Podcasts about asians

Recessions, trade wars, labor unrest — in moments of societal crisis in the United States, Asian-Americans have been perennially targeted, from the destruction of Chinatowns by white mobs, to the mass internment of Japanese-Americans during WW2, to attacks against Asians during Covid. Historian Scott Kurashige reflects on more than 175 years of anti-Asian violence and its connection to U.S. empire abroad and a divided working class at home. (Encore presentation.) Scott Kurashige, American Peril: The Violent History of Anti-Asian Racism UC Press, 2026 Photo by Jason Leung on Unsplash The post U.S. Capitalism, Empire, and Anti-Asian Violence appeared first on KPFA.

IS THERE A DOCTOR IN THE HOUSE...YET? Still, no, but if it's K-Drama woes that ail you, we have the remedy with Dr. Noonas Prescription Service. This is the Part 2 of us asking listeners to write in with their drama related ailments so we could prescribe the perfect medicine. Whether it's a light and fluffy romcom you can watch with the kiddos or a thoughtful drama to help you through hard times, the doctors are at your service. And if you're bummed you missed out on getting your prescription filled, have no fear! The doctors will be back with future segments. All you have to do is fill out THIS FORM to let us know what you need! Ready to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for takes on Bangtan life. ★ Support this podcast on Patreon ★

It's August (Not AgustD) and Arirang has wrapped Europe and is making its way through the last North American dates (concluding with LA in early September). Before Megan and Lea meet up at those concerts, we touched base to talk through what the last month has brought. Grab a white t-shirt and head into the rain!And remember--keep listening to Arirang top to bottom on your favorite streaming platform! And Come Over is now out on all platforms. Make sure to grab your copy on the iTunes Store. Also don't snooze on Normal! Watch, like, comment on the music video and add it to your playlists.Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Check out our sister pod www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest members of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Want to find more great BTS content? Head over to Afternoona Army for more takes on Bangtan life and links to our social media.

Thank you to my sponsor: BlueChew BlueChew - Right now, when you buy two months of BlueChew Gold, you get the third for FREE with promo code DAVID at https://bluechew.com More Yaqiao Yang IG: https://www.instagram.com/yang_comedy Facebook: https://www.facebook.com/p/Yaqiao-Yang-61572872578748/ Shows: https://yaqiaoyang.com/shows David Lucas Tour Dates: https://www.davidlucascomedy.com/tour 0:00 Asians, Relationships 10:36 Young adults, Morgan Jay, Managers 17:51 Social media conspiracies 20:55 Uber, Jobs before comedy 28:11 Dogs, Accents, Black guys 35:21 Roasting, Hans Kim 44:13 Tattoos, Acting, Getting offended 50:52 Losing weight 56:07 Yaqiao Yang's comedy, Sushi, Jingle Bells NEW MERCH AVAILABLE https://shopdavidlucas.com/ Connect with David Lucas Website: https://www.davidlucascomedy.com Merch: https://shopdavidlucas.com/ Instagram: https://www.instagram.com/davidlucasfunny Twitter: https://twitter.com/funnydavidlucas Youtube: ​⁠@DavidLucasComedian David Lucas was born in Macon, GA. He started acting an early age, performing in numerous stage plays at the Macon Little Theatre. He relocated to Hollywood where he was a contestant on, “MTV Yo Momma”. He has since written for several television shows and continues to perform stand up all over the country (for such comedians as Louis CK, Erik Griffin, Joe Rogan, Brendan Schaub, Tony Hinchcliffe, Bert Kreisher, DL Hughley and many more). David is a Kill Tony Hall of Famer and currently headlining his own tour! A 7EQUIS Network Show https://www.instagram.com/7equis https://www.7equis.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this week's Uncensored, we chat about Megan's first BTS concert experience, check in with how our top 25 dramas are looking, and discuss if Kdramas are still making us swoon. Also... how's Janus? Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for takes on Bangtan life.  ★ Support this podcast on Patreon ★

Since he was just a boy at Hilliard Davidson High School, comedian Fumi Abe used his jokes to ease the alienation of being one of the only Asians in his class.Years later, his comedy took him to Stephen Cobert, James Corden and Jimmy Fallon. Now, he's coming back home to Columbus for his tour.After spending a month in Russia as a teenager, Emelia Sheeley decided she wanted to pursue a career of international service.For almost 10 years, she has been involved with the Riverview International Center, assisting new Americans in the Riverview Drive neighborhood with their basic needs.We'll meet the executive director of PBJ Connections, an organization providing professional behavioral health therapy for families through several forms of counseling, including horses.The discussions are all part of this week's Fascinating Ohio.Guests:Fumi Abe, comedianEmelia Sheeley, executive director, Riverview International CenterHolly Jedlicka, executive director, PBJ Connections, Inc.

