Podcasts about Cultural Revolution

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.

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

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.

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

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 Closer to the Fire, host Greg Musselman is joined by Dr. Bob Fu, founder and president of ChinaAid, to unpack 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. This interview was produced by Voice of the Martyrs Australia. Length: 48 minutes Episode Notes ChinaAid: www.chinaaid.org Voice of the Martyrs Canada: www.vomcanada.com

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.

He survived Mao's worst disasters… and secretly saved millions. Then he invited Richard Nixon to China and changed the world. This is **Zhou Enlai** — China's quiet premier for 27 years. From famine to Cultural Revolution to ping-pong diplomacy, this *History Ignited* episode tells the complicated true story behind Billy Joel's lyric. **Timestamps:** 0:00 – Intro 1:20 – Who Was Zhou Enlai? 3:10 – Great Leap Forward Disaster 5:40 – Protecting Lives in the Cultural Revolution 8:15 – Ping-Pong Diplomacy & Nixon's Visit 11:30 – Legacy & Why China Still Mourns Him 13:40 – Tea-riffic Joke! Send us a text

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

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

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

Did you know that at one time every U.S. college and university president was a member of the clergy? Today, there's a 23-to-1 ratio of professors unfavorable to Christian beliefs on college campuses. What happened? In this powerful episode of the Bible and Theology Matters podcast, Dr. Paul Weaver interviews Dr. Corey Miller, President and CEO of Ratio Christi and author of The Progressive Miseducation of America: Confronting the Cultural Revolution from the Classroom to Your Community (Harvest House Publishers). Dr. Miller exposes how secular ideologies—rooted in Marxism, postmodernism, and critical theory—have infiltrated American education, reshaping culture and even the church. He shares his personal journey from Mormonism to Christ, his battles with academic hostility, and his urgent call for a “Third Revolution” to reclaim education and restore the intellectual voice of Christ.

Part 2 of our interview with Dr. Corey Miller of Ratio Christi concerning his new book The Progressive Miseducation of America. In the wake of Charlie Kirk's assassination Corey Miller takes on the university system that led to the ideology that took his life. This is an important work and one that will be important to refer to in years to come.   Watch part 1 here: https://youtu.be/nHw8ltGbUSA Purchase book here: https://a.co/d/j6GAdDu Support the ministry! We only exist because of generous tax deductible donations! Please go to https://freethinkingministries.com/donate/ and join the team today!  Learn about Ratio Christi: https://ratiochristi.org/ ➡️CHAPTERS ⬅️ 00:00 Introduction 01:50 Dr. Corey Miller and TPUSA 04:06 More to the Book than the Title 05:51 Explaining the Cultural Revolution 08:37 The Overlap of Faith, Politics, and Violence 11:55 The Woke Right and The Problem of Universities 21:50 How Do We Get Out Of This Mess? 31:35 How Do We Convince Christians that Politics is Theological? 39:38 Every Law Is Either Compatible or Incompatible with the Law of Christ 46:00 Why Are Pastors Seemingly Less Aware Of These Issues? 48:06 Highlights from Dr. Miller's Recent Travels 1:00:50 Concluding Thoughts ➡️ SOCIALS ⬅️ Website: https://freethinkingministries.com Facebook: https://www.facebook.com/FreeThinkInc Instagram: https://www.instagram.com/freethinkinc X: https://x.com/freethinkmin TikTok: https://www.tiktok.com/@freethinkinc #Apologetics #FreeThinking #Christianity #ratiochristi #university

In this episode of Crossing Faiths, John Pinna speaks with Rushan Abbas, an advocate for the Uyghur community and founder of the Campaign for Uyghurs, about the history and ongoing genocide of her people. Abbas explains the Uyghurs' distinct identity as a Turkic, Muslim people from East Turkestan (now called Xinjiang by China), tracing the evolution of their persecution from the Cultural Revolution to the present day. She details the current atrocities, linking them to Xi Jinping's Belt and Road Initiative, and describes the horrific conditions in concentration camps, including torture, forced sterilization of women, family separation, and the use of forced labor to create a profitable genocide. Sharing her personal story of how her own activism led to her sister's imprisonment, Abbas highlights the Chinese government's transnational repression and concludes with a powerful call to action, urging listeners to educate themselves, use their consumer power to boycott goods made with forced labor, and pressure their governments to hold China accountable.

