the links below: left-brain-vs-right-brain Lateralization of brain function: Failures of lateralization 20:01 Camera dolly 23:49 Stephen J. Cannell Productions provided incidental Sound FX 25:10 Bill Conti, composer and conductor of Rocky 27:47 Peter Kuran of ILM fame for SPFX offered consulting services 37:38 We're wrong again :) 42:23 apostrophe: ' 42:45 Star Wreck, Hardware Wars 49:22 Trailer of TReK'd 49:58 Galaxy Quest 50:42 Airplane! (1980) 50:43 "Lower Decks" TNG 7x15 52:15 Michelle Yeoh is a Chinese Malaysian actress 54:07 Horatio Hornblower 54:11 Walter Mitty 1:19:28 Get Smart, Blazing Saddles, by Mel Brooks Some adds: Any body wants to have your designs 3D printed, contact us. Other links: Star Trek: Axiom | The Fan Film Compendium Wiki Star Trek: Axiom | thefanfilm-compendium Yorktown: A Time to Heal | Star Trek Expanded Universe Yorktown: A Time to Heal | stexpanded.wikia.com ●Feedbacks● Email: subspacesignal@qq.com, all frequencies open. QQ chat group: 591546843 Sina Weibo：迷于星际迷航播客

Libby Purves meets former government minister and broadcaster Michael Portillo; Diana Melly, widow of George with a book about ballroom dancing and bereavement; writer and performer Yang-May Ooi and author and artist Polly Bagnall. At the age of 76, Diana Melly decided to take up ballroom dancing after the death of her husband, George. In her new book, Strictly Ballroom - Tales from the Dance Floor, she sashays through tea dance etiquette, the perils of the Argentine tango and how to stay upright in rough seas on the QE2. Strictly Ballroom - Tales from the Dance Floor is published by Short Books. Polly Bagnall is the co-author - with Sally Back - of Ferguson's Gang: The Remarkable Story of the National Trust Gangsters about a group of eccentrics who combined anarchic stunts and fine dining with saving the English countryside. To preserve their anonymity they wore masks and adopted pseudonyms including Bill Stickers, and Red Biddy. Polly's grandfather, John Macgregor, was the gang member known as the Artichoke. Ferguson's Gang: The Remarkable story of the National Trust Gangsters is published by The National Trust. Yang-May Ooi is a writer and performer. Her play Bound Feet Shoes: A Life Told In Shoes is Yang-May's personal story set against the tradition of foot binding, as practiced by her great-grandmother. The play explores Yang-May's experiences of being a Chinese-Malaysian woman in the UK, her coming out story, cultural reflections of what it means to be a woman, and an exploration into mother-daughter relationships. Bound Feet Blues: A Life Told In Shoes is at Tristan Bates Theatre in London Michael Portillo was an MP for nearly 20 years and held three ministerial positions in the Cabinet. He is now a broadcaster and is a regular guest on weekly politics show, This Week. He has made documentaries on subjects including music, wildlife and the Spanish Civil War. In the book Great Continental Railway Journeys he retraces the journeys from Bradshaw's Continental Railway Guide. Great Continental Railway Journeys is published by Simon and Schuster. Producer: Paula McGinley.

Join us Friday 6/5/15 at 8pm EST as Lady A and myself give a very southern welcome to the porch to Fiona Benjamin. We'll be interviewing this wonderfully talented fortune teller and occult devotee from New York City. She is a first generation American from a Chinese-Malaysian background and was raised in a traditional Buddhist household. Her gifts are divination through intuition along with the use of tarot cards. She received her certification in holistic tarot reading. Fiona has also been named Young Tarosophist of 2013 from the Tarot Professionals Association. She currently lives in Okinawa, Japan where she tarot cards full-time. She also runs the Pagans of Okinawa group and blogs about her esoteric interests. Make your calendars, this will be a GREAT show. We will be taking callers in the second half the show, for Q n A.