Podcasts about Cultural Revolution

This is a recording of the livestream of our monthly book club. In this livestream we discuss the book Serve the People! by Yan Lianke, a banned book set during the Cultural Revolution in China.If you would like to find out more about the book club and which books we're reading, please click here.Buy me a coffeeLinks to everythingSupport the showSign up for Buzzsprout to launch your podcasting journey: https://www.buzzsprout.com/?referrer_id=162442Subscribe to the Sinobabble Newsletter: https://sinobabble.substack.com/Support Sinobabble on Buy me a Coffee: https://www.buymeacoffee.com/Sinobabblepod

25FEB25: Fascism in America: Jack and Mandy, State of the Union, Filibuster, Omar Runs, and MoreHosts: Matt, Jack, Mandy, & Olivia Call In Live: +1 (276) 200-2105 Be Heard. Be Bold. No Censorship.  Matt and Olivia sit down with Jack and Mandy Smith to discuss their documentary Marxism in America and the growing influence of cultural Marxism in the United States. The conversation examines parallels between Mao's Cultural Revolution and current trends in education, media, and politics, while exploring how these ideas shape modern society. They also share personal experiences with indoctrination in schools and stress the importance of parents staying vigilant and defending traditional values in the face of rising ideological pressure.Watch Us Here: linktapgo.com/thedumshow thedumshow.com #TheDUMShow #DontUnfriendMe #DUMShowLive #DUMNation #DUMFans #CallInShow #LivePodcast #ConservativeTalk #AmericaFirst #VeteranVoice #MilitaryPerspective #PoliticalCommentary #CultureAndPolitics #CurrentEvents #UnfilteredOpinion #DebunkTheNarrative #StudioSessions #NewsWithoutSpin #RedStateTalk #WeThePeopleBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-dum-show--6012883/support.

Part 8 of reuploading classic history episodes in the run up to our book club review of Serve the People! by Yan Lianke.The death of Mao Zedong and the trial of the Gang of Four are traditionally used as the signifiers of the end of the Cultural Revolution. The violent and turbulent 10 year period came to a sudden stop as political in-fighting continued until Deng Xiaoping was able to quash his foes and come out on top.In this episode, we cover how the Cultural Revolution finally came to an end, how the period is interpreted both in the West and in China, and what effect the Cultural Revolution has had on Chinese society as a whole.Intro: 00:00Opening: 01:09The end of the Cultural Revolution: 6:20Interpreting the CR: 20:25Aftermath of the CR and memory in contemporary China: 31:23Outro: 41:25Buy bookclub books hereBuy me a coffeeLinks to everythingSupport the showSign up for Buzzsprout to launch your podcasting journey: https://www.buzzsprout.com/?referrer_id=162442Subscribe to the Sinobabble Newsletter: https://sinobabble.substack.com/Support Sinobabble on Buy me a Coffee: https://www.buymeacoffee.com/Sinobabblepod

Part 7 of reuploading classic history episodes in the run up to our book club review of Serve the People! by Yan Lianke.In this episode, we discuss the changes made to China's cultural realm during the Cultural Revolution. As the main target of the Cultural Revolution Group, cultural production including art, literature, theatre, and film were all subject to the new rules of the decade. But were those rules made to last? And were the CRG able to impose their will completely when they relied on the existing bourgeois cultural producers to cultivate their new vision?Buy bookclub books hereBuy me a coffeeLinks to everythingSupport the showSign up for Buzzsprout to launch your podcasting journey: https://www.buzzsprout.com/?referrer_id=162442Subscribe to the Sinobabble Newsletter: https://sinobabble.substack.com/Support Sinobabble on Buy me a Coffee: https://www.buymeacoffee.com/Sinobabblepod

Part 6 of reuploading classic history episodes in the run up to our book club review of Serve the People! by Yan Lianke.In this episode we look at how the economy and educational system fared during the Cultural Revolution decade. We discuss how a period of chaos led into a period of stagnation, where things neither got much better nor much worse. We also talk about differences between the countryside and the cities, and how every day life was irrevocably impacted by the social turmoil that occurred.0:00 Introduction2:11 Economy and Education to 19699:57 The Economy after 196922:45 Education after 196929:28 Urban and Rural life during the CR38:53 ConclusionsBuy bookclub books hereBuy me a coffeeLinks to everythingSupport the showSign up for Buzzsprout to launch your podcasting journey: https://www.buzzsprout.com/?referrer_id=162442Subscribe to the Sinobabble Newsletter: https://sinobabble.substack.com/Support Sinobabble on Buy me a Coffee: https://www.buymeacoffee.com/Sinobabblepod

Part 5 of reuploading classic history episodes in the run up to our book club review of Serve the People! by Yan Lianke.In this episode we explore the mysterious and complex character of Lin Biao, and his even more mysterious demise. We ask how he rose to prominence so quickly after being a largely background figure in the party for so many years, and what effect his vice-chairmanship and sudden death had on the Cultural Revolution.*I accidentally say Liu instead of Lin at around the 22:30 minute mark*00:00 Introdution05:02 Early career in the CCP13:05 Lin Biao in the Cultural Revolution19:58 Lin's position challenged?27:51 The 'conspiracy'36:31 Evaluating the coup theory39:10 The impact of Lin's deathBuy bookclub books hereBuy me a coffeeLinks to everythingSupport the showSign up for Buzzsprout to launch your podcasting journey: https://www.buzzsprout.com/?referrer_id=162442Subscribe to the Sinobabble Newsletter: https://sinobabble.substack.com/Support Sinobabble on Buy me a Coffee: https://www.buymeacoffee.com/Sinobabblepod

Part 4 of reuploading classic history episodes in the run up to our book club review of Serve the People! by Yan Lianke.In episode 4 of the Cultural Revolution series, we look at how the party began to rebuild itself in the period 1968-1972 through a series of internal meetings, some last-minute purges, and a few devastating mass campaigns that would end up having a much higher impact than anything the Red Guards had carried out in previous years.Though much had happened in China during the last few years, to many people it seemed like nothing had fundamentally changed. Though the people running the government were different, the structure of the party-state itself had remained the same. If anything, the only real difference was the preeminence that Mao Zedong Thought gained during this period, largely thanks to the support of the PLA.Songs: Long Live Chairman Mao and March of the Revolutionary Youth0:00 Introduction ("Long live Chairman Mao")3:18 Rebuilding the system14:45 "March of the revolutionay youth"15:05 The dismissal of Liu Shaoqi25:40 The 9th plenum28:20 The final campaigns43:00 Lessons learned50:22 OutroBuy bookclub books hereBuy me a coffeeLinks to everythingSupport the showSupport the showSign up for Buzzsprout to launch your podcasting journey: https://www.buzzsprout.com/?referrer_id=162442Subscribe to the Sinobabble Newsletter: https://sinobabble.substack.com/Support Sinobabble on Buy me a Coffee: https://www.buymeacoffee.com/Sinobabblepod