  A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Hosts Miko Lee & Guest Host Mia Nakano celebrate Bayanihan in Ballhalla. Bayanihan is a core Filipino cultural value of community unity, and Balhalla is the home arena of the Golden State Valkyries. Apex Express was invited to join Filipino Heritage Night at the Valkyries game. We speak with the community behind this cultural celebration. That includes Al Perez, artists Venazir Martinez and Kristian Kabuay, and coach Carolyn Sideco about the history of Philippines and basketball. Links for more information: More information on our guests: Golden State Valkyries Al Perez, President of the Filipino American Arts Exposition Artist Venazir Martinez DJ P-LO Cultural Practitioner Kristian Kabuay Carolyn Sideco Coaching Kapwa Raquel Redondiez SOMA Pilpinas     Show Transcript: [00:00:00] Opening: Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express. [00:01:13] Miko Lee: Welcome to Apex Express. I'm your host, Miko Lee, and tonight is Bayanihan in Ballhalla. Bayanihan is a core Filipino cultural value of community unity, and Balhalla is the home arena of the Golden State Valkyries. Apex Express was invited to join Filipino Heritage Night at the Valkyries game. Tonight, please join me and my guest host, Mia Nakano, as we speak with the community behind this cultural celebration. That includes Al Perez, artists Venazir Martinez and Kristian Kabuay, and coach Carolyn Sideco about the history of Philippines and basketball. Join us. Today I have the honor of having my bestie with me who's gonna co-host Welcome to Apex, Mia Nakano.  [00:01:59] Mia Nakano: Hi, Miko. Thank you for having me.  [00:02:01] Miko Lee: I was invited to a Valkyries game, and I said, “Oh, my gosh, I need somebody with me that can speak basketball.” And so I thought of you.  [00:02:10] Mia Nakano: And here we are. And the Valkyries do put on a show. That's one of the things that makes them so great.  [00:02:15] Miko Lee: Yeah, it was super fun. It was Filipino Heritage Night, and so we got a chance to talk with the different artists that are there, what is the night about, what's the cultural celebration. What were some of the things that stood out to you?  [00:02:28] Mia Nakano: I think that it really got to the roots of, one, what a great sports city San Francisco and then just the broader Bay Area is, and two, the deep connections to the Filipino community that exists within the Bay Area. When you look at how historically the Warriors really came up and the fan shots from when they were at Oracle Arena, the huge fan base that was there initially was the Filipino community. To see that translate in a very different way as the Valkyries are coming up in the WNBA as this incredible team, second year, on their way to probably making the playoffs for the second year in a row, bringing that community back, particularly with all the connections of the artists, the activations, and even the food that they have in Chase Arena brings it full circle. [00:03:26] Miko Lee: Having Natalie Nakase as the coach there is so powerful and important representation for Asian Americans as well. The other thing that stood out to me was I did not know there was this history of basketball in the Philippines, and then to talk to the different guests on our show tonight about what that history represents, where it comes from, the connection to colonization, and then also how it's really developed into its own cultural phenomena in the Philippines. [00:03:55] Mia Nakano: I played basketball- All throughout junior high and high school and was very immersed in it in Southern California, but I had no idea that basketball was the national sport of the Philippines. After we came back from the game, I did a little a bit of a deep dive, and it was really wonderful to see that it actually started in the Philippines as a women's sport? And it was making sports more accessible to folks, and also very clearly connected to,, roots of colonization and religion. But to still have that anchor and connection there, and then this interesting juxtaposition where right now there has still never been a Filipina player in the WNBA. There are folks who people really thought were almost gonna make it. So there's still that one last phase that they need to break into this sport that is their national sport, but in the United States they're not quite there yet in terms of representation.  [00:04:55] Miko Lee: And talking with Coach Caroline, which people can hear later in the episode, about that history and how it was intended to be this women's sport in the Philippines because it was easier. They thought they'd give it to the women to play. But the men were watching going like, “Oh, this looks fun. This looks more fun than baseball. So it really just took off. I love that transition for that it went and across the country. A few of our guests talked about tenement basketball courts. It's just so wildly different from this country.  [00:05:25] Mia Nakano: I think that that is contextually just how sports are played in a lot of different countries in the world where they don't have access. When you think about people playing football, right, like soccer, in different areas where they are playing barefoot. They are playing in dirt or, like, fields that are not necessarily fields. I think that in the context of playing basketball differently in the Philippines versus the United States or even in European leagues, when the United States goes to play in the Olympics, even though you have the USA women's team, USA men's teams who are supposed to be the best of the best in the world, the way that the game is played at that particular level and arena is quite different. And so they all have to adjust to the physicality, to how calls are called just slightly differently. With smaller players in the WNBA what I find really incredible, and this is what Carolyn talks about a little bit, is like the layup packages? When you get close to the rim, you don't have a Filipino who just goes up and makes a regular layup. They do it with flair, right? There's a part of that maybe is a little bit of showmanship, but also it's a part of trying to sneak your way around bigger players so that you can get the basket. And anybody that you play against, even in a league that is familiar to you, you're gonna have to change your game up, and play to your strength, and also just know what you can't do in the game, and go to another person who has more of those strengths  [00:07:03] Miko Lee: One of the other things that stood out to me in talking with one of the artists, Christian, who was there in the outside, in the cultural area, and he was doing, pre-Filipino writing with folks, and we'll interview him later in the episode. He was saying how he does this activity at a lot of different games, but it was very different. That was the first time at the Valkyries, and he said the crowd was so different, that it felt like back in the day. It felt like community. There weren't tech bros. You feel like it, The audience was way more women, As someone that goes to Warriors' and Valkyries' games, do you notice a difference in the audience?    [00:07:41] Mia Nakano: The first Valkyries game that I had the opportunity to go to last year was their Pride Night, and that is the game that my wife and I always go to for the Warriors. It's a special feeling there. I noticed there was a whole parking lot area for strollers on different levels. There was such great energy, and people just talking about the game, people cheering or rooting for players on the other team. There was not a lot of negative energy going around. When Christian mentions, the tech bro energy, the people rolling around with Patagonia shirts, and sweatshirts, that is so true. You truly feel this family environment that's also very queer friendly. There's so many folks of color, and they're not just there because the team's winning, because last year we didn't know if the team was gonna win or not. They were just showing up. The Valkyries have really created such a strong culture that is team based. That's what you see with the Valkyries, but I also think that that's a testament to the coach, to the players, who really trust in one another, and to the community that we have in the Bay Area. I think even the players did not understand when they came here what they were stepping into, and they talk about talking to other players on opposing teams who are like, “Is it always like this? Is it every night?” They're like, “Every single night, this is how our fans are, and we love it.”  [00:09:14] Miko Lee: So it's in different WNBA hometowns it's not like that? [00:09:18] Mia Nakano: Absolutely not. The Valkyries have sold out every single game from day one. They are the first WNBA team, and I think the first women's professional sports team, to reach $100 billion in valuation. then you see other teams, like the Atlantic Dream, who are playing in arenas of 3,500, or the Dallas Wings, who are playing in much smaller arenas, even though they have all these franchise players like Angel Reese and Paige Bueckers and AZ Fudd. The Dallas Wings are actually moving to the same arena that the Mavericks are gonna play in next year. It's an interesting juxtaposition given where the context of our world is at, who's in office right now, the battles that we're having to fight to keep women's rights, queer rights, trans rights in the forefront and not have them stripped away. Yet on the other side of this, we have this huge, meteoric rise of women's sports, and it's not just basketball. It's baseball. It's hockey. It's all these different leagues that are starting to emerge and have huge fan bases where you can watch women's professional sports all year round. They're nationally televised games. [00:10:31] Miko Lee: Thank you for the history lesson and current events of women's sports. I love it. One of the other things that was really special for this Filipino heritage night was the halftime show where they had DJ P-Lo playing. And then they brought onto the court, the director of SOMA Pilipinas, Raquel Redondiez, and she runs San Francisco's Filipino Cultural Heritage District. She got her name on a Valkyries jersey, and was announced in the halftime moment as a big show. [00:11:05] Mia Nakano: I had a conversation with her said, ” the work that you are doing, particularly in this moment, bringing together the artists, the culture of Filipinos and Filipino history is so critical right now because so many of our communities, cultures, and stories are getting erased, that we are the culture bearers and culture keepers, and so thank you for doing that work.” [00:11:31] Miko Lee: SOMA Pilipinas, for those that don't know, was established as a Filipino cultural heritage district in 2016 and was one of the first in the state designated as an arts district by California Arts Council in 2017. So they do so much great work, they host great things from the, United States of Asian America Festival every year. Self-defense workshops for women. I've taken those in Kapwa Gardens that were amazing. They do mental health services for Filipino folks and provided groceries and COVID education and, Filipino language training, and then artists, as you were saying. They pulled together all these different folks, for this wonderful night to introduce a sense of heritage and a sense of pride that was really powerful. [00:12:19] Mia Nakano: , It's a really lovely connection back to the Filipinos banding together with Chinese American folks in Chinatown that really helped create the broader Asian American movement and what that word and power even means. [00:12:38] Miko Lee: From the I-Hotel to today [00:12:40] Mia Nakano: exactly, and all of that being really anchored and rooted in San Francisco, as well as everything that Larry Itliong did with union organizing that I think has just recently started to get recognized in the broader social justice movement.  [00:12:58] Miko Lee: I'll put links to past shows that we've done on the I-Hotel, on Larry Itliong, because folks, if they don't know about either of those movement le- leaders and huge moments in our Asian American history, they should. It's powerful part of our labor and housing rights history. Were there other things that stood out to you at this Valkyries game? [00:13:20] Mia Nakano: I know that this is probably not gonna be a surprise to you, but the fact that we honestly just got to go behind the scenes and see the inner workings of what the Valkyries, the tunnels and getting lost and trying to figure out where we're going. [00:13:34] Miko Lee: It was a maze down there, by the way. It was like, which direction? Go to this press room. No, this press room. This place. It was very much kind of, in theater-wise, it's like going backstage and seeing how the tech is done.  [00:13:46] Mia Nakano: The thing that was the most exciting about this unique experience was being able to see Natalie Nakase talk after the game, and the snippet in here is really incredible because it shed light into not just who she is as a coach and how she approached the game, but her investment in people, and the importance of seeing people for their full selves, and the importance of the whole WNBA as a league, as a business. They have a lot of money and power, so who are we gonna lift up? It's a always a very intentional choice of what is happening at Chase Arena, at the Valkyries nights, these heritage nights that really uplift so many wonderful communities that are doing incredible work.  [00:14:36] Miko Lee: We're gonna get a chance to do an interview with Coach Natalie in a different episode, so stay tuned for that. Is there anything else that you would like to share with our audience?  [00:14:45] Mia Nakano: Go see a Valkyries game. Go to Balhalla. It will change your life.  [00:14:50] Miko Lee: Experience Balhalla. Okay. Thank you for joining me, and hopefully you'll join me back when we do an interview with Coach Natalie too.  [00:14:59] Mia Nakano: Oh, absolutely.  [00:15:00] Miko Lee: To frame the conversation, we start with Valkyries coach Natalie Nakase, the first Asian American woman to coach a WNBA team. Last year, she was named WNBA Coach of the Year, and at the post-game presser, a reporter asked her, “Tonight is Filipino National Heritage Night, so can you talk a little bit about what it means for fans to be seen around the league?” This is her response. [00:15:25] Natalie Nakase: Yeah. It's huge. I love the fact that we can celebrate and acknowledge different cultures. I'm really big on that. I think it gives people almost like a superpower or a confidence for, you know, the day to be recognized like that and to be celebrated for everything that their, their culture brings. it also, I think, educates people about different cultures. And so I love the fact that we're super intentional about that because I think we have to do that more than not. And, it's exciting. I think this world needs more celebration. I think this world needs more love, more care, especially when some people are not seen as much. [00:16:01] Miko Lee: In the very loud outdoor Chase Arena area, we spoke with several of the folks involved in Filipino Heritage Night at the Valkyries. Please note that the sound quality is due to the nature of being outside a really excited fan base at the game. First off, listen in as we hear from Al Perez, who helped to curate this community celebration. [00:16:23] Al Perez: Hello, my name is Al Perez. I am a community organizer. I'm serving as president of a nonprofit called the Filipino American Arts Exposition, and we partnered with the Valkyries to help curate their cultural activation for Filipino Heritage Night tonight. [00:16:41] Miko Lee: Since the Valkyries are named after women warriors, is there a Filipina version of a woman warrior? [00:16:48] Al Perez: Absolutely. We have one that's local. Her name is Victoria Manalo Draves. She was the first American woman to win two Olympic golds in the Olympics in nine- 1928. She happens to be Filipina-American. So yeah, she was born and raised here in, in San Francisco Bay Area, so we're very proud of her to be, to represent us and be the warrior and an inspiration for all of us.  [00:17:11] Miko Lee: Excellent. And since Valhalla or Valhalla is the space that we want to get to, what is the Filipino version of that place you want to see? [00:17:19] Al Perez: Wow. [00:17:20] Miko Lee: That perfect world you wanna get to. [00:17:21] Al Perez: I think for us, we have this tradition called bayanihan. That's when we help each other towards a common goal. Yes. No matter how Herculean that task is, it's just coming together to help each other. So it's not necessarily a destination. It's more like an attitude of, coming together as a community towards a common goal, towards a cultural pride and community empowerment. [00:17:46] Miko Lee: Great. And tell us what you're doing here today with all these groups. [00:17:47] Al Perez: So we have an outreach table here because we're part of the organizing committee to curate tonight's event. So we actually have an event next weekend called the Pistahan Parade and Festival. It's the largest Filipino cultural celebration in the country, happening August 8th and 9th at the Yerba Buena Gardens, so please come check us out. There's a big parade down Market Street on Saturday to kick off the festival weekend, and then the festival's at the Yerba Buena Gardens, 11 to 5. We're here to promote that event as well as all our other upcoming events in the fall. We're also curating the Filipino Heritage Night with the Golden State Warriors, with the Giants, San Jose Sharks, and San Jose Earthquakes. And then one more. October is Filipino American History Month in the country. So we also produce official celebration proclamation by the mayor at City Hall. So we have a reception, we have entertainment, and we light the City Hall building with Philippine flag colors.  [00:18:42] Miko Lee: And when folks are coming out to these Filipino nights, what should they expect? What's happening?  [00:18:47] Al Perez: Our goal is to be here to be in community, to help showcase our beautiful culture, our traditions. So when these events happen, we usually have, cultural performances, either a pre-game or a halftime. Tonight you're gonna see, P-Lo, a Filipino rapper and a hip hop singer. Here in the plaza we have some basketball hoops, because basketball is a big thing in the Philippines, our national sport. There's also, Sarap Shop is a concession inside. They have Filipino food there. Our goal is to get people a little taste of our Filipino culture, so hopefully they'll be inspired to, to learn more about our community and our culture. [00:19:29] Miko Lee: And what's your dream for the game tonight?  [00:19:31] Al Perez: Of course, to win, right? Number, yeah, number one, Valkyries to win. And also, I hope that people will come and learn about our culture, and to appreciate it more. Maybe it will inspire them to try some Filipino food, or even come to our Pistahan Festival next weekend. Also Señor Sisig is right here in the plaza. They also do fusion Filipino food. I'm hoping that, by being here, people can get to be a little bit more familiar and curious about Filipino culture and community. We have such a, vibrant and diverse culture, we love to be in community. Our food's delicious, and entertainment's fantastic. So come check us out wherever and whenever you can.  [00:20:14] Mia Nakano: I'm wondering if you could talk a little bit about the artists who are here and the community organizations that are here tonight.  [00:20:19] Al Perez: So there's several of us nonprofit organizations here. Our group's the Filipino American Arts Exposition, our mission is more about broadening awareness and deepening understanding of Filipino culture and traditions by doing these cultural events. There's another group here called Young Filipino Professionals Association, or YFPA. They're more about, , uplifting young entrepreneurs, young career-minded, individuals to help them on their path to being more successful. There's also SoMa Pilipinas Cultural District is here. That's a new, relatively new, neighborhood in San Francisco. You know, there's Chinatown, there's Japantown, there's North Beach, so now we also have a Filipino community. It's called SoMa Pilipinas, they're also celebrating their 10th anniversary this year as being, designated as a cultural district. There's also Venazir is a visual artist. She's doing live art mural here inspired by Filipino culture and the intersection of culture and basketball. So it's a great way for people to kind of learn about our fine arts, our visual arts, and our he- heritage. Kristian Cabuay is doing script writing of traditional pre-colonial Philippine script. You know, Chinese and Japanese have their own script writing. The Phi- Filipino community also did before we were colonized by Spain. It's kind of almost forgotten and almost wiped out, so there's a few people now that's trying to revive that, that old tradition of writing .. It's called Baybayin.    [00:21:42] Mia Nakano: Can you talk a little bit about the history or why basketball is the national sport of the Philippines?   [00:21:48] Al Perez: Yeah. It's interesting. Yeah, why is basketball the national sport? I'm not sure exactly, but I think it has to do when after the Philippines was colonized by Spain, and then it, the country became, a commonwealth of the United States, right? And during that time, a lot of Americans came to the Philippines, to establish educational institutions, and one of them is sports. It just got introduced to us, and somehow it clicked. Everybody loves basketball. No matter where you are in the Philippines, in every little barrio, every little town, there's always a game happening [00:22:21] Miko Lee: So are people playing in school, like they start in elementary school, or is it more community based?  [00:22:26] Al Perez: I think it's both. It's just kinda grow, ingrown when you're just a kid growing up in your community. There's always basketball around you, surrounded by basketball. And then of course in more, elementary, high school, it became more teams dynamic, and you got competitions , intramural games. Even between little neighborhoods and little towns, they also have competitions. It's really a big deal. In fact, they love NBA. All the American basketball players are so popular. Everybody knows who they are. [00:22:54] Miko Lee: Al mentioned artist Venazir Martinez, and we pulled her away from the beautiful mural she was creating to talk with us. Again, this is outside, so the sound is quite loud. Venazir is a muralist and a visual anthropreneur. She weaves a tapestry of narratives that explore the connections between human traditions and the ever-changing landscapes that shape them. Listen as she tells us about her work and how she utilizes a symbolic red thread [00:23:25] Venazir Martinez: I'm Venazir Martinez. I am a muralist and a visual entrepreneur, and I am invited to create a live painting for the Golden State Valkyries. [00:23:36] Miko Lee: What has inspired you to create this work of art? [00:23:39] Venazir Martinez: So first and foremost, of course, women empowerment, and we have a lot of very talented Filipino Americans who play basketball. In the Philippines, because I grew up in the Philippines, basketball is such a huge deal. Everywhere in the most promote areas in the Philippines, basketball is their way of enjoying themselves and just pretty much having a time of their life. Basketball tenements are everywhere in the most remote areas in the Philippines. There's this concept of Filipino resiliency that I wanted to incorporate in my work, there are basketball hoops that is made out of wood scraps and like discarded metals. I wanted to highlight that part of Philippine ingenuity. That's why I'm here is to just shed light on that beautiful concept of Filipino ingenuity that we have.  [00:24:40] Miko Lee: I love that. Thank you for sharing. Can you break down what a basketball tenement is?  [00:24:44] Venazir Martinez: Oh, basketball tenement. So tenement courts, these are,.. How do I say this? In America, there's basketball courts that is, like, roofed. Okay. With a roof, and-  [00:24:54] Miko Lee: Like in a gymnasium.  [00:24:56] Venazir Martinez: In a gymnasium, yes. But in the Philippines, anywhere can be a basketball tenement court. They'll just put up a basketball hoop in a pole, like an electricity pole, and they can already play basketball in that area. [00:25:12] Miko Lee: So their court's just made up anywhere. Yeah. Anywhere in the community.  [00:25:14] Venazir Martinez: Anywhere in the community, in the most remote areas in the Philippines, they do that all the time. I grew up in the Philippines, so, it's that really is an immersive experience of having to see basketball really change lives for young people in our community. [00:25:32] Miko Lee: So we're at a WNBA game, and I'm wondering if there was a woman basketball player that you looked up to when you were growing up.  [00:25:39] Venazir Martinez: Growing up, my dad plays basketball. That's the only experience I know that, remembering what basketball is like. ‘Cause I'm mostly in martial arts. But here I am trying to experience a different, like, more empowering way of sports. And it's when I came to America that I experienced this kind of really, it's kind of empowering.  [00:26:01] Miko Lee: And since the Valkyries are women warriors, is there a Filipina equivalent of the woman warrior? Is there a Filipina equivalent of a woman warrior? [00:26:01] Venazir Martinez: There's a lot. There's a lot of very empowering Filipina. First and foremost, it's the Filipina community leaders that I know of in the Bay Area. They are my women warriors. They helped me from the ground up. They created a home for me. They, you know, so they welcomed me. The filipina community in the Bay Area welcomed me. They're all women.  [00:26:31] Miko Lee: Who would you say are some of those folks, some of those women?  [00:26:34] Venazir Martinez: Sonia Villarin, she wears so many hats. She's president of Filipina Food Movement, founder of summer camp in the University of the Philippines Alumni Association in San Francisco. She was the, senior vice president for Bank of America Global Leasing, and she welcomed her home to me and, pretty much, helped me establish my life here as an artist. So those are my women warriors. [00:27:00] Miko Lee: And when people see your beautiful work, what do you want them to walk away with feeling? [00:27:05] Venazir Martinez: I want them to take a second look again in my work, because these, my work pretty much talks about Filipino immigrants, and immigration at large, and pretty much our contributions and the harvested hopes that we have contributed in this cultural landscape,  [00:27:28] Miko Lee: this show is a pop-up tonight, so where can folks find out more about your work or see your work in the community? [00:27:34] Venazir Martinez: I have a huge, huge mural, 2,500 square feet mural in 5th and Folsom in San Francisco, downtown San Francisco in SoMa. It's called Ani, meaning to harvest. There's one in downtown Santa Cruz. There is one in Yuba City. There are multiple murals in Michigan, in New York, mostly in Queens. It's pretty much everywhere, but if you follow the red thread, which is my signature, my artist signature, you'll know that it's my work.  [00:28:08] Miko Lee: Thank you so much. Thank you so very much. Appreciate you taking the time. Another artist presenting their work was Kristian Kabuay working on pre-Philippines calligraphy. His line was so long that we ended up interviewing him separately. Christian is an artist, entrepreneur, futurist who specializes in endangered writing systems and tattoos from the Philippines. Hello, and welcome to Apex Express. Can you tell me your name, your background and what you were doing at the Valkyries Filipino Heritage Night? [00:28:40] Kristian Kabuay: Yeah. My name is Kristian Kabuay. I'm a cultural practitioner specializing in our old, uh, pre-colonial, I say pre-Philippine, writing system and tattooing traditions. I was at the Valkyries, Filipino Heritage Night to interact with the community. I've done a lot of work with the Warriors, you know, going back to Oracle for these cultural nights, the Giants, as well. So most of the teams in the Bay Area, but it was my first time with the Valkyries, and it was quite different. [00:29:16] Miko Lee: How was it different?  [00:29:17] Kristian Kabuay: The vibe was, um… I'm telling everybody that it was my first Valkyries game, too. So the vibe was different. It reminds me of the old Oracle, it wasn't full of, like, tech money that are, you know, Patagonia vests watching the game. It felt very homegrown and it just brought me back to those days in old Oakland A's and when the Warriors were in Oracle. [00:29:42] Miko Lee: What does that evoke for you? What is that feeling like?  [00:29:46] Kristian Kabuay: It gives me a stronger sense of community and the audience is different. The demographics is different. There isn't that toxic male energy. I don't have to worry about someone being drunk and going off and, it was very homey and welcoming. It brings back, as a kid, when I used to watch A's games in the bleachers, watching at Oracle, the community, and not everyone was there to be seen. They were really there for the team.  [00:30:15] Miko Lee: Oh, I love that. I actually do feel like it is, it's such a we're together community vibe. [00:30:20] Kristian Kabuay: Yeah. They even had the wave. I know some snooty teams, they don't have the wave, so-  [00:30:26] Miko Lee: That wave went on for a long time, too.  [00:30:29] Kristian Kabuay: Exactly. I've been to a lot of games. They're, “Oh, I don't wanna look stupid,” or whatever? So that's a big part of my childhood.  [00:30:36] Miko Lee: So I was gonna try and talk with you at the game like I did the other artists, but you had a huge line waiting to see you and talk to you. Talk with me a little bit more about your art form and this pre-clo colonization form of writing.  [00:30:52] Kristian Kabuay: Yeah. Most civilizations had a writing system. It was prior to the land alphabet when the Spanish came and colonized the Philippines in the 1500s. We have this writing. There's only one ethnolinguistic group left in the Philippines that writes it. I come from a background of calligraphy, graffiti and abstract art. When I started to practice it, I incorporated those things. Later I found that I had to become an educator. Then starting to do the cultural festivals. Then you make your parents proud. It wasn't until I started to interact with the community that, there was this responsibility. I didn't come from a highly academic background, but I was being invited to Stanford and Berkeley to give talks about this. So, you know, that imposter syndrome kicked in. Because of the efforts that I've started in, 2010s, the idea of education around this specific writing system, my service isn't really needed. It's out there. Wikipedia, even AI can do it now, and there's a lot of influencers on TikTok that are, building on the stuff that I did 10 years ago. It goes in line with my idea of putting myself out of business. ‘Cause if it's a cultural practice, then you shouldn't be this gatekeeper, this apex of this this knowledge or this practice. It needs to be spread  [00:32:15] Miko Lee: What is the writing system called?  [00:32:17] Kristian Kabuay: A couple names. One of the popular names is Baybayin, and that literally means to spell. It's an adverb, but then it became a noun. So there's many different names depending on the languages in the Philippines.  [00:32:30] Miko Lee: And you said that there's a village of folks that still utilize it. Have you been there?  [00:32:34] Kristian Kabuay: Yeah, I was there in 2016 with a research trip. I stayed with them for a few days to learn, a bit about more about the culture and to donate some time and volunteer, 'cause there's the Mangyan Heritage Foundation. I did some technology work with them. But then also meet with the elders that were there. The village elder did an interview for a film project that I'm doing, but also met the heirs, the daughters in the family that ultimately inherited this practice. [00:33:02] Miko Lee: And so they know that you're teaching this cultural practice around the world, and what is their opinion of that? What do they think?  [00:33:09] Kristian Kabuay: They like it, because it's a different perspective, and a lot of questions. When I go home they go, “Oh, why are you interested in this?” It's a totally different perspective. ‘Cause out here, we have our identity, and the diaspora issues. But back home, because of circumstances, colonization, et cetera, then, the priority is to eat, to live, not to preserve these cultural practices. I've had some indigenous elders tell me that when People come over there, to do their dissertation and they need to figure out their paper to get their PhD. They ask them, “What are you doing to preserve this?” It's kind of extractive or, like, information gathering. Honestly, it really is you strip it down, it is, survival: food, clothing, and shelter.  [00:33:52] Miko Lee: When people were standing in line for you at the actual Valkyrie's game, what were they asking you to write? Were they asking you to write notes or their name, or what was the request?  [00:34:03] Kristian Kabuay: Yeah. Yeah, the line… I was telling people I've never had a line that long when I've done the Warriors. So- … you know, it's kind of different.  [00:34:10] Miko Lee: That's interesting. Just saying [00:34:11] Kristian Kabuay: Yes. I was writing mainly people's names- Mm um, and some words. Maybe a, a good third were non-Filipino, some were there just curious and asking and cultural sharing. Someone knows a Filipino and they go, “Oh, can you write mahal kita?” Like, I love you. And so, we pick up things, just here in the Bay Area. I have conversations with people wanna hear a family name that I never heard about. I say, “Whoa, where's your family from?” Kids learn the stories on how they combine names and some of the origins. It's always interesting when I do this with folks. [00:34:44] Miko Lee: I love that. And you're also a tattoo artist. Do you use some of this writing in your tattoo artistry?  [00:34:51] Kristian Kabuay: Yeah, I do. And that's where the separation between the art and the cultural practice is. Where the writing wasn't tattooed traditionally, but that's where I kind of balance the art. And I separate those two where art is my expression, my personal expression on paper or maybe even on a body, but a cultural practice is more about them and their lineage. So I have to be clear to make those two distinctions.  [00:35:20] Miko Lee: So a question I've asked all the different people that have been involved in this night is that the Valkyries are based on women warriors, and I wonder if there's a Filipina woman warrior that comes to mind to you? [00:35:32] Kristian Kabuay: Yeah, there is. There's one that, part of the lore. Where my dad's from, in his area called Pangasinan, the land of the salt. There's a princess warrior named Princess Urduja that was thought of as a great warrior. This specific Princess Urduja has that Valkyrie's spirit. All the artwork that you see and Academics will say, “Oh, it's you're romanticizing,” and things like that. But you know what? We need a little romance in our lives, right? And romance leads to action.  [00:36:03] Miko Lee: Ah, we certainly do. I'm wondering, with all those people, the long line that stood waiting for you, and you're having these conversations, what would you like them to walk away with after interacting with you?  [00:36:14] Kristian Kabuay: Yeah. That's why there was a sign, and I took a picture of it. It doesn't say, Philippine writing. So it says pre-Philippine calligraphy. I made that term up in 2007 as a way to jolt someone's idea of what pre-Hispanic, pre-colonial is. ‘Cause those things kinda just fly overhead. But if I said pre-Philippines, people, they take a step back and they, “What's that mean?” Or they try to have a smart comeback, “Well, what were we before then?” And my question's always then, “Well, I don't know. Let's talk about it.” That gray area, that being uncomfortable, leads to more curiosity, and ultimately, that's what I want folks to go ahead and, you know… oh, I have this banana leaf. I ran out of index cards. I brought 100 of them. I had these banana leaves that I just meant to decorate the table. I said, “You know what? Let me write on these banana leaves like how our ancestors did.” People are asking, “Oh, what, we wrote on banana leaves?” I'm all, “Yeah, we wrote on, organic materials.” So this thing is probably gonna wilt away in a few weeks or a month or so, but that's how it is. So it's a metaphor for our physical selves, but then also, the message. Maybe they can go ahead and learn how to write it themselves or until we reconnect again. [00:37:31] Miko Lee: Hmm. That's beautiful. And how can our audience find out more about you and your work?  [00:37:36] Kristian Kabuay: Yeah, you can just search for me online. My last name's K-A-B-U-A-Y. First name's Kristian, both with a K. All over the internets and the socials, pretty easy to find.  [00:37:46] Miko Lee: Thank you. And we'll put links to your website in our show notes, so thank you so much for chatting with me today. [00:37:52] Kristian Kabuay: Thanks, Miko [00:37:54] Miko Lee: I honestly didn't know that basketball was such a revered sport in the Philippines. So wanting to find out more, I reached out to a bunch of community folks, and multiple people said, “Reach out to Coach Carolyn Sudeco. She's the one. She's in the know.” So talking to me from her vacation spot halfway around the world is Coaching Kapwa's Carolyn Sudeco. Welcome, Carolyn Sideco, to Apex Express. I'm so happy to have you here.  [00:38:19] Carolyn Sideco: Thank you for having me.  [00:38:21] Miko Lee: Can you first start by telling me who are your people and what legacy do you carry with you? [00:38:27] Carolyn Sideco: Oh my gosh, my people are, collectively, folks who identify as, Philippinics, Filipina, Filipino, and American, and, migratory, and those who claim blood relation and those who I'm still looking for. I live in San Francisco, California, Ohlone land, and also in the land of Choctaw Bulbancha, which is New Orleans, Louisiana. Those are the two places I reside.  [00:39:04] Miko Lee: Can you share about your work with Coaching Kapwa?  [00:39:08] Carolyn Sideco: Coaching Kapwa is what I love to do, and my background professionally is as a certified athletic administrator. I'm a physical educator at the high school level by profession, by certification, by training. But really what I love to do, and so what I do in my consultancy, is I explore and I examine and I think about and learn about everything related to sports cultures and how the culture of sports in all its various ways affect our societies. Specifically, I geek out over learning about my own Filipino American histories and other peoples. Learning that through the concept or the constructs of culture and how sports really is, for me, the funnest way to investigate who I am and who we are to each other. I call myself a sports relationship coach. I am a sports cultures consultant. I also like to identify as a sports liberator. [00:40:16] Miko Lee: Ooh, can you break down what a sports liberator is? [00:40:20] Carolyn Sideco: Miko, I took that from a friend of mine, Danya Cabello, also from the East Bay. Played at Cal, played professionally, and when I first met her years ago, she identified as such, and I said, “That is exactly the kind of person that I wanna be, like, in sports.” I wanted sports to be a way that I could share with people who we are to one another. I wanted to teach young people that they can express themselves in a way that helps make them feel free. With my background in sports administration, I was feeling like the sports industrial complex was really the antithesis of that. And what a lot of people in my profession were striving for was this success that was not defined in the same way that I was defining what my liberation was, and what I felt through sports. So I adopted that. I asked Dania, “Can I call myself a sports liberator too?” And she said, “Girl, you call yourself whatever you want.” So that's what I go by.  [00:41:37] Miko Lee: Ooh, thank you for sharing. That's so interesting in the midst of our kind of capitalization of sports, how corporate it has become. Interesting. Thanks. I also wanted to thank you for sharing with me, Rafe Bartholomew's Hoop Nation and Cassidy Hubbard's, Hoop's Paradise. So those, along with your YouTubes, really gave me a grounding in the connection to between basketball and the Philippines. I'll put a link to those in the show notes for other people that like to do deep dives like me. But can you just give our audience a sense of why basketball is so popular in the Philippines?  [00:42:10] Carolyn Sideco: I learned about the history of basketball and Filipino culture in the Philippines through various people, Rafe Bartholomew one of them, and his book Pacific Rims. A friend of mine here in the San Francisco Bay Area, Kevin Santos, was doing his master's thesis on the history of basketball in the Philippines, and putting an ethnic studies frame on it, so he was the one who actually, practiced his thesis and presentation with me, and I learned a lot through him, and through other people as I was learning about this myself, and how basketball when it was initially, or as we, the modern game of basketball was invented, by Dr. Naismith in Massachusetts with the peach tree basket. Most of us are familiar with that history, but also that was around the time of the Philippine-American War, and US colonization was at its beginning. And so what did the United States export, was its culture, and a lot of that was through sports, mainly baseball, 'cause baseball was already the national pastime. Basketball was relatively new, and basketball was taught in the Philippines also, like in conjunction with the American education system by teachers, by the Thomasites, and by others who were using that form of colonization. They gave basketball to the women and the girls, because it was the lesser sport. It was the newer sport, so it was the lesser sport. They gave it to the women. The men were supposed to play baseball. The Philippines is a collective society- Baseball is a spread out sport, and people aren't close to one another. You're out on a field, it's hella hot, and it's boring. [00:44:17] Miko Lee: Agree. Totally agree …  [00:44:19] Carolyn Sideco: it's easy, to make this assumption that these people playing baseball were watching the girls and women play basketball, and it's faster. Close to one another. It's easy to make a space. So they started playing basketball.  [00:44:39] Miko Lee: Also, you don't need all the things. You need a ball. [00:44:41] Carolyn Sideco: Exactly. In the early days, you didn't even need shoes. Yeah. So it took off in that way because basketball already itself was an activity that Filipino people, kinda took hold of already, and they made it their own. Trained teams started forming and the Philippines had national teams that were already very successful in Asian context, so Asian tournaments they were dominating. In 1975, the Philippine Basketball Association became the first men's, basketball league in Asia, and the first after the NBA in America. So the Philippines has had a long history of relationship with the sport of basketball, but because it's been so long, the sport itself was formed in response to all the cultural aspects that were already existing, right? a lot of town squares had basketball courts 'cause it was so easy to put there. So the same plazas, meeting spaces where people would have their town gatherings, social places, were also courts  [00:45:56] Miko Lee: And why do you think or just surmise that basketball has taken off more than, football or American term soccer, which is developed so much in other countries, which is also a little bit more communal? [00:46:08] Carolyn Sideco: My opinion is that American colonization, in the United States dictated, much more the United States cannot dictate because football or soccer is a more global sport, and the US didn't have as much stake in guiding that as a colonization tool as they did basketball. [00:46:29] Miko Lee: Hmm. Interesting. Speaking of the colonization and politics, I'm wondering about the connection between basketball and politics. In, Cassidy's podcast, they were talking about a politician who released their own basketball shoe, which is wild to me. Yes. So I wonder if there's other connections between basketball or politics, and if that's generally somebody who's more on the colonizer's viewpoint or more conservative viewpoint. Hmm.  [00:46:58] Carolyn Sideco: Hmm. Interesting. I, hmm, I go back and forth with this a lot, Miko, the colonizing tool that is sports, especially the capitalistic sort of, extraction, of sports, right? Of its players, who I like to think of as workers. They're also workers, right? The professional, Philippine Basketball Association is not much different than even professional sports in America with the way they're set up, right? You have owning groups or companies, and so you have these ways that exploitation and that workers' rights are… how do I say it? Because it's at the professional level, these concepts are very much at play, excuse the pun. The Philippines also has a governmental arm related to sports. So sports in and of itself is recognized, right? It doesn't have as much of this sort of altruistic thing as, as we say in the United States, like the sports is like the good of mankind, like that sort of thing. Like, I think, you know-  [00:48:08] Miko Lee: The kind of Olympic idea of unity, it brings us all together. [00:48:11] Carolyn Sideco: Right, like that, those conceptual sorts of virtues.  [00:48:15] Miko Lee: Mm-hmm.  [00:48:15] Carolyn Sideco: Yeah. So in the Philippines, I think it's so much more practical because it's fun, and you could get in a game anywhere, and it's accessible. Mm-hmm. It's accessible to all strata, economic strata, right? You see basketball courts everywhere, in rural areas in cities. Everywhere you'll see basketball courts. The Philippines itself as a country- I think that relationship to sports is something different than the American relationship to professional sports, where dominance and, winning and, beating others and making as much money as possible in that is at the forefront. In the United States even with youth sports now. I do some consulting work, especially in youth sports spaces, and the privatization and the extraction of the youth sports space is, is… We could go on all day about that. I think, this is obviously from a Filipino American perspective. For sure. I've never lived in the Philippines. I was born in the Philippines, but my relationship to the Philippines is also, being mitigated by how I experience American sports, right? So when I think about how I've experienced basketball when I've gone to the Philippines, , and it's the same as any aspect of that culture, right? It's warm, it's welcoming, it's friendly, and those are the cultural aspects that kind of, , supersede the fact that basketball… Basketball has its place, but it's in service to the cultural needs, right? To the need to be social, to participate in a town gathering. It's so sociopolitical.- And because it is, it's still a colonizing tool, right? But it's still mitigated in a way that I think just like Filipino basketball players are so, like, quick. They're known for quickness, agility, and finesse, and, like, drama, right? I used to joke around, like, you can always tell where a Filipino basketball player is in the United States 'cause no Filipino who has Filipino blood in them can do a regular layup. Like they have to make it all fancy. I think that, those sorts of aspects that are not tangible, that bring to light, the way a culture of people affect the sport. it enables a culture to push out through the boundaries of that sport what was given to them. What was given to them is, “This is how you play. These are the rules,” and all that kinda stuff, and that's great, but Filipino history of basketball is always, like, how do you integrate all the really cool things about your culture? It's something that's very different, and it emerges as something that's not quite American. [00:51:36] Miko Lee: Thank you so much. I'm wondering how our audience can find out more about you and your work.  [00:51:43] Carolyn Sideco: They can, follow me on Instagram at coachingkapwa, K-A-P-W-A. Kapwa is the Filipino word for the concept of interrelationship, interconnectedness. And so everything I learned about being, being a person really is through being a good teammate, and sports is the funnest way, like I've said before to practice being a good teammate  [00:52:12] Miko Lee: Thank you so much, Coach, for sharing with me about Sports Liberation and your work, and I'll put links to all that in our show notes. And I thank you so much for joining us on Apex Express.  [00:52:23] Carolyn Sideco: Thank you, Miko [00:52:25] Miko Lee: Please check out our website, kpfa.org/program/apexexpress to find out more about our show and our guests tonight. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preti Mangala-Shekar and Swati Rayasam. Tonight's show was produced by me Miko Lee, and edited by Ayame Keane-Lee. Have a great night.    The post APEX Express – 8.13.26 – Bayanihan in Ballhalla appeared first on KPFA.