For a brief moment in time, the Democrats were humiliated in defeat. November of 2024 was the body blow necessary to end the war on Trump. They lost. Trump won, and that was that.They never absorbed that loss, however, except in the way that it made them meaner, angrier, and more willing to blow through norms and abandon what remained of their humanity to chase victory by any means necessary. That would include spending hundreds of millions on Prop 50. It would include celebrating the murder of Charlie Kirk and fantasizing about Trump's imminent death.It would be about sacrificing being “good people doing good things” to “stop fascism.” And somewhere in there, they took a dark turn. I watched it. I wrote about it. I warned about it. I could see it in their attacks on Tesla and their destruction of Elon Musk in an attempt to kill him and his business.I could see them at the No Kings rally, angry and motivated. Their desperation to find a Joe Rogan or compete with the memes on the Right failing at every turn. They looked to me like the monster in The Thing that could imitate but could never be what they thought won Trump the election.Their men are attempting to appear more masculine. Gavin Newsom and JB Pritzker have no problem fomenting insurrection against the government, and the newly elected Mayor of New York just taunted Trump to “turn up the volume.”The women bask in it and pretend they're still feminists when all they wanted all along was to be rescued by men, and here we are again. It's funny. But not so funny.To them, all is justified in the name of “saving democracy.” But that's never been what any of this has been about. They are totalitarians at heart, and they are prepared to sacrifice almost everything - friends, families, marriages, whole industries of culture and education - to attain it absolutely.Utopias only have two potential paths. They become totalitarian, like the Soviet Union, like China, or they collapse. What you sacrifice in chasing utopia is personal freedom, art, journalism, comedy, and common ground with those who disagree with you. A totalitarian system wants it all and is prepared to take it if it isn't given willingly.They were already halfway there before Zohran Mamdani became the new leader of the new Left. Matt Taibbi calls this the end of the Democratic Party, and he's right. Totalitarianism will mean giving up even that. It's all for one and one for all, and those who aren't on board will be left behind.Here is Ben Shapiro:For now, they are holding their not-famous, bland, cookie-cutter centrists —like those who won in Virginia and New Jersey —whose names and faces no one remembers, close enough to not scare people away. They're centrists in name only. The new socialist wave will obliterate them, and if they don't realize that yet, they soon will.This came through my mail, even though I was never put on any list, and I have no idea how it arrived after five years of trying to leave the Democratic Party.Does the Right have anything like that? Are they in any way prepared to go up against people this fired up? No. They aren't. They have Scott Pressler, and they had Charlie Kirk, and everyone else seems to be invested in building their platforms for clicks and views, not for votes. MAGA is on the ropes.The heart of a totalitarian is that all things are necessary to achieve the singular goal of absolute power and dominance for the cause. The cause is usually a Marxist-like government system, but it doesn't have to be. It can be fascist, too. But even that has its roots in socialism because in totalitarianism, there is no power for the individual against the state.Over at the Free Press, Olivia Reingold looked deeper into the DSA:…The Free Press reviewed thousands of pages of internal Democratic Socialists of America (DSA) documents, which show that the organization's leaders view Mamdani as a tool in their agenda to abolish prisons and borders, and ultimately end in what they call the “barbaric order of capitalism.” The DSA, founded in 1982, is a political body dedicated to the doctrine of democratic socialism, which is a variety of socialism that simply specifies how it would like revolution to occur: peacefully, through the subversion of democracy. Mamdani, a dues-paying DSA member since 2017, is the tip of that spear.The Democrat machine cultivated “cancel culture” and used it as a method of societal control. No one would dare say anything that would get them banished from Utopia, except those of us who did and were. That form of policing was straight out of the Cultural Revolution, or Stalin's Komsomol or Hitler's Youth.In our bubble of the Left, we required no military because the system we built made it possible to destroy people with a single accusation. Over time, our hearts and minds had to be captured or suppressed. If you could not go along with it, and I couldn't, you were out.For a society that had migrated to the virtual frontier, that didn't mean you were sent to a gulag or killed, but it did mean you could lose everything and have to rebuild. Not the end of the world, but still, imagine a system like that attaining absolute power because MAGA dropped the ball?That totalitarian practice of punishing thought crimes and dissent spread to government when Joe Biden took power, which is why they censored the internet with impunity and would have continued to do it had the richest man in the world not bought Twitter and freed speech, which allowed for a counter movement to rise and win.Joe Biden and his administration, along with the Democrats, thought nothing of indicting Trump on weak charges, raiding Mar-a-Lago to paint him as a criminal. Their dehumanization and rage for him knew no bounds. They wanted him in jail. They wanted him off the ballot. They wanted him out of their government, their culture, and their country. They wanted him dead. And still do.Jay Jones' texts fantasizing about the death of Republicans and their children are not an exception. It's the rule. They openly talk about “when it happens” to Trump and plan to celebrate that day with playlists and dancing in the street. That is where they were mentally before this November 4th, and their blue wave revived the movement. Now, they are winning.You'd think, given that, they would ease up on the ugliness, the dehumanization, and the hate. Think again. These aren't people who want to share this country or even share the same restaurant as Trump