Part 3 of reuploading classic history episodes in the run up to our book club review of Serve the People! by Yan Lianke.In this episode, we look at how Mao reversed the course of the Cultural Revolution, bringing in the army to end the violence and destruction caused by the factionalism between the Red Guards and other mass organisations. We discuss the much vaunted revolutionary committees, temporary governments made up of a triple alliance between the mass organisations, the Cultural Revolution Group, and the People's Liberation Army.The original aim of the revolution to promote the masses to positions of power in place of corrupt cadres was replaced by the singular quest to restore the country to order. To do this, Mao relied heavily on the PLA, as well as the cadres who not too long ago were seen as public enemy #1.Music clips are from "Sailing the Seas Depends on the Helmsman" and "The People of the World Will Surely be Victorious"00:00 Song "Sailing the Seas Depends on the Helmsman"00:25 Introduction06:23 January Revolution11:50 Song "The People of the World Will Surely be Victorious"12:05 The Triple Alliance14:10 The February adverse current23:20 The Wuhan incident26:24 The 516 purge29:30 Resitance to demobilisation38:10 The failure of the revolutionBuy bookclub books hereBuy me a coffeeLinks to everythingSupport the showSign up for Buzzsprout to launch your podcasting journey: https://www.buzzsprout.com/?referrer_id=162442Subscribe to the Sinobabble Newsletter: https://sinobabble.substack.com/Support Sinobabble on Buy me a Coffee: https://www.buymeacoffee.com/Sinobabblepod

In this episode, I sit down with Grace Jin Drexel, the daughter of detained Pastor Ezra Jin, the founder of one of China's largest underground house-church networks.Last October, Pastor Jin was arrested along with 27 other pastors and church leaders from Zion Church. It was one of the largest assaults on independent Christian congregations in China since the Cultural Revolution, said Drexel. She has since become a prominent voice speaking out against religious persecution in China.State repression of Zion Church began in 2018 amid a broader wave of Communist Party efforts to subjugate faith communities, Drexel said.“You saw the tearing down of crosses [and] putting portraits of Xi Jinping and Mao Zedong on church buildings,” she said.Zion Church was deemed an illegal business operation, forcing them to shift to a hybrid online model of worship. Authorities also placed an exit ban on Pastor Jin.“There's so many parts of our lives that he has missed out on. He was not able to walk me down the aisle at my wedding. He was not able to attend my baby's baptism,” Drexel said.She sees her father's detention as part of a new wave of persecution targeting not only her father's church but also many other underground churches and religious groups as well. As in 2018, authorities are again installing pictures of Xi in churches again, sometimes even replacing crosses, to “showcase who is the true leader of the church,” she said.Another sign of a new wave of suppression is the sentencing of Jimmy Lai, the 78-year-old founder of Apple Daily and a practicing Catholic. He was recently given 20 years in prison, which marks the longest sentence handed down to date under Beijing's national security law.Since Pastor Jin's arrest, he has not been allowed any family visits, phone calls, or even letters from his loved ones. He is also suffering from severe Type 2 diabetes, and Drexel is deeply concerned about his wellbeing.Views expressed in this video are opinions of the host and the guest, and do not necessarily reflect the views of The Epoch Times.

Part 2 of reuploading classic history episodes in the run up to our book club review of Serve the People! by Yan Lianke.In this episode we talk about the violence that gripped the Chinese nation at the height of the Cultural Revolution. We discuss the difference between the brutality that took place in the cities, which was mainly perpetrated by Red Guards and affected culture as much as people, and the countryside, which pitted neighbour against neighbour.Music clips are from "The East is Red" and "We Walk on the Great Road".(Apparently I keep hitting my microphone throughout this episode, which is what that hollow sounding noise is.)00:00 Clip from the song "The East Is Red" 00:18 Introduction4:47 Red guards in the cities9:10 The revolution in Shanghai21:14 The revolution in the countryside35:15 The impact of the violence on China and the Cultural Revolution40:08 OutroBuy bookclub books hereBuy me a coffeeLinks to everythingSupport the showSign up for Buzzsprout to launch your podcasting journey: https://www.buzzsprout.com/?referrer_id=162442Subscribe to the Sinobabble Newsletter: https://sinobabble.substack.com/Support Sinobabble on Buy me a Coffee: https://www.buymeacoffee.com/Sinobabblepod

fWotD Episode 3213: Zhang Jingsheng Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Friday, 20 February 2026, is Zhang Jingsheng.Zhang Jingsheng (20 February 1888 – 18 June 1970) was a Chinese philosopher and sexologist. Born Zhang Jiangliu to a merchant family in Raoping County in eastern Guangzhou, Zhang attended Whampoa Military Primary School, where he became a militant supporter of the Tongmenghui revolutionaries. After he was expelled from Whampoa, he met with Tongmenghui leader Sun Yat-sen and entered the Imperial University of Peking. He became an enthusiastic advocate of European ideas of social Darwinism, scientific racism, and eugenics, changing his personal name to Jingsheng, "competition for survival". He was an active member of the Beijing Tongmenghui cell alongside Wang Jingwei, but declined a political post in the aftermath of the 1911 Revolution, instead studying in France.Zhang received a doctorate from the University of Lyon in 1919 for a thesis on Jean-Jacques Rousseau, one of his major philosophical inspirations. On recommendation from Cai Yuanpei, he became a professor at Peking University soon after his return to China in 1920. During the early 1920s, he wrote two books advocating for a society organized around aesthetic principles. In 1926, he published Sex Histories, a sexology text based on stories of sexual encounters he gathered from the public. He was ridiculed by much of the Chinese media and academia for the book, and was often referred to by the mocking nickname Dr. Sex (性博士; Xìng Bóshì) in the tabloid press. A number of unauthorized pornographic sequels were made due to its popularity, leading to confusion about which books were Zhang's original work. He left teaching and settled in Shanghai shortly after the release of Sex Histories. He founded a "Beauty Bookshop" in Shanghai, which published sex-education texts and translations of European literature and philosophy, and edited a monthly periodical he named New Culture. In 1929, he returned to France to work as a translator after his business efforts in Shanghai failed. Four years later, he returned to his home county of Raoping and worked in local politics and education in relative obscurity. He was persecuted by the Red Guards during the Cultural Revolution and died while in confinement in 1970.Loosely inspired by Havelock Ellis, Zhang's sexual thought centers on the absorption of bodily fluids produced during sex, which he saw as important for sexual pleasure and the vitality of the resulting children. His political writings outlined a utopian "New China" which would govern society according to aesthetics and sentimentality. This "aesthetic state" would institute a national eugenics program to resolve what he perceived as the weaknesses of the Chinese race. Although he enjoyed a brief period of academic prestige for his works in the early 1920s, the scandal around Sex Histories destroyed his professional reputation, and he became disconnected from academia. Posthumous scholarly opinions on him and his work range from dismissive to highly supportive. His son Zhang Chao, a local official in Raoping, collected his works and worked to promote his legacy during the 1980s. His former home was rebuilt by the county government in 2004 and converted into Dr. Zhang Jingsheng Park. Collections of his writing began to be published during the 1980s, but a full republication of Sex Histories was not made until 2005, likely due to obscenity laws.This recording reflects the Wikipedia text as of 00:06 UTC on Friday, 20 February 2026.For the full current version of the article, see Zhang Jingsheng on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Arthur.