Since he was just a boy at Hilliard Davidson High School, comedian Fumi Abe used his jokes to ease the alienation of being one of the only Asians in his class.Years later, his comedy took him to Stephen Cobert, James Corden and Jimmy Fallon. Now, he's coming back home to Columbus for his tour.After spending a month in Russia as a teenager, Emelia Sheeley decided she wanted to pursue a career of international service.For almost 10 years, she has been involved with the Riverview International Center, assisting new Americans in the Riverview Drive neighborhood with their basic needs.We'll meet the executive director of PBJ Connections, an organization providing professional behavioral health therapy for families through several forms of counseling, including horses.The discussions are all part of this week's Fascinating Ohio.Guests:Fumi Abe, comedianEmelia Sheeley, executive director, Riverview International CenterHolly Jedlicka, executive director, PBJ Connections, Inc.

We're back with more Better Late Than Single! This week, we're discussing season 2's reunion show, Better Late Than Single: After Service. There's a lot we liked about this six episode special, especially the nice, bite-sized episode length (30 minutes!). But do we still have suggestions on how to make things more helpful and meaningful to our eternal singles? Absolutely. We're here, Netflix! Bring us in for season 3!Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas. Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for takes on Bangtan life.  ★ Support this podcast on Patreon ★

It may sound entirely bizarre but the prices you once paid for hotels, educational classes, or staplers could have all been higher because you used a Mac computer, lived in a certain zip code, or lacked an Office Depot in your neighborhood.No, really.In 2012, The Wall Street Journal reported that the travel booking site Orbitz showed Mac users pricier hotel options than PC users, because the company had determined that Mac users spend, on average, 30% more a night on hotels. That same year, The Wall Street Journal (once again) reported that Staples.com showed higher prices to visitors who lived farther away from a competitor like Office Depot. And in 2015, the reporting outfit ProPublica revealed that customers in certain zip codes were shown higher prices for college test prep courses offered by The Princeton Review.As that investigation found, if customers:“type some zip codes into the company's website, they are offered The Princeton Review's premier course for as little as $6,600. For other zip codes, the same course cost as much as $8,400. One unexpected effect of the company's geographic approach to pricing is that Asians are almost twice as likely to be offered a higher price than non-Asians.”This is surveillance pricing put into action.Under surveillance pricing, companies collect as much data as possible about consumers so that they can alter the literal prices those consumers pay for the exact same goods as everyone else. It is reportedly what caused some customers to see higher prices for televisions in the Target app when those customers were physically located in a Target parking lot. It is also allegedly why Home Depot customers in wealthy neighborhoods oddly paid less. And it is what Delta Airlines walked away from after public backlash.The near-omnipresence of surveillance pricing is also why so many videos can be found online today that claim that minor alterations to a person's data trail—like changing an IP address using a VPN or shopping for airline tickets on a public library's computer—can lead to lower prices online.The proof behind these claims, however, is harder to test.Thankfully, one person has already tried.Video journalist Chris Parr, known on YouTube as Chris the Producer, ran a wild experiment into whether he could “stress-test” surveillance pricing. Far beyond changing his IP address or making online purchases from different locations, Parr started from scratch. By first registering an LLC in the state of Wyoming, Parr granted that LLC both a credit card and a phone, effectively creating a brand new consumer persona to be tracked. But creating a realistic data trail for his LLC would require a little extra help—help that Parr received from an actor he hired for the part.Today, on the Lock and Code podcast with host David Ruiz, we speak with Parr about his experiment into surveillance pricing, including a high-wire drone act to purchase a White Castle Crave Case in the air space above his home state's wealthiest neighborhood:“To the data collectors, they don't know that this phone is floating in the air, like 200 feet in the air. They just see a geolocation on it.”Tune in today.You can also find us on Apple Podcasts, Spotify, and whatever preferred podcast platform you use.For all our cybersecurity coverage, visit Malwarebytes Labs at malwarebytes.com/blog.Show notes and credits:Intro Music: “Spellbound” by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Outro Music: “Good God” by Wowa (unminus.com)Listen up—Malwarebytes doesn't just talk cybersecurity, we provide it.Protect yourself from online attacks that threaten your identity, your files, your system, and your financial well-being with our exclusive offer for Malwarebytes Premium for Lock and Code listeners.

Hour 2 Segment 1 Tony tarts the second hour of the show talking about a $20 burrito dividing the GOP as the party debates food prices. Hour 2 Segment 2 Tony talks about if the high food prices have any influence through DoorDash. Hour 2 Segment 3 Tony gets into three more things: rent control and new car prices, Duke University’s law school discriminates against whites and Asians, and President Donald Trump denying a rift with Pete Hegseth over munition shortages. Hour 2 Segment 4 Tony wraps up the second hour of the show talking about Purdue University’s new athletic director, Tommy McClelland, saying if you don’t want to win championships, go to Indiana. See omnystudio.com/listener for privacy information.