and MAGA. You can't lie about a whole group of people like they have, calling them Nazis and racists and bigots, and not have it end as easily as one election. This is, to them, war.Mamdani's speech proved it. It was masks off, and here comes the revolution, and the enemies are the rich, the Capitalists, and the free thinkers. You think cancel culture was bad? Just you wait until they have control of AI, YouTube, Facebook, and all social media platforms, not to mention all of Hollywood, book publishing, universal preschool, and the universities.And what happens when the money runs out? Even now, Mamdani needs money, and he's asking for it to help pay for his transition team. Get used to it, rich people. You are the ones who will fund this production.The policies matter less than their total control of the country they believe belongs to them. But the one person they can't control is Donald Trump, and that's how he's gotten the better of them again and again. They believe this time, they finally got him. They think the time has come to declare victory. I wouldn't be so sure.When you control the corporate press, the universities, the public schools, the culture, you can create any reality you want. That's a totalitarian paradise, and why they've constructed it that way. A Trump win was never in the plan. It took them a while to find just the right narrative to preserve utopia, which was in a state of collapse.All it took was for Trump to focus on tariffs and not the economy, to celebrate a lavish Halloween ball amid a government shutdown, and most of all for voters to get a taste of Republicans ripping away SNAP benefits and rising healthcare costs. So they shut down the government to manufacture a crisis because, of course, they did. It was Defcon 1.Victor Davis Hanson on Emily Jashinsky's After PartyThat handed the Democrats their oppression cosplay, lining up the shot perfectly. How did the GOP not see this coming? They became arrogant and too comfortable with the idea that the Democratic Party had imploded. The only reason they imploded is that they didn't have the right script. Now, they do.The forces at play to destroy MAGA are everywhere. Do you think totalitarians play around? They do not. Now that Tyler Robinson conveniently assassinated Charlie Kirk, the vultures have flown in, and there is division everywhere.Nick Fuentes, boosted by the New York Times, will become the face of MAGA over the next few years. Excusing him, excusing those who interview him, or apologizing for him is a gift handed to the Left on a silver platter like the Epstein Files. Don't say I didn't warn you.The more people try to censor someone like Fuentes, however, the more energy and popularity he will attain. Anger among the public, especially the young, will find its way out and land somewhere. It will be sucked up by the totalitarians on the Left, or the identity-obsessed faction of the Right.Vivek Ramaswamy:Fuentes is popular, and no amount of scolding will change that. Shutting people up will never be the answer, and it won't work anyway in the age of influencers, clicks, and views. Brett Cooper and others will want a piece of that audience. And so they will placate, they will lean in, and they will excuse.But a Fuentes Right plays like a Reichstag Fire for the totalitarians. MAGA will not survive unless they have some beacons of morality, of true virtue, like Charlie Kirk, guiding them.As Konstantin Kisin points out:There is no saving the totalitarians. They already thought Charlie Kirk was as bad. Even now, none of them felt his assassination in any way. They did not tone anything down. They justified their celebrations and are determined to smear his legacy in death. They would watch and laugh if hundreds of Trump supporters were lined up and shot.Totalitarians want all of you. They want your mind, your heart, your devotion, your loyalty, your past, your present, and your future. They want it all, and they will take it all. And if you aren't on board, out you go. The only hope we have is a sane and common-sense alternative, which we have in Donald Trump. Somehow, in this mess, he comes out as the normal one.If Charlie Kirk were here right now, he'd be on the phone with Trump and urging him to address the economic woes that just lost Republicans a landslide election and ask him to say to the people, “I know you're suffering. I hear you. Here is our action plan to bring down costs and boost the economy. Here is our plan for healthcare. Here is why we won't let anyone starve in the richest country in the world.”But Charlie isn't here. Trump is relying on a team of Yes Men who will not pick up the phone and challenge him, like Charlie would have. But someone must.MAGA must have in place right now a mobilized effort to win in 2026, enlisting all influencers who want to help in the effort to beat back the Totalitarians and their massive alignment of power and their army of fired-up zealots.Otherwise, the totalitarians take America back. They'll raise the drawbridge, and that will be that. They will have whole generations in their universal preschool, shaping those minds however they please. Choose your gender, never think for yourself, do as you are told, utopia.If they take control of AI, that's it for free thought in America. None of them realizes it or even thinks about it. The heart of a totalitarian is not to question but to obey.Gen-Z is facing nothing but a depressing future - no home, AI coming to take the jobs, crippling student debt, and a magic man handing them everything they could ever want for free. Except it's not free. It will cost you everything because it will cost you your freedom.It will sound great at first, like those early enthusiastic speeches in Animal Farm. But if and when the money runs out, if and when there isn't enough for everyone, well, then it becomes the stuff of nightmares.America wasn't built for totalitarianism. It was built to be exactly the opposite. Just visit a socialist country, any one of them, and you'll see why. Charlie might be gone, but thousands of others have risen and attempted to fill his shoes, like Benny Johnson announcing this homeownership program for young people:America is always changing, evolving, and recreating itself. People come here to make their dreams come true. A republic, if you can keep it. Godspeed, MAGA. Godspeed.…// This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.sashastone.com/subscribe