A reupload of a classic history episode in the run up to our book club review of Serve the People! by Yan Lianke.The first of 8 episodes covering the build up, events, and aftermath of the Great Proletarian Cultural Revolution, which took place in China from 1966 to 1976. In this episode we discuss what the Cultural Revolution was supposed to be, recap its principal causes, discuss the events that led to the declaration of the CR, and cover the formation and expansion of the Red Guards, Mao's children of the Revolution.00:00: Introduction4:23 - What was the Cultural Revolution?15:45 - Events leading up to the Cultural Revolution29:43 - The first stages of the Cultural Revolution37:06 - The formation of the Red Guards43:48 - Those of black class background join the Red Guards46:56 - OutroSome mispronunciations - I found that I mispronounced LUO Ruiqing as LIU Ruiqing, and HAI Rui as HA Rui a few times. My bad, Luo and Hai are the correct terms!Buy bookclub books here            Buy me a coffee Links to everythingSupport the showSign up for Buzzsprout to launch your podcasting journey: https://www.buzzsprout.com/?referrer_id=162442Subscribe to the Sinobabble Newsletter: https://sinobabble.substack.com/Support Sinobabble on Buy me a Coffee: https://www.buymeacoffee.com/Sinobabblepod

China is entering the Year of the Fire Horse — a zodiac pairing that comes around just once every 60 years. The last time was 1966, the year the Cultural Revolution began. So is this simply symbolism… or could it hint at something more? In this special Lunar New Year episode of China Decode, Alice Han is joined by writer and commentator Lijia Zhang to unpack the meaning — and the mythology — behind the Fire Horse. They explore how astrology, politics, and economics intersect at a pivotal moment for China. From falling birth rates and zodiac baby booms to record-breaking Spring Festival travel, what does this year reveal about where China may be headed next? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hear Jade's testimony of growing up behind the Iron Curtain and during the Chinese Cultural Revolution. She shares how communist atheism, along with Buddhism, Taoism, and traditional folk beliefs, shaped her view of suffering, healing, and the supernatural. These influences eventually led her into fortune-telling and divination. Yet even in that spiritual darkness, the faithful witness of Chinese believers began to bring light into her life.The story takes a pivotal turn when her husband is diagnosed with terminal cancer. Through grief, doubt, and the timely influence of Christian colleagues, they begin to explore faith and ultimately choose baptism. Follow Jade's journey from the transactional spirituality of her upbringing to a personal relationship with God, where she discovers hope, comfort, and the assurance of being chosen and loved.Let us know what you thought of the show! Follow One80 on Apple Podcasts, Spotify, or our website.Never miss a One80. Join our email list. Follow us on Instagram.Share One80, here's how!OneWay Ministries

Xi Van Fleet grew up in China during Mao Zedong's Cultural Revolution. She was too young to be a real revolutionary Red Guard, but old enough to observe the astonishing scenes of violence and ideological fervor around her during those terrible years.I sat down with her to discuss her new book, “Made in America: The Hidden History of How the U.S. Enabled Communist China and Created Our Greatest Threat.”She says she felt compelled to write this book to help Americans understand the true nature of communism. Over the past hundred years or so, the United States has made one grave mistake after another because of this major blind spot, she says.In our deep-dive interview, Van Fleet takes me on a tour of China's history starting in the late 19th century and explains how America—over and over again—made decisions that helped the Chinese Communist Party: first to gain influence, then to defeat the Nationalists led by Chiang Kai-shek, and eventually to rescue the CCP from certain collapse in the 1970s.By visiting Beijing and re-opening US-China relations at a time when China's economy was in shambles, President Richard Nixon effectively “saved the CCP from the ruins,” she says.The history of how the United States helped the CCP survive is “hidden history,” as she calls it, one that is not taught in the schools and not discussed publicly: “A lot of people want to hide it. But in order for us to understand, we have to learn this very, very important piece of history that my book is all about.”Views expressed in this video are opinions of the host and the guest, and do not necessarily reflect the views of The Epoch Times.

Our world is being re-educated. Universities once devoted to truth and reason have become centers for ideology and activism, shaping a generation to believe that truth is relative, morality is subjective, and power is all that matters. But what happens when a culture loses confidence in truth itself? And how can Christians think clearly—and live faithfully—when the classroom becomes the battlefield of ideas? Today we'll be talking about how truth changes the way we think, the way we live, and the way we stand in a culture that's forgotten what truth even is. Our guest today is Corey Miller. Corey grew up in Utah as a seventh-generation Mormon. He came to Christ, and later became a pastor, philosophy professor, campus minister, and now serves as the president/CEO of Ratio Christi (RatioChristi.org). He has authored or edited five books, including his latest book, The Progressive Miseducation of America: Confronting the Cultural Revolution from the Classroom to Your Community. He holds three master's degrees, along with a PhD from the University of Aberdeen, Scotland. His thinking centers on the intersection of faith, reason, and culture.  Please send us your feedback and questions to: podcast@summit.org.

Keir Starmer's visit to Beijing was meant to signal a reset in Britain's relationship with China. Instead, it has sparked fresh questions about how far the UK should go in courting a global superpower accused of sliding back towards authoritarian rule.On today's Daily T, Camilla and Tim speak to bestselling author Jung Chang, whose latest book Fly, Wild Swans traces China's path from the horrors of Mao's Cultural Revolution to the Xi Jinping era. Chang argues that Western leaders are ignoring uncomfortable truths about modern China, and warns that the country risks drifting back towards a darker past.She also reflects on her own extraordinary story: growing up under Mao, watching her father persecuted, and eventually escaping to Britain, where she would go on to write one of the most influential accounts of modern China ever published. So, as Britain looks east for trade and diplomacy, are we forgetting the lessons of history?We want to hear from you! Email us at thedailyt@telegraph.co.uk or find @dailytpodcast on TikTok, Instagram and X► Sign up to our most popular newsletter, From the Editor. Look forward to receiving free-thinking comment and the day's biggest stories, every morning. telegraph.co.uk/fromtheeditorProducers: Georgia Coan and Lilian FawcettSenior Producer: John CadiganAdditional production from Annabel HoganExecutive Producer: Charlotte SeligmanVideo Producer: Will WaltersStudio Operator: Meghan SearleSocial Producer: Nada AggourEditor: Camilla Tominey Hosted on Acast. See acast.com/privacy for more information.