Hour 1 Segment 1 Tony starts the first hour of the show talking about President Donald Trump signing executive orders on birthright citizenship. Hour 1 Segment 2 Tony talks about who is in favor and opposing the confirmation of Todd Blanche as the new attorney general. Hour 1 Segment 3 Tony is joined with Ed Morrissey of HotAir.com to talk about New York City Mayor Zohran Mamdani and the rest of the DSA supporters being “thin-skinned”. They also talk about Abdul El-Sayed narrowly winning his Michigan primary election. Hour 1 Segment 4 Tony wraps up the first hour of the show continuing his conversation with Ed Morrissey talking about how the left has abandoned the Black voter as necessary talking points. Hour 2 Segment 1 Tony tarts the second hour of the show talking about a $20 burrito dividing the GOP as the party debates food prices. Hour 2 Segment 2 Tony talks about if the high food prices have any influence through DoorDash. Hour 2 Segment 3 Tony gets into three more things: rent control and new car prices, Duke University’s law school discriminates against whites and Asians, and President Donald Trump denying a rift with Pete Hegseth over munition shortages. Hour 2 Segment 4 Tony wraps up the second hour of the show talking about Purdue University’s new athletic director, Tommy McClelland, saying if you don’t want to win championships, go to Indiana. Hour 3 Segment 1 Tony starts the final hour of the show joined with Dr. Matt Will, economist from the University of Indianapolis, to talk about the latest unemployment rates and rate hikes. Hour 3 Segment 2 Tony talks about what the latest negotiations are with President Donald Trump and Iran. Hour 3 Segment 3 Tony talks about Megan Rapinoe’s rant on Riley Gaines and Sophie Cunningham’s comments towards transgender athletes. Hour 3 Segment 4 Tony wraps up another edition of the show talking about Russian President Vladimir Putin looking to test NATO.See omnystudio.com/listener for privacy information.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. For this episode of “Obbligato,” a show dedicated to AAPI classical musicians, composers, and scholars, host Isabel Li interviews Indian American composer Reena Esmail, who blends Hindustani musical themes with western classical compositional styles. Music in this episode: – This Love Between Us “Prayers for Unity”: II. [Sikhism] – Lacrimosa (from Malhaar: a Requiem for Water) – Terra infirma: IV. roaming the ghost forest Transcript Isabel Li: I'm Isabel Li, here for a new edition of “Obbligato,” which explores the AAPI community in the classical music world. Today, we're featuring the Indian American composer Reena Esmail and her unique compositions that blend Hindustani music with Western classical styles and how she writes music about religion, spirituality, and even environmentalism. Welcome, Reena, to Apex Express. Reena Esmail: Hey! It's so great to be here. IL: My first question for you is one that's probably a little bit loaded, but how do you identify and what's your story? RE: I don't know, it's interesting because I work in many different situations, and I think I always identify as the thing that isn't whatever the dominant situation is that I work in. Right? So it's like when I'm in America, I identify as an Indian American. When I'm in India, I identify as an American. When I'm working in Western classical music, I'm the person who knows stuff about Hindustani music. When I'm working in Hindustani music, I'm the person who knows stuff about Western music. So really. Actually, I think of identity not as a fixed thing, but as how you, um, delineate yourself, how you're unique in the situation you're in. You know, it's interesting because especially in the case of Asian Americans, Asia is such a broad thing, right? There are so many more East Asians in Western classical music than there are South Asians. Certainly in my generation. You know, I was surrounded by Chinese, Korean, some Japanese people who were always, you know, playing the piano when I was playing the piano. And, um, there really was not many other Indian people. And, you know, I'll, I'll actually say that even within India, um, you know, if you look at me in America, I'm just Indian. If you look at me in India, I have a very unusual lineage, which is that my dad is from the region of Gujarat and his family is Muslim. My mom is from the region of Goa and her family is Catholic. And so because of that, when I was expressing interest in music, My mom was the one who had more of kind of a musical knowledge in her family, even though there's no professional musicians in her family. So because Goa was colonized by Portugal, there is this element of Western classical music in Goan culture. And so because of that, my mom was like, oh, let's give her guitar lessons, let's give her piano lessons. And so that's how I landed up in Western classical music as opposed to doing Indian classical music. Um, so yeah, I kind of went through the Western classical scene. I was very interested in being a pianist. And, you know, I'm glad that I'm glad I'm a failed pianist in all honesty, because I see what my colleagues who are real, you know, professional pianists have to go through. And I just don't think I have what it takes to do that. It's really an intense job. Um, but when I was in high school, um, one of my theory teachers kind of said, hey, you know, you might be a composer. It seems like you think like a composer thinks, why don't you try composing and why don't you try writing things down? and one thing led to another. And basically a year and a half to two years after studying, I got one of a very few spots in the undergrad program in composition at Juilliard. And that was a point where my parents kind of said, okay, you know, we don't know a lot about the music world, but it seems like if she got into Juilliard, she's probably like somewhat good at this. Maybe we should kind of see how this goes. And, you know, from there on, I pursued composition. IL: And when and why did you start to study Indian classical music, which is a big element in your compositions now? RE: Yeah, absolutely. So I think it's interesting because in every generation, I've seen so much change in how the diaspora views itself. And certainly when I was growing up, you know, I know this is hard to believe, but there were not if you were an Indian going to school, you were kind of the only one. If you were an Indian music, you were kind of the only one. So there was this element where when I went to Juilliard, um, there were I to my knowledge, two Indians in the entire school, me and an actress who had actually come from Calcutta. And so people were trying to, you know, make conversation with me and they'd be like, well, you know, do you do stuff with Indian classical music? And I would just be like, no, I'm trying so hard to even write music for orchestra and, you know, string quartet and all the things that my peers are trying to do. Like, is that not enough? Because I'm Indian, I also have to be doing all this other stuff. And so I resisted it for a long time because I was just trying so hard to do one thing well. But then, you know, I think what, what made me kind of unique is that, you know, I stood out, I was Indian and then, you know, when I was young, that felt really cool. The older I got, the more I thought, well, you know, I know I'm from this culture that has incredible music and I know it when I hear it, I know nothing about it, and maybe I should actually pursue it. And so I really separately kind of started meeting Indian musicians who lived in New York, and I would just ask them questions, and I got to know them. And I realized that while we didn't share a type of music, we did share a culture and we did share a love of music because it is interesting that the culture of Indian classical music is actually quite similar to the culture of Western classical music. You know, you study with a teacher over a really long period of time. You're practicing for hours a day. The kind of personality that would love Western classical music would also love Indian classical music. And so I just made friends with some of these Indian classical musicians. And of course, being a composer, I thought, why don't I put them in my music? You know, how do I do that? And so it was really just curiosity that led me down that path. And for many years, that path was very separate. Because again, I know it's very hard to believe now, but there was a time where people really did not want these cultures to be combined, and people just really looked down on cultures that were not, you know, the dominant Western European classical culture. And so I kept them really separate. And even when I started combining them, people were like, oh, that's sweet. She does stuff with Indian music, you know? And it was really not taken seriously. It's only really in the last decade that people have been embracing other musical cultures. And I mean, how glad I am that that's happening. But it was very, very hard fought and very separate at first. IL: And on that note, how do you navigate the unique challenges of composing with both these cultures in mind, but also being situated in the United States, where people come from all different backgrounds? And how do you as a composer approach that in this context? RE: I mean, I think it's interesting because first of all, I am musically bilingual now, so I can. I went to India, I studied Indian classical music. Seriously. I still work with Indian classical musicians very closely. And so, you know, I can be working on a piece that has Indian classical musicians in it, and I can turn to them and immediately speak in their language and their musical language. And then I can turn to the Western musicians and speak in their musical language. So every single piece I write, especially the ones that involve Indian classical musicians. There is a way through those pieces, both through the Western lens and through the Indian lens. And so I think I'm working in a position where I actually do know how to speak both those languages. And when you do speak both those languages, you know, just the way that if you speak any two, you know, verbal languages, you would know that there are sounds that are cognates. And so you're like, oh, I say the sound. So maybe and it means one thing in one culture and one thing in another culture. But you know that that sound is the same. And so with musical language, you can actually use those musical cognates to connect across cultures by saying, just listen for this thing. And when you listen for this thing, interpret it through the lens of your own culture. So that's certainly how I work. But, you know, I mean, again, I want to say that's not the only way to work. I don't think that you have to be, you know, I mean, again, there's probably most people who are listening to this probably have one musical culture and then maybe they know much less about the other musical culture. That is also fine. You know, you don't need to be an expert in order to want to explore and, and love a thing that's just, you know, where I am because it's the, the center of my musical practice. IL: Well, let's hear a selection from Reena Esmail's oratorio, “This Love Between Us.” This is the second movement titled Sikhism. David Hill conducts Juilliard415 with the Yale Schola Cantorum. [MUSIC: This Love Between Us “Prayers for Unity”: II. Sikhism] IL: That was Sikhism, the second movement from the oratorio This Love Between Us by Reena Esmail, who is here in conversation with me today on KPFA for APEX Express. Something that I really found interesting in especially your work — and I'm sure this has been asked many times, but This Love Between Us: Prayers for Unity. This oratorio that you wrote, beautiful work where you use words from the seven major religions of India. And each movement of the choral work is also named after a different religion. In what ways did you adhere to or challenge norms of spiritual music? Because religion is so religion and music are so deeply tied together. How did you challenge those norms or how did you express those norms when you wrote this work? RE: You know, I think it's interesting because my own spiritual background is very kind of multi spiritual multi-faith. But like I said, my, my father is, is my father's side of the family is Muslim. My mom's side of the family is Catholic. My husband is Hindu. All of them grew up in a very singular practice in each of their religions. But for me, I grew up, you know, around my mom and my dad and then, you know, my husband later. And just there's a part of me that takes in the essence of each of these spiritual traditions. And, you know, I'm trying to kind of find what feels true to me in each of those places. And so to me, you know, this love between us is, is a place where I'm trying to essentially say, yes, we express things differently through whatever cultural, uh, history, that language or that that religion emerged through. And yet we're all trying to get at that same numinous thing. And, you know, I mean, I'm not saying, oh, all religions are the same. Definitely not. You know, there's, there's many different ways to practice things. And, you know, your unique way into your spirituality is your own. And that's, that's amazing. But also, we all kind of our cultures form religions for a certain reason, and it's because we want to try to understand things that are beyond ourselves. And so that's essentially what the piece is saying. So I know I'm sure there are purists who are like, you shouldn't be combining these things, but, you know, there's always going to be purists who do that and there's a role for that. But that's not really my role. So, I mean, I picked the pieces and I picked the religion specifically because of the numbers of people who practice that religion currently within India. And so it is like the largest, um, populations, you know, like Hinduism, Islam, Buddhism, all, all of those things. And then there's one little tiny religion, Zoroastrianism. And while they are not, there's not many of them within India. They are the ones who are practicing Western classical music in India. So people like Zubin Mehta and all, they are Parsis that are Zoroastrians. So I thought, you know, it's important to include them too, because it's a piece that involves a lot of Western classical musicians. IL: I'm wondering now, as a composer who's working with music of different languages and religions and origins and also evoking a lot of these spiritual truths that are pretty universal in nature. What is your view on the function of music? There's the platitude that music is a universal language. Do you how to what extent do you agree with that? RE: You know, yeah, it's hard to, to, um, to think of music as a universal language. But I think sometimes we, how can I say this? It's such a broad question. When we are working in a form that isn't completely narrative, it gives us a little more chance to get at things that don't have to follow logically after one another. They're just feelings that we're able to feel. And I like working even when there are words, you know, there are certainly words in all of these, these, uh, pieces in this love between us. But I feel like sometimes we just feel something within us. And, you know, I experience this a lot when I have a piece performed, people will come up to me and say like, oh, this made me feel like this. And then the next person will come up to me and say, oh, this made me feel exactly the opposite thing. And I, I really love that we can have those experiences. And, you know, recently it's been really interesting because people have been asking these questions like interviewers, you know, before performances will be like, well, what do you want the audience to feel? And I'm like, oh, I don't want to answer that question. I want you to feel whatever you feel. There's nothing right to feel. And often, I mean, I'm not the one to ask. I'm so close to the music because when I'm listening, I'm thinking like, okay, was that C sharp in tune? Okay, you know, that's what I'm feeling. And I certainly don't want them to feel that. So I don't know. I think it's, it's just exciting to see how when we get out of these, what we should do this and this is the right thing to do. And this is the only way to do it. Um, how do we behave? And there are so few spaces left where if we don't say exactly the right words at the right time to the right people, you know, if we don't have exactly the right opinions that everyone around us has, We are so condemned and music might be one of the last places that we're allowed to feel whatever's inside of us. IL: Mhm. That's really interesting to think about. I think art in general is very beautiful because it allows people to interpret it in many different ways. I think for your music, you really draw on cultural specificity in terms of Hindustani music. What advice would you give to other young composers or also maybe artists of different mediums in creating that balance between specificity and universality? RE: Yeah, I think the thing is that the way into a deep practice is specificity. You know, I know people have asked me like, oh, you've done stuff with Indian music. Are you going to do stuff with other music? And I'm like, gosh, there's still so much to explore. I could have like three lifetimes and still not explore everything I want to explore just in the relationship between Indian and Western classical music. I mean, goodness knows I have four degrees in Western classical music, and I still am barely scratching the surface of it. Right. So I kind of feel like specificity is important because it allows you to access depth. And yet, you know, when you are specific about a certain thing, um, like for instance, like a scholar who only speaks Italian, I mean, they're going to know more than someone who maybe speaks five words of each language, right? So they can transfer over at a higher level and make more sophisticated points and understand the world with a more universal lens if they've gone really deep on one thing. So I would say, you know, to young composers, to young musicians, pick one practice and know it really, really well and deeply become go as far as you possibly can and then, you know, try to see if you can find relations between your primary practice and a different practice. Um, and I mean, some people, you know, I know in this generation that's coming up, that's like in their teens and twenties, there are South Asian, uh, kids who are here whose parents have come from India that are learning Indian and Western classical music side by side. And I think that's great. I mean, that's awesome. But I would also say make sure you don't just learn halfway. Both of those things, you know, if you're going to learn them, if at least with one thing, try to go as absolutely far as you can. IL: Let's hear another example of Reena Esmail's bilingual musicality with her work, Malhaar: A Requiem for Water, which was recorded fairly recently. The vocalist is Graycen Gardner with the choir conducted by Amy Fogerson. [MUSIC: Lacrimosa (from Malhaar: a Requiem for Water)] IL: Composer Reena Esmail used Indian classical instruments in that work, titled Malhaar: A Requiem for water. The vocalist was Graycen Gardner, with the choir conducted by Amy Fogerson. Percussionist was Rohit Panchakshari. I'm Isabel Li in conversation with composer Reena Esmail on this edition of Apex Express here on KPFA 94.1 FM. So when you integrate Hindustani classical Hindustani music, Indian classical music and those instruments into your scores, did you happen to did you have to develop a way to translate the notation of those notes in Western classical music notation, or vice versa? RE: Yeah, it it begs the greater question of what is notation for? Right? Because notation is essentially a way for Western musicians who read notation to look at a thing and be able to associate sounds with that thing. And so when I'm notating for Western classical musicians, I'm saying, okay, what is a cellist typically seeing and what are they doing based on what they're seeing? And then how can I take that language that they know really well that they play in Bach suites, that they play in Elgar, Cello Concerto, whatever it is, how can I take that language and just move it, you know, a couple degrees outward so that they're able to express different things, right? And so it's very much a psychological thing. You know, it's not a science the way that we think of it as and we learn it as this, oh, you know, eighths and sixteenths, and they divide this way. There's a lot you can do just to make someone feel a certain way with notation. On the other hand, if I'm writing for a sitar or tabla, the question is what? What is the role of the notation? Because the role of the notation for tabla player who has only Hindustani training and doesn't read music. It's certainly not for the tabla player that I'm doing the notation. Usually what I'll do is sit down with the tabla player in a, you know, more Hindustani style and say, hey, this is what I want. I want you to have like six overtones of teental. It should be at this tempo, blah, blah, blah. And they're like, oh, got it. I see what you want me to do. Right? And so all you need to figure out is the alignment points with the Western classical musicians. And so then the notation I put in the score is not really for them. It's for a conductor, for the Western musicians to be able to understand what they are doing and to be able to cue them in and help them kind of be in dialogue to one another. So it's interesting because, I mean, these days now I'm finding that there are tabla players who are both Indian and Western classical trained, and they want a part, but parts are not a thing. When I first wrote This Love Between Us, there were no parts for the tabla and sitar player. I actually had a cue sheet that I would actually point to as they were going, so that they knew, you know, what the different cues were because a part, you know, counting rests and stuff is not going to help them at all. So I think it's mostly trying to understand how is someone perceiving something and how can you give them the information they need in the most seamless way possible so that you can express what you want to express? IL: I love how technical that entire rundown was. I also wanted to talk a bit about your work, Terra Infirma, which is pretty recent. I had the honor of attending the premiere of Terra Infirma, a harp concerto that you composed based on your experiences with the Los Angeles fires in January of 2025. Um, it was such a wonderful work. I personally really loved hearing how you musically depicted the progression of a wildfire from despair to hope. It's also not the first environment based piece that you've written. YYou've written, for example, Earth Speaks in 2015. How do you approach composing works that are so rooted in environmentalism? And of course, have, have the undertones of speaking to the larger climate crisis at hand? RE: The thing that is interesting is, you know, someone was asking me about that piece, you know, you, you're, they're asking like, how do you kind of deal with activism in your work? And I was saying like, you know, I don't really think of myself as an activist because I think these issues are so fundamental to all of us, right? It's like you turn on your tap and you're just afraid that there's only going to be so long before water stops coming up. That's not, um, it doesn't feel like activism. It just feels like, you know, fear and it feels like we're tapping into these human emotions where people are so worried about what's going to happen. We don't really know what to do. And I think, you know, with anything, most people who have fear about things, you're going to just clam up if you feel that it's too, um, too much to deal with. And it is I mean, the environmental crisis is so huge that I think most people are just clamming up. And I guess, you know, what is our role as musicians? I think it's maybe to have some moments where we're not just like on our phones, seeing pictures of things burn down and freaking out where we can actually take some time to just reflect and be with one another. Because if we're going to solve this, it's going to be together and we need to come to some kind of like calm understanding of what is happening. And so a lot of my pieces are not accusatory. They're not, you know, pointing a finger. They're not supposed to rile people up. They're supposed to actually depict that experience of what it feels like to really sit with a hard thing for a long time and come to terms with it and then figure out how to move forward. And that's certainly the case with Terra Infirma and certainly the case with my Requiem. Certainly the case with curiosity, like you were saying, it's from Earth Speaks, which is many years ago. And that piece actually talks about the, the Pasadena institution's. It was actually for an organization called Pasadena Master Chorale. They commissioned the work many years ago. And what's so funny is I now live in Pasadena. I live in Altadena, up in the hills. So it's I wasn't living here at the time, but it is, you know, a place where many scientific institutions like the U.S. Geological Survey, you know, JPL, Caltech, all these places that are really exploring the environment in important ways are based. And so the piece kind of honors that and honors how we can interact positively with our environment. We can get data, we can find ways to do things that are, I mean, beyond my understanding, you'd have to ask a scientist, but but I just love that that we're in this place that sees the environment as something to understand more deeply instead of something that's just going to turn on us at a certain point. IL: Certainly. And I'm really curious, because Terra Infirma is also a work that was paired with multimedia animation and performance. Was there anything in your compositional process that differed when you're collaborating across these different mediums? RE: Yeah. So it's interesting because so the, there was, there were projections that were happening. And also in addition to that, it was a harp concerto, but a harp concerto where the harpist was also playing percussion. And so there were some elements that were so different than what would be typically like if harpist was like, I want a concerto. You would just be like, okay, you know, she sits there, she plays these notes. They're in that one position. That's all fine. Um, there was so much more, you're right with this piece than with, um, with my normal pieces. Um, and to me it's both, how can I say this? There's, there's such a different way I have to think about it, but I think that way starts with collaboration. So Yolanda Kondonassis, the incredible harp player, and Camilla Tassi, who was the production designer. These are people I know well and I've had multiyear relationships with. And so when you're thinking about how to build something, you're totally aware of what their work is like. I knew kind of the not even what Camilla's projections were going to look like, but the way that they interact with things. We've done projects together before. And so I pretty much had the sense of how she was going to respond. And I knew what she needed to know in order for her to do her work and make things kind of match up with one another. And then also with Yolanda, a lot of the stuff I put in that was like harp and percussion together. It wasn't something that I was making her do, right? It were things that we came up with together. We've spent so long workshopping things in percussion studios in, um, you know, we've met in all these different cities and we're basically like banging things against a harp and doing, you know, just so much experimentation. So for every technique you see in the concerto, you, um, you basically there's like ten things that we didn't do that didn't put in. So you're really only seeing the best of all the kind of crazy stuff that we tried. So I do think the thing is that when you're trying to invent something new and you're trying to invent new styles and new techniques, I mean, you can think of anything, but you're trying to find the things that A practically work and B allow the performers and the artists to really express themselves. So I found that I was actually choreographing the piece before I was composing it, um, that I had to figure out, okay, where are these percussion setups going to be? What are the instruments that I want? Okay. Are these chimes going to be like over her head? Or is she going to have to reach really far to get them? Are they going to be near the low end of the harp? Things like that that seem so practical. But the difference between having to reach out far and slowly versus having to like, quickly swat something near your ear, right? It makes a different choreography. And so I thought that way first. And then I kind of put the notes and rhythms and melodies and stuff in. IL: Let's now hear a selection from Reena Esmail's Terra Infirma. This is the fourth movement titled “Roaming the Ghost Forest.” Yolanda Kondonassis is the harpist with the Interlochen Center for the Arts Orchestra. [MUSIC: Terra infirma: IV. roaming the ghost forest] IL: The harpist was Yolanda Kondonassis with the Interlochen Center for the Arts Orchestra, playing the fourth movement of Terra Infirma by composer Reena Esmail. I'm Isabel Leigh, and in this episode of Apex Express, I'm joined by Reena Esmail, the composer, in conversation about her music and her approach to making art. Something else that I really was fascinated with on your on your Instagram account. You actually made a post a while back that I found to be very powerful. It's pinned as the letter to the young artists' immigrant parents. It's such an empathetic message that I also really relate to as a daughter of immigrants in the arts. And you kind of argue that these children's pursuit of the arts is a tribute to their parents immigrant struggles. Um, what motivated you to write this letter? RE: You know, I'm so glad you asked about that because so much has changed since I wrote that letter in a really good way. You know, first of all, I will say that when I wrote that letter, if you weren't a child of, you know, like Asian immigrant parents, you. And actually, I think this is true for most immigrant parents who, you know, have kind of given up everything to move to America so that their kids can explore all these opportunities they wouldn't get in their country of origin. When I first wrote this letter, it was really just, I felt like I was saying something really new. And now I think what's really interesting is that we have both parents who understand this and, um, kind of almost this parody way of seeing what Asian parents are like. Right. For me, one thing that I, that just makes my heart sing is the comedy of Zarna Garg. I don't know if you know who she is, but she is like an Indian American comic and she plays this role of being like this very typical Indian parent. And I will say, my parents weren't really like this because again, they were two different religions and married one another. So they were already quite open minded. But like 99% of Indian parents and even my parents, sometimes they have this thing of like, well, ‘why are you going into this?' Like you should make money, you should do this stuff. And I feel like, um, since Zarna's comedy came into the world, it's such an easy way to just point a finger at that and say, hey, this is what we're really dealing with as Indian immigrants. And, you know, we all just laugh at it. And I find that, you know, sometimes my friends who are just, you know, white Americans who have been in this family has been in this country for many generations. They don't get it. But like anyone who's a child of immigrant is like, oh yes, I completely understand what she's saying. So we have that. And I think that's really healthy and awesome. And she's very talented. Um, and on the other hand, I found that when I was first going into music and I mean, I, you know, when I was 18 and I was going to go to Juilliard, my parents were certainly supportive and curious and wanted me to do whatever they thought I might be good at enough to make a living and didn't want to optimize for, oh, you need to earn the most money or you need to, etc. but most other Indians around us were like, oh my God, she's so smart. Why is she like wasting her life doing music? You know, that was kind of the dominant narrative. And so I had to become very good at explaining why. And imagine my complete disbelief when I would go to conservatory and meet people whose parents had encouraged them to do music. I was like, what is happening? Like, we're like, there'd be four siblings and all of them would be in the arts. And I was like, oh wait, you're not the black sheep of your family. Like, I mean, half of my family, I don't think really knows what I do still even. Right? And so to me, it was so important to provide some kind of context. And like you said, it's like to, to come to this country and be an immigrant and to come with a lot of skills, but to have to just work in silence for so many years with no congratulation, with no one just constantly propping you up. That is what being an artist is. And you know, it's only maybe the past 10 years of my career that I've even been visible to people. Before that, it was just me doing my thing and like, no one cared about it. It was not not glamorous at all. And for me, that's what built the kind of strength in me to be able to sustain the career that I have now. And so I think if it had been a little too easy, I don't know that I would be able to handle, um, the, what I have now. So I think what's great though is that the Indian parents of kids who are teenagers and in their twenties nowadays are not coming to me being like, oh my God, what do I do with this kid who wants to be a musician? I've failed as a parent. Which again, for those of you who are not Asian, this is totally a true thing out there. They will come to me and say, hey, look, my, my child doesn't wants to be a musician. I want to help them. I can't tell like, are they good at this? Where should they be? Can you help me understand things? And that is really what my parents did. And I will, you know, kind of go further to say — PBS did a special on me a number of years ago, and I insisted on putting my parents in this special because I wanted people to see what it looked like to have really encouraging Indian parents who, again, they weren't going in blind. They were. They would go to my teachers and be like, well, I mean, is she good? Can she do this? We don't know what these answers are. Can you help us understand? And they really relied on the right people to be able to help me get to places that they couldn't get, but they also weren't just immediately dismissive of it. And that's what allowed me to kind of have a massive advantage, because I didn't have to also go back to school and do a medical degree. Or like most of my my peers of my age actually did. So I wanted to put them on that special to actually show that that is possible. And I'm seeing more and more that it is. There are many more parents like that now. And oh my goodness, I love every one of them. IL: That's wonderful. When you look back at your compositional career and how everything has changed since then, how do you think your work has evolved? RE: Oh, so you mean like since I began being a composer? IL: Yeah. Or maybe in the past ten years, even. RE: Yeah. It's interesting because I think one of the big inflection points in my work was when I did my Fulbright in India. So before that, I really didn't know very much about Indian classical music. And then the year before that, I really started to get deeper and started to integrate my Indian and Western classical world with one another. And then, you know, I from 2011 to 2012, I went to India and what was so different was actually seeing the music in its culture and actually getting to participate as an Indian in India, studying Indian classical music. Right. Because there's no filter. You're not going through a Western filter. You're just there in this culture. And I know that many of my Indian teachers, they kind of had this attitude of like, look, we don't know what kind of music you were doing before, but we're so glad you're here and studying your own music. And this is great. And so there wasn't this sense of having to go through another culture to get to their, their music. And to me, that really changed things because I don't see myself as writing music. That's one through the conduit of the other. I just see it as two streams that are equally incredible and equally independent, and they just meet each other in these interesting places. IL: And looking ahead into the future, is there an ensemble or an artist who you haven't worked with before that you'd love to work with? Ooh. It's interesting because, like, almost everyone who comes to mind is not a musician. Um, I've worked with so many. I mean, truly, I've been so lucky to work with musicians like Gil and Orli Shaham. Yolanda Kondonassis. I'm writing a piece for Hilary Hahn and Matthias Goerne right now. It's I mean, just like literally anyone who I could ever ask to work with, I have. I don't know. I mean, to me, it's like, gosh, someone like Misty Copeland would be amazing. Like, you know, there are so many actors like the world of Indian/South Asians in comedy and in drama and stuff like that is just incredible. People like Mindy Kaling who have done incredible things to me, people like that are just going outside of just music would be fascinating to me. IL: Absolutely. And I will put a link to your website, as well as the links to the music that will also be aired on this in this episode on KPFA.org, so our listeners can learn more about you and your wonderful work. Well, Reena, thank you so much for your time and thank you for talking to me today. RE: Absolutely. The post APEX Express – 8.06.26 – Obbligato – In Conversation with Composer Reena Esmail appeared first on KPFA.