We take a look through the eyes of two individuals that saw what went on in Communist China and the Cultural Revolution there. Now they say that we are on the same road and that is not good.

In this powerful episode, Shanda sits down with Dr. Corey Miller—author, educator and President/CEO of Ratio Christi—to unpack his latest book, The Progressive Miseducation of America: Confronting the Cultural Revolution from the Classroom to Your Community. Join us as we explore: How America's universities have shifted from their founding ideals to become battlegrounds for cultural revolution. Ratio Christi+1 Why Dr. Miller believes this shift isn't just academic—it's deeply spiritual and has real-world consequences. CrossExamined Practical steps Christians can take to engage thoughtfully and courageously in higher education, whether as students, parents or church leaders. How this topic ties into your worldview and discipleship—especially if you're equipping yourself or your family to think clearly in a culture that's changing fast. If you've ever questioned what's happening on campus, wondered how the church should respond, or simply want to deepen your understanding of faith, reason and the future of education—this episode is for you.   Find Shanda www.shandafulbright.com Instagram & Facebook: @shandafulbright Email: hello@shandafulbright.com Free Resources: https://shandafulbright.com/links YouTube: http://bit.ly/ShandaYT2021 Store: www.Shandafulbright.com/shop  

Matthew Bannister onThe actor Prunella Scales, best known for playing Sybil in the TV comedy Fawlty Towers. Her son Samuel West reflects on her long career and happy marriage to fellow actor Timothy West. Gillian Tindall, the writer who pioneered the technique of exploring history through the portal of a particular house or area. Roger Smith, who co-founded and ran the Great Outdoors Challenge, encouraging thousands to walk across Scotland.Anthony Grey, the novelist and journalist who was held in solitary confinement for over two years by Red Guards during China's Cultural Revolution.Producer: Ed Prendeville Assistant Producer: Ribika Moktan Researcher: Jesse Edwards Editor: Glyn TansleyARCHIVE USED: Great Canal Journeys Series 1 Episode 1, Channel 4, 10/03/2014; Desert Island Discs, BBC Radio 4, 05/06/1992; Suppose I Lose It, BBC Radio 4, 16/05/2016; A Question of Attribution, BBC Two, 20/10/1991; Fawlty Towers: Series 1: The Hotel Inspectors, BBC Two, 10/10/1975; Fawlty Towers: Series 2: The Psychiatrist, BBC Two, 26/02/1979; Fawlty Towers: Series 2: Basil the Rat, BBC Two, 25/10/1979; Fawlty Towers: Series 1: The Builders, BBC Two, 26/09/1975; Fawlty Towers: Series 2: Communication Problems, BBC Two, 19/02/1979; BBC News, BBC Radio 4, 26/11/1968; Anthony Grey To Be Released: Mother Waits, BBC News, 03/10/1963; Anthony Grey Released: Mother Hears News, News, 04/10/1963; Radio Newsreel, BBC World Service, 12/10/1969; Desert Island Discs, BBC Radio 4, 01/11/1969; Anthony Grey: One Man's Freedom, One Pair of Eyes, BBC Two, 26/06/1971; Return to Peking, BBC Two, 12/12/1988; Voices from a French Village, BBC Radio 4, 29/05/1996; Robert Elms, BBC Radio London, 05/09/2016; Bricks and Mortals, BBC Radio 4, 18/05/2005; The Adventure Show, BBC Two Scotland, 03/08/2008; Scotland Outdoors - A Coast to Coast Backpack Challenge, Beekeeping in Kinross and the Capercaillie of Speyside, BBC Radio Scotland, 24/05/2025;