In this episode of Explaining History, Nick continues his exploration of the Chinese Cultural Revolution through the lens of Tania Branigan's Red Memory. We examine Mao Zedong's complex relationship with the youth of China—how he mobilized them as revolutionary shock troops, only to discard them when they became a threat to order.We delve into the "Down to the Countryside" movement, where 17 million urban teenagers were sent to remote villages to "learn from the peasants." Nick explores the ideological motivations behind this mass displacement: Mao's belief that the younger generation was being softened by "sugar-coated bullets" of bourgeois comfort and needed to be re-forged through hard labour.From the boredom that followed the initial revolutionary fervour to the lasting trauma (and surprising nostalgia) of the "sent-down youth," this episode unpacks the human cost of Mao's permanent revolution.Plus: A recap of our first masterclass and details on the upcoming session on Post-War America (1945-74) on February 15th!For Ad free episodes:Join us on PatreonKey Topics:The Red Guards: From revolutionary zeal to boredom and disillusionment.Down to the Countryside: Why Mao sent 17 million teenagers to live with peasants.Ideological purity: The fear of "revisionism" and the need for constant struggle.Memory and Trauma: How the "lost generation" reconciles their past with modern China.Explaining History helps you understand the 20th Century through critical conversations and expert interviews. We connect the past to the present. If you enjoy the show, please subscribe and share.▸ Support the Show & Get Exclusive ContentBecome a Patron: patreon.com/explaininghistory▸ Join the Community & Continue the ConversationFacebook Group: facebook.com/groups/ExplainingHistoryPodcastSubstack: theexplaininghistorypodcast.substack.com▸ Read Articles & Go DeeperWebsite: explaininghistory.org Hosted on Acast. See acast.com/privacy for more information.

"True healing happens when science, responsibility, and humanity come together." Dr. Joy Kong What if healing required both cutting-edge science and deep personal responsibility? In this episode of Turmeric & Tequila™, host Kristen M. Olson sits down with Dr. Joy Kong, regenerative medicine physician, UCLA-trained triple board-certified anti-aging specialist, and Stem Cell Doctor of the Decade (2021). Together, they unpack the truth about stem cell therapy, regenerative medicine, intentional healing, and why modern healthcare often misses the whole human. Dr. Joy shares her powerful personal journey—from growing up in China during the Cultural Revolution to witnessing holistic healing firsthand, to becoming a leading voice in regenerative medicine. This conversation explores where Eastern and Western medicine meet, how patients can advocate for themselves, and why healers have a responsibility to stay curious, ethical, and open-minded. This episode is for anyone navigating chronic pain, longevity, performance, or simply wanting to understand what's possible when science and humanity work together. Timestamps: 00:00 – Welcome to Turmeric & Tequila™ 02:30 – Dr. Joy's early life & roots in holistic healing 06:45 – Eastern vs. Western medicine: where things break down 11:30 – What stem cells actually are (simple explanation) 18:45 – Regenerative medicine for injury, pain, and longevity 27:30 – Medical conditioning, fear, and misinformation 35:00 – The responsibility of doctors as healers 44:10 – Why patients must build their own healthcare team 53:20 – Ethics, curiosity, and the future of medicine 01:02:00 – Defining success, peace, and intentional living 01:09:00 – Where to find Dr. Joy & closing reflections Dr. Joy Kong is a regenerative medicine physician and author whose journey began in China during the Cultural Revolution. After overcoming early adversity and an abusive relationship, she came to the United States, where she became a UCLA-trained, triple board-certified anti-aging specialist. She was named Stem Cell Doctor of the Decade 2021 for her pioneering work. Dr. Joy is the President of the American Academy of Integrative Cell Therapy and author of the award-winning memoir Tiger of Beijing. @Dr_joy_kong // https://joykongmd.com/ Connect with T&T: IG: @TurmericTequila Facebook: @TurmericAndTequila Website: www.TurmericAndTequila.com  Host: Kristen Olson IG: @Madonnashero Tik Tok: @Madonnashero Website: www.KOAlliance.com WATCH HERE   MORE LIKE THIS: https://youtu.be/ZCFQSpFoAgI?si=Erg8_2eH8uyEgYZF   https://youtu.be/piCU9JboWuY?si=qLdhFKCGdBzuAeuI https://youtu.be/9Vs2JDzJJXk?si=dpjV31GDqTroUKWH

Xi Van Fleet escaped from Mao's Revolution in China – and now she's warning of elites enabling the CCP while funding chaos, crime, and communism in the United States. Drawing on historical research, Xi (pronounced “She”) traces CCP support from Soviet backing to US economic and political engagement that helped transform China into the world's second largest economy. Heather Mac Donald, author of The War On Cops, reveals how support from wealthy Americans is increasing China's global power – and making its government an even greater threat to American independence. Xi Van Fleet is a survivor of Mao's Cultural Revolution and author of “Made In America: The Hidden History of How the U.S. Enabled Communist China and Created Our Greatest Threat.” Born in China, she was sent to work in the countryside at age 16 during the Cultural Revolution. After Mao's death, she studied English in college and moved to the United States in 1986. She regularly appears on national media warning about parallels between communist China and modern America. Follow at https://x.com/XVanFleet⠀Heather Mac Donald is the Thomas W. Smith Fellow at the Manhattan Institute and a contributing editor of City Journal. She is a New York Times bestselling author of The War on Cops and When Race Trumps Merit. Her work focuses on crime, policing, race, and urban policy. In 2025, she received The New Criterion's Edmund Burke Award. Follow at https://x.com/HMDatMI 「 SUPPORT OUR SPONSORS 」 • AUGUSTA PRECIOUS METALS – Thousands of Americans are moving portions of their retirement into physical gold & silver. Learn more in this 3-minute report from our friends at Augusta Precious Metals: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://drdrew.com/gold⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or text DREW to 35052 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠• FATTY15 – The future of essential fatty acids is here! Strengthen your cells against age-related breakdown with Fatty15. Get 15% off a 90-day Starter Kit Subscription at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://drdrew.com/fatty15⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ • PALEOVALLEY - "Paleovalley has a wide variety of extraordinary products that are both healthful and delicious,” says Dr. Drew. "I am a huge fan of this brand and know you'll love it too!” Get 15% off your first order at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://drdrew.com/paleovalley⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ • VSHREDMD – Formulated by Dr. Drew: The Science of Cellular Health + World-Class Training Programs, Premium Content, and 1-1 Training with Certified V Shred Coaches! More at https://drdrew.com/vshredmd • THE WELLNESS COMPANY - Counteract harmful spike proteins with TWC's Signature Series Spike Support Formula containing nattokinase and selenium. Learn more about TWC's supplements at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twc.health/drew⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ 「 ABOUT THE SHOW 」 This show is for entertainment and/or informational purposes only, and is not a substitute for medical advice, diagnosis, or treatment. Executive Producers • Kaleb Nation - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://kalebnation.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ • Susan Pinsky - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://x.com/firstladyoflove⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Content Producer • Emily Barsh - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://x.com/emilytvproducer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Hosted By • Dr. Drew Pinsky - ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://x.com/drdrew⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