Better Late Than Single is back for a second season, and your noonas are back to see if producers heard our pleas after watching Season 1. Spoiler--they heard some, but not all. So hop on board as we sail back into the lives of this year's eternal singles to see if they find love or--at the very least--find the confidence needed to continue the search once the show comes to an end. Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas. Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for takes on Bangtan life.  ★ Support this podcast on Patreon ★

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. The post APEX Express – July 30, 2026 appeared first on KPFA.

It's only Lia in the studio tonight...and is it going to be debauchery, and fingers in mouths, and no "Amy Button" in sight? Ha! No! It's all melancholic reflections and enough confessionals to rival any 90's era album. While K-Dramas started as an escape, Lia shares how they quickly became a mirror, reflecting self (good and uncomfortable). From My Mister and the stillness it asked for before she was ready to give it, to Her Private Life and the ache of wanting to be met in joy, to why does she return to one specific drama for comfort — she reflects on love, homesickness, family, and the parts of herself she'd rather not admit she recognizes.Because that's the strange gift that can often happen with a good story: you think you are  watching them. Turns out, the whole time, you were watching yourself.Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for takes on Bangtan life. ★ Support this podcast on Patreon ★

Join Lia and Megan as we yap as hard as Yoongi on a 10k jog about Busan. We cover FIFA, Arirang Europe, Bangtail High Tea, Fashion Choices, Normal Music Video drop, and more because at this point we just live in a purple-tinged hurricane. And no we're not mad about it.And remember--keep listening to Arirang top to bottom on your favorite streaming platform! And Come Over is now out on all platforms. Make sure to grab your copy on the iTunes Store. Also don't snooze on Normal! Watch, like, comment on the music video and add it to your playlists.Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Check out our sister pod www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest members of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Want to find more great BTS content? Head over to Afternoona Army for more takes on Bangtan life and links to our social media.

MEGAN LAWLESS from OBSESSION chats with JLB about the movie taking the world by storm and shares her origin story as well as what life can really be like for an actor when you're part of a worldwide phenomenon like Obsession. Follow That Was Pretty Scary on Instagram and TikTokFollow Jon Lee Brody on Instagram Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Some Kdramas have haunting melodies, some have upbeat vibes, and others... well... they have squelching. AfterNoona Megan introduces a new bombshell to the podcast: The Squelch Meter. Violent kdramas have lots of squelching, and Megan is here to give a rating system to all the knife fights, underground boxing matches, and tentacled monsters.Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for takes on Bangtan life. ★ Support this podcast on Patreon ★

A new book by Neeraj Kaushal, Professor of Social Policy at Columbia University, titled When Africa Comes to America: How the Next Wave of Immigrants Will Transform the United States', argues that “the future of the United States is in Black Africa”. One revealing datapoint from the book: four times more Black African immigrants arrived in the US between 1990 and 2020 than were brought as slaves during the entire 190-year history of the trans-Atlantic slave trade. So, how will the increasing influx of black Africans into the US play out in the Trumpian era of xenophobic white nationalism? Neeraj also argues that Black Africans will soon displace Asians as the new ‘model minority' in the US. How would that alter the hierarchy of colour there? And what about India – our demographic dividend will soon be over. Should India also prepare for it by encouraging immigrants from Africa? Host: G. Sampath Producer: Shiksha Jural Learn more about your ad choices. Visit megaphone.fm/adchoices