The Ming mandarin who helped, 400 years later, to start the Cultural Revolution.Support the show

HR3 America's Dangerous Repeat of China's Cultural Revolution w/ Frank Xu. UFO Panic Solved 10-21-25 by John Rush

Today Razib talks to Eric Kaufmann, a Canadian professor of politics at the University of Buckingham, where he directs the Centre for Heterodox Social Science. He earned his BA from the University of Western Ontario and his MA and PhD from the London School of Economics. Prior to his current role, he held positions at the University of Southampton and Birkbeck, University of London, which he left in October 2023. He is the author of several books, including Whiteshift: Immigration, Populism and the Future of White Majorities, Shall the Religious Inherit the Earth?, and The Third Awokening. His research interests include nationalism, political and religious demography, and national identity. Kaufmann is a previous guest on the podcast. Razib and Kaufmann begin their conversation by exploring the thesis of one of his earlier works, 2004's Rise and Fall of Anglo-America. They discuss the definition of “WASP,” White Anglo-Saxon Protestant, and cultural changes in the white American majority because of the massive immigration waves of the 19th and early 20th century. Kaufman argues that a coalition of liberal WASPs and “white ethnics” was instrumental in the eventual overthrow of the cultural hegemony of elite Protestant whites in the second half of the 20th century. Razib and Kaufman then relate the history of the WASPs to his latest book, The Third Awokening, which chronicles the rise of “cultural socialism” centered around race. Kaufman documents the potency of the ideas of the latest variant of wokeness, their traction among the youth, and argues for its historical roots in earlier forms of Anglo liberalism.

In 1966, the People's Republic of China entered what became one of the most tumultuous periods in its history.  In a spasm of revolutionary upheaval primarily led by students, almost everyone in the country, including high-ranking communist officials, was a potential target for public humiliation, denunciations, torture, and hard labor.  The result was an entire generation of Chinese whose educations and careers were lost, and who vowed never to let political extremism run amok again. Learn more about the Cultural Revolution, what caused it, and what its purpose was on this episode of Everything Everywhere Daily. Sponsors Quince Go to quince.com/daily for 365-day returns, plus free shipping on your order! Mint Mobile Get your 3-month Unlimited wireless plan for just 15 bucks a month at mintmobile.com/eed Stash Go to get.stash.com/EVERYTHING to see how you can receive $25 towards your first stock purchase. Newspaper.com Go to Newspapers.com to get a gift subscription for the family historian in your life! Subscribe to the podcast!  https://everything-everywhere.com/everything-everywhere-daily-podcast/ -------------------------------- Executive Producer: Charles Daniel Associate Producers: Austin Oetken & Cameron Kieffer   Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Discord Server: https://discord.gg/UkRUJFh Instagram: https://www.instagram.com/everythingeverywhere/ Facebook Group: https://www.facebook.com/groups/everythingeverywheredaily Twitter: https://twitter.com/everywheretrip Website: https://everything-everywhere.com/  Disce aliquid novi cotidie Learn more about your ad choices. Visit megaphone.fm/adchoices