The Steve Gruber Show | Free Speech Friday!!  --- 00:00 - Hour 1 Monologue 28:02 – Brad Hoos, Founder of MuskOx. Hoos celebrates MuskOx's biggest year yet, with the company up 25 percent and named GearJunkie's 2026 Best Overall Flannel for the fourth year in a row. He also highlights MuskOx's commitment to conservation, including more than $100,000 donated to the Alaska Wildlife Conservation Center. Visit gomuskox.com/gruber and use code GRUBER for $15 off. 38:12 - Hour 2 Monologue 46:59 – Xi Van Fleet, “Chinese by birth, American by choice,” survivor of Mao's Cultural Revolution and defender of liberty. Van Fleet discusses her new book, Made in America: The Hidden History of How the U.S. Enabled Communist China and Created Our Greatest Threat. She explains China's past, its current state, and the growing dangers posed by the Chinese Communist Party. 56:27 – Les Rubin, Founder and President of Main Street Economics. Rubin analyzes the historic surge in gold and silver prices and what it signals about investor confidence. He explains how markets are reacting to rising U.S. debt and concerns over long-term fiscal sustainability. 1:15:05 - Hour 3 Monologue 1:23:55 – Steve Dulan, professor and licensed attorney. Dulan explains how the Minneapolis killings have driven a wedge between President Trump and some pro-gun advocacy groups. He discusses the legal and political tensions surrounding the Second Amendment debate. 1:34:03 – Scott Tillman, Chief Operations Officer at U.S. Term Limits and Michigan resident. Tillman breaks down new polling showing that 79 percent of Michigan voters support term limits on Congress. He explains what the findings could mean for reform efforts nationwide. 1:42:36 – Ivey Gruber, President of the Michigan Talk Network. Gruber reacts to the arrest of Don Lemon following a protest that disrupted a church service. The discussion also covers media accountability and backlash over proposed tax increases in Virginia, including more than 50 new taxes. --- Visit Steve's website: https://stevegruber.com TikTok: https://www.tiktok.com/@stevegrubershow Truth: https://truthsocial.com/@stevegrubershow Gettr: https://gettr.com/user/stevegruber Facebook: https://www.facebook.com/stevegrubershow Instagram: https://www.instagram.com/stevegrubershow/ Twitter: https://twitter.com/Stevegrubershow Rumble: https://rumble.com/user/TheSteveGruberShow

WMAL GUEST: XI VAN FLEET (Survivor of Mao’s Cultural Revolution) on her new book and how U.S. elites enabled the rise of the Chinese Communist Party as a global threat. SOCIAL MEDIA: X.com/XVanFleet BOOK: Made in America: The Hidden History of How the U.S. Enabled Communist China Where to find more about WMAL's morning show: Follow Podcasts on Apple Podcasts, Audible and Spotify Follow WMAL's "O'Connor and Company" on X: @WMALDC, @LarryOConnor, @JGunlock, @PatricePinkfile, and @HeatherHunterDC Facebook: WMALDC and Larry O'Connor Instagram: WMALDC Website: WMAL.com/OConnor-Company Episode: Tuesday, January 27, 2026 / 7 AM HourSee omnystudio.com/listener for privacy information.

First externally attested in 1524, the Ming-dynasty Chinese novel Water Margin collects legends about a band of merry men of genius who love righteousness, and who fight to stop a corrupt imperial bureaucracy from exploiting the people. However, the leader of these social bandits, Song Jiang, comes to see his mission in terms of a monarchist restorationism which is a common conservative reaction to capitalist upheaval in early modernity, known internationally by the Russian name “Good Tsar, Bad Boyars”—the breakdown of feudal order under market relations is blamed on the ministers around the monarch, while the monarch himself is seen as a pure, ideal figure who must only be rescued from corruption and he will save the world. Midway through the longer versions of the novel—there are countless versions with different political slants and (on the original prints) commentary on every page by various ideologues of the time—Song Jiang finally receives his longed-for imperial pardon, but now the heroes must join the imperial army as an elite unit fighting to put down rebellions much like their own across the country, as promises of elevation to the bureaucracy are deferred again and again. When (after the smartest of the heroes go back to the thug life) they finally receive their emoluments and sinecures and retire to their country villas, one by one they are poisoned by the bureaucrats with (as the narrator quasi-grudgingly admits) the full knowledge of the emperor. A final poignant scene caps the long debate throughout the novel between Song Jiang and his loyal and simple stalwart Iron Ox, who has argued throughout against Song Jiang's monarchist fantasies and in favor of something like socialism and democracy. Giving the lie to Eurocentric ideas that revolution is alien to East Eurasia where “oriental despotism” prevails—in fact, the roots of modernity including the modern revolutionary tradition lie in the East—this novel had a tremendous influence on China's thwarted bourgeois revolution, Japan's successful bourgeois revolution (it, far more than the Kojiki or anything else, is the bible of the Japanese right wing and the foundation of Japanese monarchism), and a complicated legacy in China's socialist revolution. In Red Star Over China, Mao is seen praising the Water Margin as an inspiration, but during the Great People's Cultural Revolution he held it up as a “negative example” (反面教材), calling Song Jiang's desire for a pardon “capitulationism” and equating it to the attitude of the capitalist roaders. So who was correct: Song Jiang or Iron Ox? Hosted on Acast. See acast.com/privacy for more information.

A nationwide crackdown on urban house churches in China has drawn worldwide attention after nearly 30 members of the Zion Protestant Church were arrested in seven cities, including Beijing and Shanghai. In this episode of the Front Line Report, VOM Canada's Greg Musselman is joined by Dr Bob Fu, founder and president of ChinaAid, to explain the reasons behind these recent arrests and why the international media is finally paying attention. During the interview, Dr Fu also discusses the Chinese Communist Party's escalating campaign against Christians – and why this wave of persecution is considered the most severe crackdown since the beginning of the Cultural Revolution.

Story 1: The shooting of Alex Pretti by federal agents in Minnesota has stirred up a nationwide debate on whether the shooting was justified, but despite multiple angles of the incident circulating on social media, no clear consensus seems to have been reached. Will breaks down the footage, sharing his take on who was at fault and what you can do to avoid being shot by law enforcement.Story 2: Survivor of the Chinese Cultural Revolution and Author of 'Made In America' Xi Van Fleet joins Will to explain how the current protests in Minnesota mirror the events of Mao's Cultural Revolution in the late ‘60s. Plus, Xi weighs in on how American influence set the stage for the CCP's takeover, the parallels between President Donald Trump and Mao, and how strong modern day China really is.Story 3: Will and The Crew discuss how they feel about DHS's handling of the shooting before debating how this could have been avoided. Plus, they discuss the real story of the weekend, Seahawks' CB Tariq Woolen nearly costing his team the win over a taunting penalty. Subscribe to ‘Will Cain Country' on YouTube here: ⁠⁠⁠⁠Watch Will Cain Country!⁠⁠Follow ‘Will Cain Country' on X (⁠⁠@willcainshow⁠⁠), Instagram (⁠⁠@willcainshow⁠⁠), TikTok (⁠⁠@willcainshow⁠⁠), and Facebook (⁠⁠@willcainnews⁠⁠)Follow Will on X: ⁠⁠⁠⁠⁠⁠⁠⁠@WillCain Learn more about your ad choices. Visit podcastchoices.com/adchoices