APEX Express is a weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. This Thursday APEX Express proudly presents “South Asians and The Labor Justice Movement.” This episode highlights Sandhya Jha, a pastor, founder and former Executive Director of the Oakland Peace Center, and racial, housing, and labor justice activist. In the first half of the episode, we discuss Sandhya's life, their path into organizing, and what they're up to now. The second half is dedicated to their recent project with the South Asian American Digital Archive's Archival Creators Fellowship Program. This episode was interviewed, produced, and edited by Swati Rayasam   Follow @Sandhya Jha on Facebook and check out Sandhya's website https://sandhyajha.com/    APEX Express is a weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Listen to the episode live on KPFA 94.1 in San Francisco, 89.3 in Berkeley, and online at KPFA.org.  References throughout the Show and Links: Without Fear Consulting Interfaith Alliance Oakland Peace Center Book – Blueprint for a Revolution Book – The Selected Writings of Eqbal Ahmad Podcast – Bending Toward Justice: Avatar the Last Airbender for the Global Majority The Alliance of South Asians Taking Action – ASATA Bay Area Solidarity Summer South Asian American Digital Archive Archival Creators Fellowship Program Sandhya Jha's project, you can listen to all of the oral histories here. Solidarity Forever Online Exhibit Arab Resource and Organizing Center Block the Boat No Tech for Apartheid  University of California Labor Center Equality Labs California Trade Justice Coalition NAFCON – National Alliance for Filipino Concerns Filipino Community Center Madhvi Trivedi Patak Transcript ​[00:00:00]  Miata Tan: Hello and welcome! You are tuning in to APEX Express—a weekly radio show featuring the voices and stories of Asian Americans and Pacific Islanders. I'm your host, Miata Tan. Tonight we're revisiting an episode from our archives, first aired January 5th, 2023. We're bringing it back this week in honor of South Asian American Heritage Month. This one centers Sandhya Jha — a pastor, organizer, and founder of the Oakland Peace Center — in conversation with APEX producer Swati Rayasam. The first half traces Sandhya's path into organizing, from a labor campaign at Johns Hopkins to two decades of interfaith and racial justice work. The second half digs into Sandhya's project with the South Asian American Digital Archive, where she spent a year interviewing South Asian workers inside the labor movement — collecting stories that don't usually make it into the archive. Here's Swati Rayasam in conversation with Sandhya Jha. [00:01:00] Swati Rayasam: I'm really excited actually today to talk to Sandhya Jha, who is a really close friend of mine. Hi Sandhya. Hi there. Sandhya is, a Pastor is a consultant and has been working on this really amazing project with the South Asian American Digital Archive that will get into later in the episode. But yeah, Sandhya I'm just really excited to learn more about you and to hear more of your story and, let's just dive in. [00:01:26] Swati Rayasam: Absolutely. [00:01:27] Swati Rayasam: We should first talk a little bit about how we know each other, you have this long organizing background. I've been in the Bay Area for the past seven years and I would be totally lying if I said I have not historically been, or I'm not even currently an active fangirl of yours. You are literally a pastor. You are a movement worker, how did you get involved in organizing? [00:01:53] Sandhya Jha: Yeah. So I am the product of my parents who were generous, compassionate [00:02:00] people who thought about the world beyond themselves, but were never involved in organizing or activism or anything like that. I think for anybody who comes from immigrant backgrounds, it's hard to tell our stories without naming who we come from. Right. And so my father was Sunil Kumar Jha from the village of Tildanga in West Bengal. My mother, who is still alive is Jeanette Campbell Jha. She is from Glasgow. So I come from a mixed religion and mixed race home. My parents chose not to name me Sandhya Campbell Jha not to give me that kind of grounding, but I was called Sandhya Rani Jha, which is a lot to live up to, well, yes, Rani does mean Queen. But it was actually handed down to me, part of the reason they wanted that middle name was it was my aunt's name, Durga Rani Upadhyay and she was the one who really [00:03:00] brokered my mother's acceptance into the Indian family and I think that there was something about being accepted on the Indian side of the family and not for many, many years on the Scottish side. That caused my parents and particularly my mother to double down on making sure I knew who I came from and who I came from was my people in the village of Tildanga. [00:03:23] Sandhya Jha: I grew up in Akron, Ohio, so we immigrated to this country when I was a toddler, in the late 1970s, which was a complicated time for Asian immigrants to be in the Midwest because it was a time that the rust belt was rusting and there was a growing sense that we were the reason. But also I grew up alongside folks who were trying to figure out how to put food on the table. So I think that landscape shaped me in a lot of ways. And I also come from people who grew up in poor working communities. And[00:04:00] when I went off to college, there was an organizing campaign. The board of directors of the university had created a for-profit corporation with the exact same board. [00:04:15] Swati Rayasam: Oh wow. [00:04:16] Sandhya Jha: So that the universities could subcontract all of their catering, all of their custodial work to this… basically Shell corporation. [00:04:28] Swati Rayasam: Are we telling on the university? [00:04:29] Sandhya Jha: Mm, Yeah. Why not? It was Johns Hopkins University in Baltimore, and I think that's relevant because the tension between Black communities next to Johns Hopkins Medical School and the school itself were very real because this was part of a very long history of exploiting community members. So the workers were organizing, and you know, I had read about activism, I cared about it. I paid as much attention as I could for a high school student. But when I got to college, this organizing [00:05:00] campaign was going, and the workers were really clear, Hey, college kids who are excited about this, we do have a role for you. It's to fill the crowd. It's to cheer us on. It's to when we ask you communicate to the university that our well-being matters to you because they will listen to you in different ways. But the campaign centered the workers and was really clear with us about what our role was because we were the folks with all the privilege by getting to be there, right? We had tons of privilege and it was a really good lesson for me. I am so grateful. The first organizing campaign I was a part of was a labor campaign that understood what it meant to center the people who were the most impacted by injustice and I think that shaped the rest of my career. [00:05:46] Swati Rayasam: And that's so special too because I think for many people who come into organizing, and I will definitely cop to this myself, like coming up and organizing through high school and college level organizing. When you are a student, nobody ever [00:06:00] tells you that actually you are the least useful kind of organizer that exists. Right. You are in this incredibly enclaved community. Your oppressor, the university, all they have to do is wait for you to graduate institutional memory will not keep you. Yeah. Right. And I think that it is, it's this perfect storm of, you have actually sometimes cool ideas, sometimes very rudimentary ideas, but you also have this turnover issue and you have this sense of self import, which often comes with your teens, early twenties. Yep. As you're just figuring all of that out. So Yeah, self differentiation, right? It's a narcissistic phase in our development. . [00:06:46] Swati Rayasam: It absolutely is and I think that's so important, and I can't imagine how my life would be shaped if I didn't have to spend a lot of time unlearning the self import and narcissism that I had gained through student [00:07:00] organizing. [00:07:00] Sandhya Jha: Yeah. No, I am really, really grateful for it. [00:07:02] Sandhya Jha: My first job outta college was working for a member of Congress, which sounds super fancy and pretentious, but, a member of congress from Akron, Ohio. So put that all in perspective. His name, believe it or not, was Tom Sawyer. Oh, wow. What I loved about Tom was back in those days, he believed very strongly that 80% of legislation was nonpartisan and that was the part that he spent most of his time on. He would weigh in with his party, when they were dealing with that 20% pretty consistently. But he was more interested in the stuff that everybody could agree on and I remember for about 15 years after I worked for him, I looked back and found myself thinking that was so naive. How did he not understand where we were about to head with the divisions between the political parties? But at this point in my life, I realize the people I respect most in organizing work keep pointing out that the binary of [00:08:00] left and right actually doesn't serve us very well. One of my biggest heroes in the movement right now is the Reverend Dr. William Barber, [00:08:07] Swati Rayasam: Hometown hero of mine. Yes. [00:08:09] Sandhya Jha: Poor People's campaign from North Carolina. And he always talks about how it's not about right and left. It's about right and wrong. And it turns out that when we engage in organizing with the awareness that there are huge swaths of things that most of us are well served by, we can do better organizing. And that was actually how Tom was legislating. And at a certain point I realized that my deep passion was around racial justice, but the distinct experience I had in a multi religious household was an awareness of how religion was being used as a weapon. I had an obsession. Every paper in college I wrote was about the Christian coalition, this right wing, organizing body in the nineties. So a friend of mine [00:09:00] said, You know, there's an interfaith organization working against the Christian Coalition. And it was called the Interfaith Alliance. Her mom had been a superintendent in Washington state in eastern Washington and was a pretty conservative person by my standards. [00:09:18] Sandhya Jha: But, Dr. Chow believed in multiculturalism and believed in teaching evolution. And the Christian coalition had organized to push her out of her position as superintendent and the Interfaith Alliance of Washington State had supported her in that time. [00:09:38] Sandhya Jha: And so Liz said, you know, they've got a national chapter, a national office. And that's where I ended up, cutting my adult organizing teeth which was great because talk about learning lessons for our current moment where religion is being weaponized in ways that are anti-trans, that are anti-queer, that are anti-women, that [00:10:00] are anti reproductive rights, that are anti-immigrant and refugee. I am really grateful to have experienced the power of multi-faith organizing, around a lot of those same issues. So that was what I did in the early two thousands and then I went to seminary and public policy school, and then I ended up out here pastoring a congregation of 10 people in a building of 40,000 square feet. [00:10:29] Sandhya Jha: And long story short, that's how the Oakland Peace Center was born, was out of this dream of cultivating deeper collaboration among nonprofits who were dedicated to a shared cause. The Oakland Peace Center, which is a collective of 40 different nonprofits committed to dismantling the root causes of violence in our community. I was the founder of that organization and it was when I was pastoring First Christian Church of Oakland that I asked the handful of folks who were members of that church, what they wanted to [00:11:00] contribute to the community, and they said they wanted to contribute peace in the midst of violence. And for a dozen folks to have given birth to a space that in non pandemic years, saw over a hundred thousand people do things like the Lawyers for Black Lives Conference and to do Kingian non-violence training and to be a part of food and clothing distribution, to participate in all the very diverse ways that we can create peace is pretty impressive. [00:11:30] Sandhya Jha: And a couple of years ago, I left the Oakland Peace Center because a colleague of mine said, Anybody can run a non-profit. We need you to do what you're actually good at, and what she meant by that was we need more people of color doing diversity, equity, and inclusion work that is actually grounded in power analysis. That isn't just how do we be nicer to each other in the workplace, but how do we recognize the ways that systems of white supremacy [00:12:00] unconsciously often shape the culture of our workplaces? And what do we do to dismantle that white supremacy culture so that we can be building nonprofits and institutions of higher education and faith organizations, and even corporations that are dedicated to our full liberation, our liberation, the lands liberation. [00:12:23] Swati Rayasam: I mean coming, especially from the place that you come in grassroots organizing and in faith based organizing, what is it actually to transition into this kind of consulting space around racial justice and really interface with a lot of people that I feel like as organizers, we don't really talk to? [00:12:42] Sandhya Jha: One of my favorite things about this shift in my work is I love getting to work with folks who don't think of themselves as organizers, who, it turns out are organizers, Right. I think we sometimes create a cult of here's what an organizer looks like, you [00:13:00] have to be a Martin Luther King or a Cesar Chavez and what I love is getting to work with moms and with teenagers and with folks who think of themselves as caring, compassionate, individuals, and when I go into an organization and work with their handful of folks who care about this issue, the DEI team, I get to teach them how to strategically organize. I get to teach them how do you create culture shift over time? I get to teach them how do you figure out who your allies are? How do you figure out how to move people who are neutral? It turns out that there are a lot more organizers out there than we realize if we don't create one definition of what an organizer needs to look like. [00:13:45] Swati Rayasam: I have been reading this political scholar Eqbal Ahmed, who really talks about the way the burden is on those of us who are deeply committed to movement work, narrow definition people, the burden is really on us to try and [00:14:00] create a liberatory future that feels both achievable. Mm-hmm. and safe for everybody. Because when people engage in mass struggle and in revolution, there are people who are a hundred percent willing to put their lives on the line. People who are willing to die for the cause. And we absolutely need those people. And there are many people along the spectrum who, if you can create a future that feels like it's within their grasp, they will come with you. [00:14:30] Sandhya Jha: Yep. I teach a lot of organizing classes and have gotten a chance to teach alongside my beloved colleague BK Woodson at Allen Temple Baptist Church, they have a leadership institute there. And one of the books we use is Blueprint for a Revolution by Srđa Popović. And I feel like I learned a lot as we read that book together and thought about how to apply it to the work we're doing in Oakland. They talked about how by engaging in nonviolent direct action, [00:15:00] they created space for elders to be a part of their work and youth to be a part of their work and families to be a part of their work. By making the movement playful. They gave people hope and gave people courage because dictators are terrified of being mocked. [00:15:17] Swati Rayasam: Yeah, exactly. And I think by being really restrictive or narrow about who we view as actually valuable organizers. And I think labor movements teach us this a lot, right? We really cut ourselves off at the knees on our ability to build a network or to be in touch with the general population, many of whom are more connected than we ever give them credit for. [00:15:41] Sandhya Jha: Yeah. Yep. it's part of why I love labor organizing. I talk with a lot of people who are disenchanted with organizing who ask me how I can have stayed involved for the past 25 years. And why I've been able to stay in it is cuz I'm organizing alongside workers and they have [00:16:00] full lives. And the work that they're doing in the movement is so that they can live their full lives. And there's something about having that perspective and recognizing the why all the time instead of getting lost in the weeds of the what. Is so important in this work. I think that has been a big theme of my organizing life is how do we build to the greatest common denominator? As my friend BK often says how do we build towards those shared values that often get erased when we are engaged in the right versus left debate. [00:16:39] Swati Rayasam: Yeah. I think that it is so important and I also think that it's really hard in this moment of what feels like constant trauma and re trauma. [00:16:51] Swati Rayasam: And to some extent especially when we're talking about the left right dichotomy there are real concerns [00:17:00] about safety. Yep. And there are real concerns about security and who you are in community with and who you can find even the smallest level of acceptance from to ensure that you won't have violence visited upon you. And I think that these conversations of united front organizing, Right. trying to bridge across difference mm-hmm. for a shared goal, for a shared liberatory future Yep. Are really important. And they feel kind of impossible to achieve right now. [00:17:31] Sandhya Jha: It's interesting cuz I think that in many ways that is true. There are a lot of conversations that I think people with privilege expect, people who are marginalized to engage in. And those expectations are unfair, what I found very frustrating was the number of people with a lot of privilege who would be like, Ugh, I just can't talk to those people. And I'm like, Then who's going to? Exactly. and so I do think that some of this is about being willing to have [00:18:00] hard conversations in the places where we have privilege and recognizing who's at actual risk and showing up in ways that are protective of who is at risk. But that doesn't mean walking away from people who aren't where we are. Right. Because the fact of the matter is everybody's on a journey. And I have watched at the same time some of the disposability culture in movements write off people without giving them any way to address harm, repair harm, and find a pathway back into community. [00:18:41] Swati Rayasam: Yeah. And I think that's why, at least I am feeling really hopeful about, what I've seen over the past couple of years, this really important track into transformative justice and restorative justice, to acknowledge that there is harm that has happened, there are harms that happen every day between people. [00:19:00] And also we are all on our own journey to unlearn the things that we have been taught either directly or indirectly by our upbringing, by our environment and that you cannot easily dispose of people and that people are able to come back into community. Now that comes with a very important caveat that like they recognize the harm. Mm-hmm. that. They have done or how they've been party to it, that they acknowledge that there is healing work that needs to be done both with the person that they harmed and also probably in internally. [00:19:35] Sandhya Jha: Well, and the community, folks who don't do RJ on a regular basis tend to skip the community aspect. Yeah. That there is actually repair that needs to be done with community and there's work community needs to do to figure out how to re-embrace reabsorb people who have done harm in ways that still protect the person who's been harmed. [00:19:55] Swati Rayasam: Exactly. In ways that do not erase the harm that has happened, but [00:20:00] acknowledge, contextualize it and say, Okay, we are patching this and we are working to move forward in step with each other. Absolutely. [00:20:09] Sandhya Jha: Can I just say that one of the other things that I think you and I have in common is a real passion for bringing joy back into the work of Justice I quote Fabiana Rodriguez a lot on this particular thing, because I was at an event she was doing eons ago, and she looked out at us and most of us were activists and she said, Listen, y ‘all you keep inviting people to a struggle. I'm on your side and I don't wanna join a struggle. I want to join a party. And that was like a call to arms for me when I heard her say that. I was like, Oh my gosh, you're right. We are so much more fun. Like, I've hung out with people who are anti-trans and anti queer and anti-immigrant and anti refugee. They are not fun people. No, no. We have all of the best parties. So I don't know why we don't [00:21:00] capitalize on that more. So I think the role of joy and justice is so important. And this is why I was so excited to have you on the podcast that I launched recently. [00:21:11] Sandhya Jha: Right. Bending Towards Justice Avatar the last Airbender for the Global Majority. [00:21:15] Swati Rayasam: So literally like bringing it together. Two of my favorite things right, is like TV shows, wholesome TV shows like Avatar, The Last Airbender that I deeply love and organizing. Yes. All the work that I love. And I think it's true You know, what is actually really the important work is to work to build toward a future that is desirable Yep. That people want to be a part of. Yeah. That people can see happen. Yeah. And I think that is a lot of the difficulty that I have seen in some organizing circles. We are so well versed in what we are against and all of the things that are bad that so many people have a really hard time seeing or visioning or communicating [00:22:00] what it is that we are fighting for. Yeah. Right. And it's not enough to say, I'm fighting for a world where we can all be safe. Right. Yeah. I'm not, I'm fighting for a world where we can all take long naps in the middle of the day if we'd like to do that. Right. Yeah. But like really building and visioning that future of like, in this world in which we are all safe, there will be harm that happens. How do we deal with that? Yeah. What do we do with that? How do we make sure that it is able to keep everybody safe and also able to account for the times in which it is not able to keep everybody safe. [00:22:38] Sandhya Jha: Visionary does not have to mean naive. And we need it to be visionary. And sometimes I forget to do the visionary stuff. I've got a colleague, Dave Bell, he's a farmer who is also an anti-racism trainer and we do a lot of work together. He's a white guy who lives in White Swan, Washington, on the reservation and I remember being at a training with him and I [00:23:00] was all fired up and I was so excited about the conversations we were having and the people were really ready to do the hard work and roll up their sleeves. And Dave says to them, I would like to not have to do this work. And I'm like, What is he talking about? This is amazing. We're doing such good work. And he says, I would like for us not to have to talk about racism all the time. I would rather be farming. I would rather be, taking care of the cows in my field. [00:23:26] Sandhya Jha: I would rather be talking about my pottery work that I'm doing badly but learning how to do, I would rather be doing anything than have this conversation. But I don't get to be on the farm with the wheat, with the cows, with my bad pottery until we figured out how to do this anti-racism work. And it was a really humbling moment for me because I also get into that like I'm an organizer, that's my identity space. And it was this reminder of Dave's doing this. So he gets to live in a world where he gets to hang out in the fields and he [00:24:00] gets to, love on the cows. There's something about being reminded that we're doing this so that eventually we don't have to do it. That I think is actually visionary in its own way and it's important. [00:24:12] Swati Rayasam: Moving into a little bit more of the grit of like why I asked you to be on the show today. I met you originally when I moved to the Bay Area when you were the executive director of the Oakland Peace Center because At that time I was doing organizing work with the Alliance of South Asians Taking Action, which is a 20 year old bay area based organization, that was really founded around the Laki Reddy Bali Reddy sex trafficking. Yep. Caste and labor exploitation case that happened in Berkeley in 1999. And I was just so thrilled to be around and have in community so many rad desis. And you also did work with ASATA, right. Historically and are actively doing work with us. [00:24:56] Sandhya Jha: Absolutely. One of the places I think I invested the most [00:25:00] energy in where we got to spend a lot of quality time in the kitchen was one of the projects, Bay Area Solidarity Summer, an organizing institute, camp, however you wanna refer to it. [00:25:10] Swati Rayasam: Political education, Summer camp. [00:25:12] Swati Rayasam: Yeah, exactly. For young South Asian Americans who are committed to activism. What I think was the most beautiful part of that program when I was involved in it, and it's still the case today, is for young South Asians who think that they're the only ones who care about justice issues, who haven't met other people, who are South Asian, and identify as justice seekers first to meet each other and realize that there are people just like them. Then to look around and realize that those of us who are usually 10, 15, 20 years older than them are also committed to the work and have been doing it for decades. And then for them to get exposed to the long history of radical visionary organizing and activism of South [00:26:00] Asians here in the US and also in the homelands of India, Pakistan, Sri Lanka, Bangladesh, Afghanistan, and diasporic countries all over the world. [00:26:13] Sandhya Jha: There's something about realizing, Oh, you have contemporaries, oh, you have elders, oh, you have ancestors. Mm-hmm. Especially in the face of the model minority lie that so many of us have had imposed on us, this lie that all we are all we're supposed to be is cogs in this larger capitalist machine that are non disruptive, which is why we're allowed to survive. And if we are non disruptive enough, we might even be able to be comfortable. And to discover that there's more to our story than that is so exciting and I love, love, love being a part of that. [00:26:52] Swati Rayasam: Yeah. I think that is like fundamentally one of the most important kind of activities that [00:27:00] happens in the ASATA universe, I was a kid who also grew up thinking that there were no other South Asians like me, or there were no other folks who were interested in justice. I spent a lot of time doing, reproductive and queer justice in the south; I always think about what would it have meant if I came in, BASS for 18 to 24 year olds. Yep. what would it have meant if I had come in at a fresh 18 and been able to basically be apprised of the fact that I have this history Yeah. That it's not just me. And that actually, immigration and white supremacy and neo-colonial culture has created this project of assimilation that all of our parents have been in on, in a way to survive Yeah. And to be safe. And I tell my, I tell my mom that a lot because she's always a little surprised about the organizing work that I do. And I was just like, Your job was to survive. My job is to liberate. Yeah. [00:28:00] You know? Yeah. And I could not do that if you were not so focused on