Patriots, crank the volume for a dynamic showdown on Joe Oltmann Untamed today Dive into the No Kings Protest frenzy, sponsored by the Communist Party and far-left crews like DSA and Freedom Socialist Party—Gavin Newsom's endorsement got roasted, and a young firebrand scorched Trump's "king" label in a viral clip. We'll unpack Senator Johnson's rally scoop, expose NAACP's race-based district push, and Justice Ketanji Brown Jackson's wild "disabled voters" claim, plus Sotomayor's smacked-down defense—get ready for unfiltered truths that light up the absurd!Ignite the conversation with our powerhouse guest E.M. Burlingame—a Green Beret, author, and cultural revolution fighter—who's storming in to torch the U.S. judicial system's rot! With his Special Forces grit and insights from the Cultural Revolution in America, E.M. will unpack cartels' grip on courts, foreign agitators manipulating outcomes, and how pathocracy breeds poverty and violence. We'll grill him on reintroducing empathy to justice, building a better system, and mobilizing the public without chaos—his Substack wisdom and X takes will arm you to fight back!Wrap with Fun Friday flair: liberals regretting their U.S. exit, Minneapolis mayor's "Baddies for Omar" cringe, Mexico deporting migrants south, and a black panelist claiming immunity from racism—plus Antifa's clown-nosed arrests and White House trolls! Honor Tina Peters in our Fax Blast fury—demand her release from political prison. This isn't just talk; it's your spark for action—tune in and let's fuel the revolution!

Join David Hevener and Bonnie Gasper as they explore controversial topics surrounding public education. This episode delves into the impact of educational policies, the role of church and state, and the challenges Christian families face in public schools. Through interviews and discussions, they reveal the underpinnings of social-emotional learning, gender ideologies, and the broader cultural shifts affecting children's upbringing. This critical examination aims to equip parents with the knowledge to make informed decisions for their children's education.

https://www.youtube.com/watch?v=KZCJXTdch2E Podcast audio: In this episode of ARI Bookshelf, Sam Weaver, Ben Bayer, Nikos Sotirakopoulos and Ibis Slade critically examine America's Cultural Revolution by Christopher Rufo and The Identity Trap by Yascha Mounk. Among the topics covered: Nature of “woke” ideology; “Domino” view of ideological influence; Influence of right-wing ideas; Rufo's authoritarianism; Mounk's egalitarianism and collectivism; Books' perspectives on real injustices; Merits of Mounk's book; Weakness of Rufo's critiques; Rufo's un-American tribalism; Influence of postmodern epistemology; Why “woke” ideology isn't Marxism Recommended in this podcast are Ayn Rand's essay “The Left: Old and New”, Rand's book Introduction to Objectivist Epistemology, and Leonard Peikoff's book The DIM Hypothesis. This episode was recorded on October 3, 2025, and posted on October 10, 2025.

For decades, there has been an assault on the Western classical tradition and the core values, arts, and philosophy at the bedrock of Western civilization, says classicist Spencer Klavan.Are we now witnessing a shift in this tide?Klavan is the author of multiple books, including “How to Save the West: Ancient Wisdom for Five Modern Crises.”He is also an associate editor at The Claremont Review of Books and host of the “Young Heretics” podcast.“People are starting to realize that you can only scream and yell and tear down statues and set things on fire for so long,” Klavan says. “Now the energy seems to be in the direction of … recovering and rebuilding some of our most profound traditions, these wisdom traditions of Athens and Jerusalem.”In this episode, we dive deep into questions of form and matter, beauty and truth, and the importance of finding spiritual meaning in our modern era.“It's often attributed to Werner Heisenberg that once you take one sip from the cup of science, you become an atheist. But when you drain it to the dregs, God is waiting for you there at the bottom,” he says.What do the classics have to offer us? Why is classical art and literature important? And why does Klavan believe President Donald Trump's executive order on restoring classical architecture is a major step forward?Views expressed in this video are opinions of the host and the guest, and do not necessarily reflect the views of The Epoch Times.