fWotD Episode 3185: 2001 Tiananmen Square self-immolation incident Welcome to featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Friday, 23 January 2026, is 2001 Tiananmen Square self-immolation incident.The 2001 Tiananmen Square self-immolation incident took place in Tiananmen Square in central Beijing, on the eve of Chinese New Year on 23 January 2001. There is controversy over the incident; Chinese government sources say that five members of Falun Gong, a religious movement that is banned in mainland China, set themselves on fire in the square. Falun Gong sources disputed the accuracy of these portrayals, and claimed that their teachings explicitly forbid violence or suicide. Some journalists have claimed that the self-immolations were staged.According to Chinese state media, a group of seven people had travelled to Beijing from Henan province, and five set themselves on fire on Tiananmen Square. In the Chinese press, the event was used as proof of the dangers of Falun Gong, and was used to legitimise the government's campaign against the group.The official account of events soon came under scrutiny, however. Two weeks after the self-immolation event, The Washington Post published an investigation into the identity of the two self-immolation victims who were killed, and found that "no one ever saw [them] practice Falun Gong".Human Rights Watch (HRW) wrote that "the incident was among one of the most difficult stories for reporters in Beijing at the time to report on" because of a lack of independent information available. The self-immolation victims were accessible only to reporters from China's state-run press; international media, and even the victims' family members were barred from contacting them. A wide variety of opinions and interpretations of what may have happened then emerged: the event may have been set up by the government to frame Falun Gong; it may have been an authentic protest; the self-immolators could have been "new or unschooled" Falun Gong practitioners; and other views.The campaign of state propaganda that followed the event eroded public sympathy for Falun Gong. Time magazine noted that many Chinese had previously felt that Falun Gong posed no real threat, and that the state's crackdown against it had gone too far. After the self-immolation, however, the media campaign against the group gained significant traction. Posters, leaflets and videos were produced detailing the supposed detrimental effects of Falun Gong practice, and regular anti-Falun Gong classes were scheduled in schools. CNN compared the government's propaganda initiative to past political movements such as the Korean War and the Cultural Revolution. Later, as public opinion turned against the group, according to sources, the Chinese authorities began sanctioning the "systematic use of violence" to eliminate Falun Gong. In the year following the incident, Freedom House said that the imprisonment, torture, and deaths of Falun Gong practitioners in custody increased significantly.This recording reflects the Wikipedia text as of 00:06 UTC on Friday, 23 January 2026.For the full current version of the article, see 2001 Tiananmen Square self-immolation incident on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Matthew.

This week on Sinica, I speak with Jia Ruixue and Li Hongbin, coauthors of The Highest Exam: How the Gaokao Shapes China. We're talking about China's college entrance exam — dreaded and feared, with outsized ability to determine life outcomes, seen as deeply flawed yet also sacrosanct, something few Chinese want drastically altered or removed. Cards on table: I had very strong preconceptions about the gaokao. My wife and I planned our children's education to get them out of the Chinese system before it became increasingly oriented toward gaokao preparation. But this book really opened my eyes. Ruixue is professor of economics at UC San Diego's School of Global Policy and Strategy, researching how institutions like examination systems shape governance, elite selection, and state capacity. Hongbin is James Liang Chair at Stanford, focusing on education, labor markets, and institutional foundations of China's economic development. We explore why the gaokao represents far more than just a difficult test, the concrete incentives families face, why there are limited alternative routes for social mobility, how both authors' own experiences shaped their thinking, why exam-based elite selection has been so durable in China, what happened when the exam system was suspended during the Cultural Revolution, why inequality has increased despite internet access to materials, why meaningful reform is so politically difficult, how education translated into productivity and GDP growth, the gap between skill formation and economic returns, how the system shapes governance and everyday life, and the moral dimensions of exam culture when Chinese families migrate to very different education systems like the U.S.6:18 – What the gaokao actually represents beyond just being a difficult exam 11:54 – Why there are limited alternative pathways for social mobility 14:23 – How their own experiences as students shaped their thinking 18:46 – Why the gaokao is a political institution, not just educational policy 22:21 – Why exam-based elite selection has been so durable in China 28:30 – What happened in late Qing and Cultural Revolution when exams were suspended 33:26 – Has internet access to materials reduced inequality or has it persisted? 36:55 – Hongbin's direct experience trying to reform the gaokao—and why it failed 40:28 – How education improvement accounts for significant share of China's GDP growth 42:44 – The gap: college doesn't add measurable skills, but gaokao scores predict income 46:56 – How centralized approach affects talent allocation across fields 51:08 – The gaokao and GDP tournament for officials: similar tournament systems 54:26 – How ranking and evaluation systems shape workplace behavior and culture 58:12 – When exam culture meets U.S. education: understanding tensions around affirmative action 1:02:10 – Transparent rule-based evaluation vs. discretion and judgment: the fundamental tradeoffRecommendations: Ruixue: Piao Liang Peng You (film by Geng Jun); Stoner (a novel by John Williams) Hongbin: The Dictator's HandbookKaiser: Furious Minds: The Making of the MAGA New Right by Laura K. Field; Black Pill by Elle ReeveSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today's episode covers the end of the book. The cultural revolution, the Nixon Mao meeting and the death of Mao.Book 4 of 5.I'm writing a fantasy book! Please support me! Thank you.Keywords: China, communism, history, civil war, chairman Mao, United States, Nixon, and USSR

In this explosive episode, Tara walks listeners straight into the courtroom—and straight into the ideology driving today's most controversial cultural battles. ⚖️ An ACLU lawyer argues that a biological boy should compete on a women's sports team… while simultaneously claiming the court cannot define what a woman is. The result? A legal meltdown that exposes something far bigger than sports: a Marxist oppressor–oppressed class system being embedded into American law. From women's athletics and locker rooms, to ICE agents being attacked with impunity, to NGOs controlling $14.2 TRILLION in assets, Tara connects the dots between culture, power, money, and enforcement—and explains why none of this is accidental.

In today's episode David explores the trial that gripped China at the end of 1980: the case against the three men and one woman accused of being responsible for the worst excesses of the Cultural Revolution (1966-76). How did the court try to hold Mao's followers responsible for the catastrophe while exculpating Mao himself? How did Mao's widow Jiang Qing fight back? Who were the others in the dock and what were they doing there? And what made the trial emblematic of the new direction China was taking? Next time in Politics on Trial: O. J. Simpson vs the Evidence  Learn more about your ad choices. Visit podcastchoices.com/adchoices

This Postmodern Realities episode is a conversation with JOURNAL author Corey Miller about his book, The Progressive Miseducation of America: Confronting the Cultural Revolution from the Classroom to Your Community. You can receive your copy when you partner with us by clicking here. A related article that Corey wrote for us in the past was How We Lost the Universities and How to Reclaim the Voice of Christ. https://www.equip.org/articles/how-we-lost-the-universities-how-to-reclaim-the-voice-of-christ/This was accompanied by Postmodern Realities Episode 137 How We Lost the Universities and How to Reclaim the Voice of Christ. One way you can support our online articles and podcasts is by leaving us a tip. A tip is just a small amount, like $3, $5, or $10, which is the cost of a latte, lunch out, or coffee drink. To leave a tip, click here.Additional Related podcasts and articles by this author:Episode 358 Responding to the Mormon Missionary Message“Responding to the Mormon Missionary Message.” Episode 169 The Jesus of Mormonism: Differences That Make a Difference“The Jesus of Mormonism: Differences That Make a Difference”. Don't miss an episode; please subscribe to the Postmodern Realities podcast wherever you get your favorite podcasts. Please help spread the word about Postmodern Realities by giving us a rating and review when you subscribe to the podcast. The more ratings and reviews we have, the more new listeners can discover our content.