creating that environment for me. [00:28:07] Swati Rayasam: I love that. [00:28:07] Swati Rayasam: we'll drop in the show notes, but, BASS – Bay Area Solidarity Summer is solidaritysummer.org. So we'll put that in the show notes as well as ASATA, the Alliance of South Asians Taking Action is ASATA.org. And yeah, I think that is a really good segue into how we got involved in this amazing project. [00:28:31] Swati Rayasam: You're tuned in to APEX express at 94.1 KPFA and 89.3, KPFB in Berkeley. And online@kpfa.org. [00:28:43] Swati Rayasam: I think it was Fall 2021 that you and I were talking. Yep. And you were telling me that you were involved in this amazing archival fellowship project. Is run by the South Asian American Digital Archive and [00:29:00] that you were going to do your project about labor. Mm-hmm. and South Asians. Yep. And my immediate, incredibly naive response was, how many South Asians are there in labor? [00:29:12] Sandhya Jha: Exactly. And it's not naive. It's interesting cuz I think that this project actually emerged out of my favorite part of BASS, which was when the young adults would ask what their opportunities were in the world of justice. And I would say, you know, there's a place for us in labor justice. It had never crossed most of their minds. Right. We don't think of ourselves as having a role especially in formalized unions. And so SAADA, the South Asian American Digital Archives has an archival fellows project. And the whole purpose of it is to diversify their archives and collect the stories that are usually overlooked in the telling of South Asian American stories. [00:29:56] Sandhya Jha: And they have done a great job over the years of collecting the [00:30:00] stories of informal organizing, like the Punjabi Taxi Drivers campaign, the Bangladeshi Nail Workers Campaign. Those were informal labor organizing campaigns. That have been really well archived and they're amazing stories. I wanted to make sure that the next generation of South Asian activists knew about the South Asians who were actually part of the formal organized labor movement. [00:30:30] Sandhya Jha: And so I spent this past year interviewing, maybe a half a dozen or so South Asian American workers. Generally, not always, but mostly what would be classified as low wage workers who found a pathway into formal organizing bodies, unite here or the building trades or any number of the formal unions that keep [00:31:00] the labor movement alive across the country today. And I'm really proud of the fact that we do have South Asian workers who have moved up the ranks to be official organizers or to be at negotiating tables. And so that's part of the story I thought it was worth us telling. [00:31:19] Swati Rayasam: And I am, I'm so excited that we get to dive deeper into this project and I really love your framing too, around the three large bins that you have, solidarity, spirit and struggle. [00:31:34] Swati Rayasam: Right? Yeah. Yeah. [00:31:35] Sandhya Jha: I started out with certain assumptions about what I was going to learn, partly because I've been doing labor solidarity work for 25 years at this point. I really thought I knew what I was gonna hear. And what I discovered was there were these consistent themes across, the interviews. that there were these notions of, Oh, what's meaningful to me is [00:32:00] getting to organize across cultures, getting to organize with people who, on the surface and even deep down are very different than me, but we share this vision of what our lives can be. And so that solidarity message I found really powerful. Also, and admittedly because I come out of a spiritual background, was probably looking for it. I was really struck by how many of the interviews ended up talking about the role of spirituality and shaping people's values. And in a couple of instances, organizers said, what my religion taught me was that religion needs to be challenged. And building up that muscle was what helped me challenge systems of injustice in other places. But others said that their journey with their faith tradition was what guided them into the work of labor organizing. [00:32:52] Sandhya Jha: And then that third bucket of struggle, I think is the lived experience of how [00:33:00] hard it is to take on oppressive systems of capitalism, how hard it is to take on decks that are stacked against us and what it means to have somewhere to turn in the midst of those struggles. I will say there were also a couple of lessons I was surprised by because my South Asian identity is so central to my organizing work, I was expecting to collect stories of people who were proud South Asians, who were also proud to be involved in the labor movement. And I assumed that they would see connections between those things because I certainly do. But what I discovered is for the most part, they were like, Yeah, I'm South Asian. I'm not saying that doesn't matter, but it's not super relevant to my organizing work. My organizing work is about [00:34:00] our cross-cultural solidarity. And that was something I hadn't been expecting that emerged as I did those interviews. Interesting. And I'm really grateful that the South Asian American Digital Archives likes telling all of the stories because I think I promised them that what they were going to get was, we're proud to be South Asian organizers. And what I got was, yeah, we're South Asian, we're proud to be organizers. And the that SAADA is like, yeah, that's part of our story too. [00:34:28] Swati Rayasam: Yeah. And I think that's, that I think is incredibly important. We have this really, amazing series of audio clips from your SAADA interviews that really represent a lot of the themes that you were highlighting about solidarity, spirit, and struggle. And I'm just really excited to play them as we talk through these larger themes in your larger project and the experience of South Asian labor organizers. [00:34:55] Swati Rayasam: This clip is from somebody that you and I both know, which [00:35:00] is Prem Pariyar. I was so thrilled that Prem was a part of your project. I think Prem is an incredible organizer, so yeah tell our listeners a little bit about Prem. Prem [00:35:09] Sandhya Jha: It was pretty exciting to get to work with him you know, he moved here from Nepal and in Nepal he had been a Dalit activist and he came to the United States and had this notion that in the United States there is no caste and he was disabused of that notion very quickly as a restaurant worker dealing with anti Nepali bias in Indian restaurants, dealing with caste bias in Nepali restaurants, well dealing with Caste bias in all the restaurants. [00:35:35] Swati Rayasam: Hey, everyone, Narrator Swati here, I just wanted to put in an explanatory comma, a la W Kamau Bell and Hari Kondabolu to talk about some terms you just heard. Sandhya referenced that Prem was a Dalit activist and also talked about Caste bias. For those of you who don't know, Caste is a violent system of oppression and exclusion, which governs social status in many south Asian countries, although it is [00:36:00] most commonly associated with India. It works on an axis of purity and pollution, and it's hereditary. At the top of the caste system are Brahmins, by the way Sandhya and I are both Brahmin, and not even at the bottom, but completely outside of the system are Dalits who were previously referred to by the slur untouchable and Adivasis who are indigenous to South Asia. [00:36:25] Swati Rayasam: Despite being “illegal” Caste bias, Caste Oppression, Caste apartheid, are still prevalent, both in South Asia and as Sandhya references, in the United States. It manifests in many ways that people experience racial injustice, via socioeconomic inequality, systemic and interpersonal violence, occupation, and through the determination of marriage and other relationships. You can learn more at EqualityLabs.org and APEX currently has a show in the works that delves into this more deeply. Now. Back to Sandhya [00:36:58] Sandhya Jha: What is [00:37:00] delightful to me is Prem went on to get an MSW and is building out amazing mental health resources for Dalit communities for the Nepali community. Seeking to build out a program where there are more and more people in Nepal who are trained with MSW skills. [00:37:21] Sandhya Jha: I met with one of his professors from CSU East Bay where he got his degree and she said, You know, that the entire Cal State system is adding caste to its anti-discrimination policies thanks to the work he started at CSU East Bay. And it was really beautiful to hear that because the focus of my conversations with him were more around how his experiences in the restaurants led him into the solidarity work with nail salon workers. [00:37:53] Swati Rayasam: To just, kick back to the caste abolition work that Prem has been doing, that caste abolition work [00:38:00] at CSU East Bay has been such critical work in these ongoing conversations around caste that have been in the South Asian community primarily, but have been percolating elsewhere. [00:38:13] Swati Rayasam: You know, the state of California filed a lawsuit against Cisco systems Yep. For caste discrimination in their workplace and there have been all these conversations around caste and tech work and interplay that with the no tech for apartheid work. Right. That has been happening in Palestinian liberation circles. Yeah. And really building that solidarity movement. So I think that Prem is an absolute powerhouse Yeah. In that regard. But yeah, let's listen to this clip. [00:38:42] Prem: During that time, I got connected with other community organizer, like workers group. I got connected and so I was connected with nail salon workers, who were exploited at their workplace and with them, [00:39:00] I got to go to the capital in Sacramento. And so I thought I need to advocate for the restaurant workers. that was my first experience, like working with other workers and with the assembly members and like other other policy makers I shared what is happening what kinds of discrimination happening at the workplace. So I advocated for the restaurant workers at that time. I shared my stories and I supported the rights of nail salon workers. I was there to support them and they supported me as well, and it was wonderful. And finally that advocacy worked. And the bill was drafted and it was passed finally. And so it was huge achievement at that time. [00:39:49] Swati Rayasam: I love that. I think that is such a perfect story of when you win, we all win. [00:39:56] Sandhya Jha: And what I also love about it is he goes on [00:40:00] to talk about how he has remained in relationship with those nail salon workers. That they show up for each other, that they take each other food, that they show up to each other's baby showers and birthday parties, and there's this sense of community that emerges out of this shared struggle. And so that's a cross-cultural campaign. They were mostly Vietnamese. There were some Bangladeshi nail salon workers, but it was mostly people from a different culture than his. [00:40:27] Sandhya Jha: But somebody at the Asian Health Services program that he was at, saw his gifts, saw his passion, and he really responded to that in exactly, the most powerful way. I can imagine. [00:40:38] Swati Rayasam: And I think one of the nice things as well about that is that person at Asian Health Services connected Prem in and the Nail Salon Worker group, California Healthy Nail Salon Collaborative, Prem came from Nepal, I'm not sure, but the extent to which his organizing background and how comfortable he was in the US organizing space around labor [00:41:00] issues was probably significantly less that worker group took it upon themselves when they saw Prem come in to say, Oh, you are advocating on behalf of restaurant workers. Great. Why don't you join us? Let's help support and so the nail salon workers saw Prem, saw solidarity with Prem and said, It is our responsibility mm-hmm to bring you into this space to connect you in and to move in, struggle together. Yeah. Toward our shared goals of safety, of health, of rights. Yep. [00:41:35] Sandhya Jha: Exactly. [00:41:36] Swati Rayasam: So, we have this clip from Daljit, tell me a little bit about Daljit. Daljit [00:41:42] Sandhya Jha: Yeah. Daljit was an attorney who now reads tarot for people because she needed a break from the toxicity of that career and how it was taking her away from her family. Daljit is a deeply spiritual person and, [00:42:00] as I mentioned before, this theme of spirit showed up in some really beautiful ways in some of the interviews. I loved the way she understood her Sikh tradition as foundationally being connected with the land and foundationally connected with the people who work the land. [00:42:15] Daljit: Agriculture is our culture and the religion that I was born into, Siki, the founder of that faith was a farmer. And so a lot of the scripture, the analogies, the metaphors, the poetry, the music, the songs, the boon, the traditional folk songs, that can be taunting and teasing banter, all that stuff the land is the framework for that. And my most favorite line from the Guru Granth Sahib, our holy book, is, [speaks Punjabi] and that basically means that, the waters our guru, the airs our father, but our mother is Earth. And that's the greatest of all , and that's adherence to ecosystem. That's the [00:43:00] indigenous Cosmo vision that should be paramount. And that's what I try to teach my children. And so I think that's what I was taught as a kid without necessarily being able to pinpoint it, but it was just infused throughout our songs, our music, our food, the Harvest, there's two times a year that our celebrations, whether it Baisakhi or Lohri. It's so connected to the harvest and what is coming out of the soil or not. And you're connected to the cycles of nature. [00:43:28] Swati Rayasam: The connection between nature land, spirituality the way that it shows up in so many faith backgrounds and so many faith organizers, I think is really, really beautiful. [00:43:41] Sandhya Jha: And I love that Daljit Kaursoni who was raised in this tradition, has found her way to Buddhism and is raising her kids with those connections, but without ever losing this grounding in the liberation of the land, the liberation of the [00:44:00] people. [00:44:00] Sandhya Jha: And for that to be a key element of her spirituality, even as her spirituality evolves, I think it's pretty powerful. Tafadar [00:44:08] Sandhya Jha: One of the other people I got to interview ,Tafadar, he's a Bangladeshi American in the building trades and is a deeply committed Marxist. For me, this was a particularly exciting interview because I'm Bengali, so from West Bengal, before partition, Bangladesh and what's now West Bengal, were one state. And so it was fun to get to talk with him and to say, Hey, this is our legacy as Bengalis is radical worker organizing. [00:44:40] Sandhya Jha: And I remember saying to him, Some people in the building trades are not super excited to be working with brown people. And some people in the building trades are a little biased against women. And as a very, very progressive South Asian? How do you navigate that [00:45:00] space? [00:45:00] Sandhya Jha: And he said, Here's the thing is, yeah, I organize alongside some moderate to conservative white folks from New Jersey and he said, but in the building trades, if that moderate to conservative white guy from New Jersey decides he doesn't like my feminist politics, or he doesn't like my brown skin, if he decides that's a reason not to train me, he might die. And it was really interesting because even though I've been doing labor justice work for a long time, it was one of those moments I was like, Oh, right. Your work is very dangerous and you all have to rely on each other whether you like each other or not. That is the magic of organizing that no one ever talks about. This is why we can do cross class, cross-cultural work because literally you have to trust each other with your lives. Right. That was a really clarifying moment for me. And it was one of those interesting moments where I was like, [00:46:00] Solidarity is not a romantic thing. Uh, it is very much a matter of life and death. [00:46:05] Sandhya Jha: And I think that is really important and that exact thing that you brought up, you don't even have to necessarily trust somebody. Right. But you do need them. Yep. Right. And like that really clear understanding that like your fates are intertwined and it is truly in everybody's best interest. If you are trained well, irrespective of whether or not at lunch, I'm interested in sitting anywhere near you. I think that's really great. [00:46:32] Sandhya Jha: One of the things that was really exciting about talking with Tafadar was the reminder that labor organizing and formal union organizing at its best can be in solidarity with other movements really worker justice and housing justice and racial justice are inseparable, on some level. And so, one of the most inspiring stories I got to hear across all of these interviews [00:47:00] was a campaign that brought together folks across the anti- gentrification, the immigrant rights, and the labor justice movement. [00:47:14] Tafadar: It's ironic, building affordable housing with deadly exploitation. And, um, to do this, the de blassio administration, they embark on massive major rezonings of poor areas to relax the local zoning laws to be able to bring in these developments. And a couple of years ago, my, my union in local 79's. Took a very sharp turn towards a community organizing approach because labor can't win on our own, and that's the perspective that all of labor should adopt. In order to fight against the sweatshops in our industry. We united with a lot of community organizations in the South Bronx. [00:47:53] Tafadar: We formed the South Bronx, Safe Southern Boulevard Coalition. And along with these groups, we [00:48:00] protested and did a whole lot of activism, lobbying, community organizing to stop the rezoning of Southern Boulevard, which is a massive stretch in the South Bronx, while the De Blassio administration had succeeded in another part of the Bronx where there's like massive displacement still underway right now. And we were determined to stop it there. And it was a beautiful thing that we can unite because on our end as labor, we had to prevent all these trash companies from coming in and exploiting workers. And we were working with these tenants who are afraid of being displaced. And people generally, we do need revitalization of our neighborhoods. We do need investment. We do need things to be changed and made better. For us. If it's not for us, if it's done without us, then eventually we're not even gonna be here anymore. So we had that alliance going on and not only did we manage to stop that rezoning, we also educated the local city councilman on why his position was wrong and supporting the rezoning. And he eventually completely flipped this [00:49:00] position. And now chairs the land use committee of the city council from the perspective that we educated him on, which it's just been a very interesting dynamic. But, there's a lot of rezoning battles all over the city that's like the main front of anti gentrification struggles. And I've been watching those kinds of campaigns go on since I began organizing about 15, 16. I've seen very different approaches to them, but I've never seen any model really work until that one kicked in where Labor and the community came together. So that was one of my favorite campaigns because of that lesson that we were able to concretely put into practice and set as an example for not only for community movements all over New York City, but also for Labor. [00:49:43] Sandhya Jha: I think this hit me in particular because I've done so much work around antis displacement in Oakland, and my experience has been. [00:49:53] Sandhya Jha: That while for most of us on the ground, the connection between housing justice and labor justice is really clear. When you [00:50:00] start getting into the technical policy issues and the funding issues, the folks who are running labor and housing justice or affordable housing, struggle to find ways to collaborate. And it's been one of my consistent heartbreaks for at least a decade at this point because I work at the intersection of those things and sometimes I despair of us being able to find ways to move forward together. And so to hear a story like this one and to be reminded at core, those justice issues can and must be we already knew, must be, but actually can function together to build a better community. That was actually really life giving for me to hear. [00:50:45] Swati Rayasam: Yeah. I a hundred percent agree. And I think the point that Tafadar as well brings in the clip of just saying we knew that we could do this, but we knew we couldn't do this without community organizing. Right? Yeah. That labor couldn't do this alone. Yeah. [00:51:00] And I think that is a lot of what, when we talk about solidarity politics, it's not just a backdoor way of inclusion for inclusion's sake, we have to all do this. Actually, it is integral that all of us are involved in any of these campaigns because it impacts all of us. And because we are not going to win with only a single constituency and in the very same way that, Tafadar was identifying that labor couldn't do that alone. in community organizing spaces that you and I have been in mm-hmm. , like we are constantly talking about how we cannot do any of this without labor. Yep. And I think a beautiful example of that is the Block the Boat campaign yeah that the Arab Resource Organizing Center, started back in 2014 and then again during 2021 to block the Zim ship from the port of Oakland. And like this community organization [00:52:00] AROC could not do that without working with the longshoreman to collaborate with the port workers. And I think that when we see the marriage of community organizing and labor organizing, that is when we get the power of grassroots organizing. [00:52:16] Sandhya Jha: Something I wanna mention about the SAADA Fellowship that I was really grateful for: two things. First off, they did a really good job of making sure we got trained in grassroots oral history. So they took really seriously what it meant for this to be justice work. And they made sure we had exposure to methodology that was gonna lift up and honor and foster the voices of people whose stories don't get heard often enough. And that was a really big deal to me. The other thing is they made sure that we had an advisory board, people who are in this [00:53:00] work who could help us, figure out who to talk with, who could help us build out an event strategy. And you helped me build out my advisory committee. Anibel Ferris-Comelo who is with the University of California Labor Center, [00:53:14] Swati Rayasam: Prem Pariyar, a Nepali Dalit restaurant worker, organizer pushing for Caste as a protected category with Equality Labs, a Dalit feminist organization, and a social worker supporting the mental health needs of his and many other South Asian communities in Alameda county. [00:53:31] Swati Rayasam: Will Jamil Wiltchko with the California Trade Justice Coalition, Terry Valen who I did a lot of organizing with at the beginning of the pandemic, around the struggles that seafarers were facing with the onset of COVID-19. And he's the organizational director of the Filipino Community Center in San Francisco. The president of NAFCON which is the National Alliance for Filipino Concerns and just an all in all amazing organizer [00:53:57] Sandhya Jha: the last thing I wanna mention [00:54:00] is SAADA also helped me set up a digital exhibit with Art by Madhvi Trivedi Patak and I wanted to give them a shoutout because they're an incredible artist, but also they grew up in a working class family and didn't get exposed to what it looks like to do labor justice. And so as they developed the artwork to go with the digital exhibit, they got to experience the possibilities of labor solidarity that they hadn't gotten to experience as a child. And so I really loved that Madhvi was a part of this project as well [00:54:38] Swati Rayasam: All of the clips that you shared really identifying, again, these like huge fundamental pillars of solidarity and spirit and struggle. these clips were amazing. They are so rich and so layered with all of these people's varying and different experiences. Really showing in [00:55:00] all of these different walks of life at all of these ages with all of these experiences, that all of these people have this unified and shared identity in struggle, in spirit, and in solidarity for liberation. [00:55:14] Sandhya Jha: And one of the things that I think is worth celebrating is whether they see it as part of their South Asian identity or not. People who do identify as South Asian now have this resource that says there's a home for you in the labor movement. Yes, there are. There is a value to your voice. There is a value to your wisdom, there's a value to your experience in the labor movement. [00:55:36] Swati Rayasam: I think it's a beautiful project. Sandhya, I think it has been an amazing amount of work I've watched you do over the past year. These stories are so wonderful. I really encourage people to check it out. Where can they find your project? [00:55:49] Sandhya Jha: The website's www.saada.org/acfp [00:56:00] /exhibit/solidarity-forever. We'll put that in the notes. We'll definitely put that in the show notes. [00:56:05] Swati Rayasam: I just wanna make sure that we replug your podcast Bending Toward Justice Avatar, The Last Air Bender for the Global Majority and you can find that at tinyurl.com slash ATLA podcast, Capital P (tinyurl.com/ATLAPodcast). And then the last thing that I also wanna make sure that we plug is Without Fear Consulting. [00:56:27] Sandhya Jha: I love working with folks who know that their organization could be a little more liberative, and are, just not quite sure where to start. I love working with a team of folks who want to be about the work of incorporating diversity, equity, and inclusion into the DNA of their organization and I love setting them up so that they can keep doing that long after I'm working with them. So please do find me withoutfearconsulting.com. If you're interested in that. [00:56:58] Swati Rayasam: Amazing. Sandhya [00:57:00] Jha, Pastor, Racial Justice consultant, podcast host, archivist, singer songwriter, amazing cook. You can do it all. I think you deserve a nap. it has been amazing talking to you. I am so glad to be able to hear about your project and also to hear a lot more about your life. [00:57:23] Sandhya Jha: Yay. Thank you so much. [00:57:25] Miata Tan: That was Swati Rayasam in conversation with Sandhya Jha. As Swati mentioned, you can learn more about her work in the show notes at kpfa.org/program/apex-express. Speaking of Swati — she's currently working on an episode marking the 25th anniversary of 9/11, out in early September. It'll cover the work of the South Asian Coalition, a national network of organizations working together on South Asian American movement building. Keep an eye out for that one. This episode originally aired January 5th, 2023 — we're re-airing it this week in honor of South Asian American Heritage Month. This is APEX Express on 94.1 KPFA, airing every Thursday evening at 7pm. Thank you for tuning in tonight. APEX Express is a proud member of Asian Americans for Civil Rights and Equality. A network focused on long-term movement building, capacity infrastructure, and leadership support for Asian Americans and Pacific Islanders committed to social justice. Learn more at AACRE.org This program produced by Ayame Keane-Lee, Anuj Vaidya, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preeti Mangala Shekar and Swati Rayasam. Tonight's episode was produced by Swati Rayasam. Get some rest y'all. The post APEX Express – 7.16.26 – South Asians and The Labor Justice Movement appeared first on KPFA.