Here in the West, acupuncture often feels like something foreign, something patients approach with curiosity but no context. “I don't know anything about Chinese medicine,” they'll say. And most of the time, that's true. We didn't grow up with an uncle who prescribed herbs or a parent using needles to ease the illnesses and injuries of childhood.For Wei Dong Lu, medicine wasn't foreign at all. He grew up inside it, part of a family where healing was daily life. At sixteen, during the Cultural Revolution, he was told to learn a “practical skill.” His classmates were sent to carpentry or sewing. He was handed needles. Listen into this discussion as we trace the path that took him from Shanghai to Nebraska, from teaching at the New England School of Acupuncture to practicing oncology acupuncture at Harvard's Dana-Farber Cancer Institute.What you'll hear isn't just the biography of one practitioner, but a story about how medicine travels—how it bends and blends to circumstance, how it adapts to new settings, and how something essential continues to move through it all.

0:00–15:00 — Welcome to the Tower of Truth (and the Wheel's wrath) Banter, rapture jokes, and “Wheel of Doom” rules: 7,500 points = Palace of Pleasure, under 3,000 = Land of Lunacy. Clip on Mao's Cultural Revolution sparks talk on youth control and censorship. Chicago street chaos → “Valley of Sorrow” score drop; segue into Voynich Manuscript mysteries. 15:00–30:00 — Clones, conspiracies & cursed contracts Britney Spears clone rumors, Hollywood doppelgangers. Kansas myth: alien DNA baby and vanished family. Court case: man rewrites credit card contract, wins 30% cashback. 30:00–45:00 — Math, myths & martial arts DNA claims linking Basques and Mary Magdalene relic → “Jesus lineage” theory. South of France Grail lore tangent. Karate clip lifts spirits: “Power, baby—OSS!” 45:00–60:00 — AI grows fangs; money goes digital AI fears: uncontrollability, self-preservation, code rewrites, blackmail scenarios. Real ID + stablecoin rails (“Genius Act”): freedom tool or social credit backdoor? 60:00–75:00 — Laws, riots & true crime Age-of-consent map rant, cultural whiplash, OnlyFans era maturity. Nepal protests: fires, chaos, then cleanup and stolen-goods return. True crime: Lori Shaver marries while husband's body lies under backyard concrete slab. 75:00–90:00 — Sigils, spheres & surveillance Occult: entities behind masks, sigils under skin, Spare's sigilization. Flat-earth musings: Piccard's “disk with upturned edge.” Rumor: all phone calls over 10 minutes stored in 2026. Bio-ops: insect warfare tests, Lyme, alpha-gal, Gates banter. Closing plugs: OBDM show, Sam's tour, move to Spotify video Oct 1. Watch Full Episodes on Sam's channels: - YouTube: https://www.youtube.com/@SamTripoli - Rumble: https://rumble.com/c/SamTripoli Sam Tripoli: Tin Foil Hat Podcast Website: SamTripoli.com Twitter: https://x.com/samtripoli Midnight Mike: The OBDM Podcast Website: https://ourbigdumbmouth.com/ Twitter: https://x.com/obdmpod Doom Scrollin' Telegram: https://t.me/+La3v2IUctLlhYWUx  

On today's episode, we dive into the resilience and courage of those standing up for truth and freedom. We open by reflecting on the shocking assassination of Charlie Kirk, highlighting how students and activists at Turning Point USA's first campus event since his death are rallying to continue his mission. From touching moments with Erika Kirk, who shares her message of forgiveness, to rare footage of Trump and Elon Musk coming together in Charlie's memory, we explore the unity and determination driving this movement. We also cover the latest security threats in New York, including the Secret Service's dismantling of a telecommunications network near the UN General Assembly, underscoring the ever-present challenges facing our society. Our featured guest, Lily Tang Williams, shares her remarkable journey from growing up under China's Cultural Revolution to becoming a U.S. citizen and political leader. Born in Chengdu to working-class parents, Lily endured extreme poverty, repression, and a lack of basic freedoms before escaping to the United States in 1988. Her story is one of resilience, courage, and the pursuit of liberty. As a former law professor, corporate executive, and entrepreneur, Lily has brought her experience and dedication to public service, running for Congress in New Hampshire's 2nd District in 2022 and 2024, and now announcing her 2026 campaign. She discusses why she is running again, her vision to “Keep the American Dream Alive,” and how her experiences in communist China inform her views on education, freedom, and governance in America today. We also examine international concerns about free speech and rising unrest, featuring clips from England where citizens are protesting against government overreach and immigration policies. The episode concludes with a powerful call to action on government transparency, focusing on the release of Epstein-related documents and the importance of holding institutions accountable. This episode is a must-watch for anyone committed to justice, liberty, and the defense of free speech at home and abroad.  