THE PSYCHOLOGY OF SILENCE Colleague Tanya Branigan. Branigan discusses the psychological aftermath of the Cultural Revolution with professionals in Shanghai, describing the era as a "collective hysteria." She explores the concept of "eating bitterness," or enduring suffering without complaint. While the Cultural Revolution is not strictly banned like the 1989 Tiananmen protests, it remains a sensitive topic met with silence due to both state pressure and personal trauma. Branigan shares an anecdote about a man who hallucinated Red Guards until his death, concluding that memory in China is often fractured by trauma and the struggle to create meaning. TANYA BRANIGAN NUMBER 81965 SHANGHAIN SHIPYARD

THE FORBIDDEN MUSEUM OF SHANTOU Colleague Tanya Branigan. Tanya Branigan discusses her book, Red Memory, and her visit to the Cultural Revolution Museum in Shantou. Founded by former official Peng Qi'an, this was the only museum in China dedicated to recording the era's violence and chaos. Built in a remote location on a site of mass graves to avoid scrutiny, the museum was eventually suppressed by authorities. Branigan recounts visiting during the Hu Jintao era while being monitored by undercover police. Today, the site is closed, unlike the National Museum, which relegates the decade-long catastrophe to a single "dingy corner." TANYA BRANIGAN NUMBER 11905 SHANGHAI MIXED COURT

THE COMPOSER WHO SURVIVED Colleague Tanya Branigan. This segment focuses on Wang Xilin, a composer and former zealous party member whose career was destroyed during the Cultural Revolution. Despite his devotion, he was persecuted, subjected to brutal "struggle sessions," and driven to the brink of suicide. His music went unperformed for 37 years. Branigan describes Wang's intense anger when discussing the era, noting that even his family struggles to understand his trauma. Wang later visited Auschwitz, drawing parallels between the Holocaust and the suffering he and others endured, suggesting that for survivors, the past is never truly gone. TANYA BRANIGAN NUMBER 41905 SHANGHAI NANJING ROAD

PRINCELINGS AND POLITICAL NOSTALGIA Colleague Tanya Branigan. Branigan examines "princelings" Bo Xilai and Xi Jinping, children of elite leaders who were victimized during the Cultural Revolution. Xi was exiled to the countryside, while Bo's mother likely died from beatings. Despite this family trauma, Bo later utilized "red culture" nostalgia in Chongqing before his political downfall following a murder scandal. Xi Jinping also draws upon this era's ideology to demand party purity. Branigan suggests this resurgence reflects a public search for meaning amid modern China's materialism, with leaders tapping into nostalgia for a time of perceived clearer beliefs. TANYA BRANIGAN NUMBER 51925 SHANGHAI

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

Episode Summary:In this episode of Explaining History, Nick explores the complex and often suppressed memory of China's recent past. Drawing on Tania Branigan's Red Memory, we delve into the heart of Beijing—Tiananmen Square—and unpack its layers of history, from the May Fourth Movement of 1919 to the founding of the People's Republic in 1949 and the tragedy of 1989.Why does the portrait of Mao Zedong still gaze over the square, despite the catastrophes of the Great Leap Forward and the Cultural Revolution? How does the Chinese Communist Party use "Red Tourism" and curated museums to construct a narrative of national rejuvenation while burying the trauma of its own making? From the "Century of Humiliation" to Xi Jinping's "Chinese Dream," we examine how memory is not just history, but a tool of state legitimacy.Plus: A reminder for students! Tickets are selling fast for our live masterclass on the Russian Revolution and Stalinism on January 26th.and you can access advert free episodes here on PatreonKey Topics:Tiananmen Square: A site of revolution, celebration, and massacre.The Cult of Mao: Why the Chairman remains the "vigilant eye" over modern China.Red Tourism: How the party commodifies its revolutionary past.Historical Amnesia: The erasure of the Cultural Revolution and the Great Famine from public discourse.Books Mentioned:Red Memory: Living, Remembering and Forgetting China's Cultural Revolution by Tania BraniganThe Age of Extremes by Eric Hobsbawm (referenced contextually)Explaining History helps you understand the 20th Century through critical conversations and expert interviews. We connect the past to the present. If you enjoy the show, please subscribe and share.▸ Support the Show & Get Exclusive ContentBecome a Patron: patreon.com/explaininghistory▸ Join the Community & Continue the ConversationFacebook Group: facebook.com/groups/ExplainingHistoryPodcastSubstack: theexplaininghistorypodcast.substack.com▸ Read Articles & Go DeeperWebsite: explaininghistory.org Hosted on Acast. See acast.com/privacy for more information.

Steve is joined by Janice Trey, Board Chair of The Epoch Times and NTD TV, a survivor of a Chinese labor camp during Mao's Cultural Revolution, and a fearless advocate for free speech. She exposes Big Tech censorship, explains why secure platforms like SafeMeet matter, and issues a powerful call for President Trump to tell Xi Jinping to tear down China's digital firewall. From America's First Amendment to religious persecution under communism, this is a firsthand warning about how censorship spreads, and why it must be stopped.

XI ZHONGXUN'S DEATH AND XI JINPING'S PHOBIA OF CHAOS Colleague Joseph Torigian. This final segment covers Xi Zhongxun's death and Xi Jinping's admiration for his father's unwavering faith in the party despite persecution. Torigian analyzes a conversation where Xi told Shinzo Abe he might have joined American political parties if born there, suggesting he is a realist nationalist. Ultimately, Xi's governance is defined by a "phobia of chaos" stemming from his family's traumatic Cultural Revolution experiences, driving his desire for total control. NUMBER 16

Author and activist Xi Van Fleet joins me to reveal what it was really like growing up in China during the Cultural Revolution—and why she believes the same authoritarian patterns are emerging in America today. She warns how well-intentioned yet deeply misled individuals are paving the way for a future where freedom erodes and power consolidates into the hands of the very few.Learn more and follow her at X @XVanFleetSee exclusives and more at https://SarahWestall.Substack.com

THE MOVE TO BEIJING AND XI ZHONGXUN'S 1962 PURGE Colleague Joseph Torigian. This segment explains that the book title comes from Mao's praise of Xi Zhongxun for prioritizing the party despite suffering. It traces the family's move to Beijing, the birth of "favorite son" Xi Jinping, and the father's complex loyalty to Mao. Torigiandetails Xi Zhongxun's 1962 purge, which foreshadowed the Cultural Revolution; he was removed for supporting a novel about martyr Liu Zhidan, which Mao viewed as a challenge. NUMBER 12