Dancing Through the Shadow by Agnes Bristow https://www.amazon.com/dp/106889430X Dancingthroughtheshadow.com The shocking true story of Communist China- and the woman it couldn't contain.As the Cultural Revolution sweeps across the nation, young ballerina Tia Zhang rises to the top of Mao Zedong's favorite dancers. Her success leads her to a forbidden love with a dashing military athlete - but it can not protect them from the brutality of the Communist regime.In a story that spans nearly half a century, Tia's family life is upended when her new husband is sent away to a labor camp, their baby son is taken from her, and her career as a dance teacher - her last hope of autonomy - is constantly threatened by government control.Yet, amid despair, Tia's unyielding spirit and love for her family illuminate the darkest corners of a country in turmoil - and fuels her inspiring bid for freedom.Dancing Through the Shadow is a testament to the enduring power of the human spirit and the fierceness of a mother's love. Set against the backdrop of one of politics's most repressive regimes, Agnes Bristow's vivid prose captures the heartache and triumph of a woman who danced not just for art - but for her very survival.

Christopher Rufo is leading a ruthless — and successful — counterrevolution against American elite culture. What does the country look like if he wins? This episode was produced by Miles Bryan, edited by Jolie Myers, fact-checked by Laura Bullard, engineered by Patrick Boyd and Adriene Lilly and hosted by Noel King. A sign for a Cracker Barrel restaurant, whose logo sparked a controversy on the right, led by Christopher Rufo. Photo by Al Drago/Bloomberg via Getty Images. Further reading: Rigoberto Gonzalez' painting Refugees Crossing the Border Wall into South Texas; America's Cultural Revolution by Christopher Rufo Listen to Today, Explained ad-free by becoming a Vox Member: vox.com/members. Transcript at vox.com/today-explained-podcast. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Political economist Chenggang Xu grew up amid the upheaval of China's Cultural Revolution and in the 1970s was beaten, imprisoned, and subjected to years of forced labor by the Chinese Communist Party (CCP).Today, he is a senior research scholar at the Stanford Center on China's Economy and Institutions, a visiting fellow at the Hoover Institution at Stanford University, and author of the new book, “Institutional Genes: Origins of China's Institutions and Totalitarianism.”For decades, Beijing has repeatedly deceived the world about its true intentions, Xu says. So why do we keep falling for it?In this episode, we dive into the origins of the Chinese Communist Party and why Xu believes its model of totalitarianism is distinct from any other regime today.Views expressed in this video are opinions of the host and the guest, and do not necessarily reflect the views of The Epoch Times.

Get ready for a high-stakes episode of Joe Untamed, where we bring you straight to the front lines of America's escalating challenges. We focus on President Trump taking to the streets in Washington, D.C., patrolling in response to surging crime while the National Guard and local police remain under federal oversight. This unprecedented action is a bold statement about leadership, accountability, and citizen safety—and it sets the stage for a deeper conversation about how cultural, societal, and institutional pressures are reshaping America. Joining us is E.M. Burlingame, Special Forces veteran, tech entrepreneur, and global security expert, who draws chilling parallels between today's cultural shifts in America and China's Cultural Revolution. From attacks on traditional values and the nuclear family to the weaponization of media and education systems, E.M. will dissect how these forces are influencing public behavior, law enforcement, and community safety. Using his experience in counterinsurgency, brain health research, and global security operations, he'll help listeners understand how societal engineering, ideological pressure, and policy decisions are converging to create real-world consequences across the nation. Todays show goes beyond the headlines to connect action with analysis. From Trump's patrols in D.C. to the psychological and cultural impacts of America's ongoing revolution, listeners will gain a unique perspective on leadership, social dynamics, and the strategies citizens can use to protect their communities. With E.M. Burlingame's expert insights illuminating the systemic forces at play, this episode provides not just reporting, but a clear framework for understanding and engaging with the rapidly evolving cultural and security landscape in America.