There's an unhinged consensus that patriarchy is a problem, it's bad, and it needs to be dismantled. That's one of the core tenets of the new, secular world order and "morality". It's totally false, but it's been spurred onward over the past 100 years by feminism, which has also become a consensus. We're so steeped in it that seemingly everyone has assumed feminist tendencies and beliefs, just due to the waters in which we swim, culturally. Jeremy is joined by Dr. Carrie Gress today to talk about feminism, gender, abortion, and why all of this is a slow but steady under-the-radar revolution in an attempt to destroy America and Christianity. This conversation is VITAL to understand if you don't want to be polluted by the world. On this episode, we talk about: 0:00 Intro 1:28 Something Wicked and End of Woman 5:06 This is NOT what feminism means 8:48 Should you want your daughters to be empowered and independent? (clip?) 12:46 Freedom as license vs to do what you ought (clip?) 20:59 Does this require theology? 26:33 Birth control (catholic birth control clip) 33:00 Abortion as a Feminist sacrament 41:54 The IDEAL Feminist movement ---

THE CULTURAL REVOLUTION: THE CULT OF YOUTH AND ANARCHY Colleague Professor Sean McMeekin. This segment covers the chaos of the mid-1960s Cultural Revolution. Mao mobilized a "cult of youth" to destroy the "old"—teachers, books, and cultural heritage—in a bid to purge rivals and reinvigorate the revolution. McMeekin describes this as the "nihilistic side" of communism carried to its logical conclusion: the destruction of civilization itself to build a blank slate. The Red Guards unleashed anarchy that the party could barely control, attacking foreign embassies and even targeting the Soviet Union, which Mao utilized as a convenient enemy alongside the United States. This period allowed Mao to "punch above his weight" geopolitically, despite the domestic ruin. The violence and indoctrination of the young set a grim precedent, specifically inspiring the Khmer Rouge in Cambodia to arm children against their elders. NUMBER 6

Author and activist Xi Van Fleet joins me to reveal what it was really like growing up in China during the Cultural Revolution—and why she believes the same authoritarian patterns are emerging in America today. She warns how well-intentioned yet deeply misled individuals are paving the way for a future where freedom erodes and power consolidates into the hands of the very few. Learn more and follow her on X at https://x.com/XVanFleetSee exclusives at https://SarahWestall.Substack.comLinks and Offers Mentioned in the show:Native Path Collagen - Superb quality collagen peptide below retail prices in this special offer: https://explorenativepath.com/SarahProtect your assets with a company you can trust - Get the private & better price list - Go to https://SarahWestall.com/MilesFranklinSee the full Replay of the Peptide Webinar with Dr. Diane Kazer and Sarah Westall at https://sarahwestall.substack.com/p/replay-peptide-revolution-webinarBuy Retatrutide (note you must sign up as a VIP first): Purchase the most effective weight peptide available, Next Generation GLP Retatrutide - use code Sarah to save 15%:https://www.limitlesslifenootropics.com/product/retatrutide-ha/?ref=vbWRE3JMasterpeace: Protect your body, Remove Heavy Metals including Graphene Oxide and Plastics, and learn more about removing MAC IDs athttps://masterpeacebyhcs.com/shop/?ref=11308 MUSIC CREDITS: Down to the Wire – Nonstop Producer Series: Broad Media Internet LicenseCopyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.Disclaimer: "As a journalist, I report what significant newsmakers are claiming. I do not have the resources or time to fully investigate all claims. Stories and people interviewed are selected based on relevance, listener requests, and by suggestions of those I highly respect. It is the responsibility of each viewer to evaluate the facts presented and then research each story furtherSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Turkel reveals he was born in a re-education camp during the Cultural Revolution, where his mother faced abuse for "guilt by association." He draws parallels between that era and today, explaining how intellectualism and foreign connections are still criminalized to justify the mass internment of Uyghurs. 1900 BOXERS

1/8 The Vanishing Museum of the Cultural Revolution — Tanya Branigan — Branigan's book Red Memory opens with the Pagoda Museum in Shantou, the sole institutional site documenting Cultural Revolution history and memory. Built by official Peng Qi'an to preserve this era, the museum unflinchingly documents the period's widespread violence, social chaos, and estimated two million deaths. Official Chinese historiography minimizes the CR as merely "setbacks" and historical aberrations. The museum site, subject to constant surveillance by state security operatives, was eventually closed to public access and systematically obscured from historical memory. 1966

HEADLINE: The Cultural Revolution and the Nihilistic Cult of Youth GUEST AUTHOR: Professor Sean McMeekin 50-WORD SUMMARY: The Cultural Revolution, spearheaded by the Red Guards, was a nihilistic, xenophobic cult of youth. Mao used this violent anarchy to purge rivals and overturn literate civilization, destroying books and attacking professors. Mao also exploited severe tension with Moscow, using anti-Soviet rhetoric as a cudgel against internal opponents and to gain geopolitical influence.

Xi Jinping's Exile and Family Betrayal. Joseph Turigian describes how political torment extended to Xi Zhongxun's family, forcing Xi Jinping's mother to denounce her teenage son when he fled incarceration, a difficult moral judgment made to protect the remaining siblings. During the Cultural Revolution, Xi Jinping was exiled to the countryside near Yanan, a sacred site of Chinese Communist Party history. This mass "sending down" of youth was intended to toughen them up and instill revolutionary spirit, becoming a deeply formative experience for Xi Jinping. Xi Zhongxun spent years in prison writing unanswered, plaintive letters seeking relief and reconsideration from the leadership. Guest: Joseph Turigian. 906 PEKING

Loyalty, Loss, and the Shadow of Mao. Joseph Turigian focuses on Mao's famous phrase about Xi Zhongxun, emphasizing his unwavering loyalty despite repeated suffering at the party's hands. Following the 1949 victory, Xi moved to Beijing, where his son Xi Jinping was born. Xi Zhongxun held complicated views of Mao, feeling gratitude for his survival but recognizing Mao's transformation into a disastrous dictator post-1957. The segment discusses Xi's 1962 purge, which foreshadowed the Cultural Revolution, and his subsequent imprisonment from 1967 to 1975, experiencing persecution earlier than most high-ranking comrades. Guest: Joseph Turigian. 1906

Princlings, Grassroots, and the Politics of Restoration. Joseph Turigian discusses how Xi Jinping gained entry to Qinghua University based on political reliability rather than merit in 1975, although his father remained un-rehabilitated. While princlings were generally unpopular, Xi Jinping made the atypical choice to climb the ranks from the grassroots. Xi Zhongxun's full rehabilitation was slow and politically sensitive because Mao himself had persecuted him. Xi Jinping served as secretary to a powerful military leader and skillfully used public relations to raise his profile. Xi Jinping married famous singer Peng Liyuan, bonding over their shared suffering during the Cultural Revolution. Guest: Joseph Turigian. 1906