This episode might be the most uncensored to ever uncensored. We hope you enjoy us fangirling over Kelsey Pfendler's solo, record-breaking row from California to Hawaii, our anticipation of upcoming dramas, and  an unexpected discussion about...burial at sea? You never know what you're gonna get when the noonas just let 'er rip! Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for takes on Bangtan life. ★ Support this podcast on Patreon ★

Intracerebral hemorrhage carries high morbidity and mortality, but growing evidence highlights meaningful opportunities for prevention, risk reduction, and long-term recovery. This episode covers key strategies, including blood pressure management, interpretation of neuroimaging markers, and individualized decisions around antithrombotic therapy. It also emphasizes the prolonged recovery timeline and the importance of a holistic, patient-centered approach to improving outcomes. In this episode, Casey S. Albin, MD, FAAN, speaks with Wendy C. Ziai, MD, and Vishank A. Shah, MD, coauthors of the article "Intracerebral Hemorrhage" in the Continuum® June 2026 Cerebrovascular Disease issue. Dr. Albin is a Continuum® Audio interviewer, associate editor of media engagement, and an assistant professor of neurology and neurosurgery at Emory University School of Medicine in Atlanta, Georgia. Dr. Ziai is a professor of neurology and critical care medicine at Johns Hopkins University School of Medicine in Baltimore, Maryland. Dr. Shah is an assistant professor of neurology and critical care medicine at Johns Hopkins University School of Medicine in Baltimore, Maryland. Additional Resources Read the article: Intracerebral Hemorrhage Subscribe to Continuum®: shop.lww.com/Continuum Earn CME (available only to AAN members): continpub.com/AudioCME Continuum® Aloud (verbatim audio-book style recordings of articles available only to Continuum® subscribers): continpub.com/Aloud More about the American Academy of Neurology: aan.com Social Media facebook.com/continuumcme @ContinuumAAN Host: @caseyalbin Guest: @VishankShah3 Full episode transcript available here Dr Albin: A patient has suffered an intracerebral hemorrhage. They're taken to the neuro ICU, and they fortunately survive. But the journey does not end there. In fact, in some ways, the journey has just begun. Join us today as we unpack holistic care for ICH patients.  Dr Jones: This is Dr. Lyell Jones, Editor-in-Chief of Continuum. Thank you for listening to Continuum Audio. Be sure to visit the links in the episode notes for information about earning CME, subscribing to the journal, and exclusive access to interviews not featured on the podcast.  Dr Albin: Hello to our audience. This is Dr. Casey Albin. Today, I'm interviewing Dr. Wendy Ziai and Dr. Vishank Shah about their article on intracerebral hemorrhage. This article appears in the April 2026 Continuum issue on cerebrovascular disease. Welcome to the podcast. I am so delighted that both of you are joining. To begin, let's just do a brief introduction of who you are and, and a little bit of how you got interested in the topic.  Dr Ziai: Hi, I'm Wendy Ziai. Thank you for having me on this podcast. I am a professor of neurology at Johns Hopkins. I am a neurointensivist, and I think I got primarily interested in this topic through clinical trials that I have been a part of since my fellowship days.  Dr Shah: Hi, everyone. I'm, uh, Vishank Shah. I am also, uh, very thankful for being invited to be a part of this podcast. I'm also a neurointensivist at Hopkins and the fellowship program director here for neurocritical care, and I'm interested in recovery after ICH, and that's why I'm a part of this work.  Dr Albin: Welcome to you both. It is such a treat for me to get to interview fellow neurointensivist, particularly those who have such a wealth of experience. So, I am delighted to dive into this. All right. So, to set the stage for our audience, intracerebral hemorrhage has long been approached with pessimism. But your article really highlights that there are meaningful advantages in prevention and risk stratification and long-term recovery for these patients. Though you both are neurointensivist, this article really emphasizes primary prevention and the holistic long-term care for the survivors. And so, to begin, Dr. Shah, can you just lay out a little bit for our listeners the scope of intracerebral hemorrhage and its community impact?  Dr Shah: Yeah. So, you know, ICH is the second most common type of stroke. There are more than three million new cases of ICH globally each year, and it accounts for thirty percent of all stroke types, but it is the one that has the highest mortality, with more than forty to fifty percent of the patients dying in the first thirty days, and then continued long-term impact on both functional as well as outcomes, as well as survivorship after the early period. And it also disproportionately impacts lower socioeconomic, and then minority races like Blacks, Asians, as well as Hispanic ethnicity. And so, there's a lot of work that needs to be done to reduce the burden of this disease.  Dr Albin: Absolutely. I mean, these can really be devastating for families, and I really am appreciative of your highlighting that there's a lot of disparities, and there's a lot of work to be done to really increase equity to these patients. I think a lot of this goes into really the AAN's focus on brain health and trying to improve some of what we're doing to maintain brain health. And I really wanted to kind of drill down on this because for ICH, there's a lot that can be done upfront as we think about how do we counsel patients who may walk into the office about strategies to prevent ever becoming an intracerebral hemorrhage patient. So, Dr. Shah, can you walk us through a little bit about what neurologists in the community need to be doing to make sure that no one ends up with us in the neurointensive care unit?  Dr Shah: Yeah, sure. So, I think, you know, one of the most important risk factors is, of course, hypertension and long-standing uncontrolled hypertension. And so really recognizing the need for early onset screening with regular blood pressure monitoring at a very early age, particularly in the races that I discussed earlier. And then I think another big part, obesity, metabolic syndrome, and type two diabetes. And I think there's a lot of interesting new work that with the GLP-1 agonist, you know, in a large multicenter cohort studies showing that patients receiving these had a significantly lower reduction risk of ICH. And so, this might be a really important part that, you know, clinicians need to start increasingly recognizing and using in their practice. And then, of course, other risk factors that are common include smoking, diet high in sodium, exposure to air pollution, both indoor as well as outdoor. And so, mitigating all of these risk factors can also reduce the burden of ICH.  Dr Albin: Absolutely. And I really want to highlight that hypertension plays such an important role and that we as neurointensivist, as community neurologists, really need to be creative about ways that we can help people meet those blood pressure target and meeting people in the community where they are, making sure that they're not suffering from side effects from their medication that would prevent them from sticking with it long term. Dr. Ziai, anything else to add about what we can do in the community?  Dr Ziai: So, we really want to emphasize, even in the acute phase, that patients moving forward need to have targeted interventions to reduce blood pressure, smoking, enhance their physical activity, have a diet that is high in fruits and vegetables and low in alcohol and salt, and then promoting weight loss, of course.  Dr Albin: And Dr. Ziai, I'm gonna ask you a little bit about one of the things that maybe not all of our listeners have heard about is this APOE2, APOE4 genetic risk for intracerebral hemorrhage. What's going on there and, and should clinicians be testing for that? Dr Ziai: That's a great question, and it is not one that we currently test people for at least acute ICH presentation. APOE2 and A4- E4 alleles, these give patients a two to three times higher risk of ICH by increasing cerebral amyloid deposition. And if you happen to have APOE2 carrier ship status, then along with other risk factors like white matter disease and vascular risk factors, these predict the onset of new microbleeds even during very short follow-up periods of about two years. And as we know, having cerebral microbleeds are associated with an increased risk of all strokes, ischemic and ICH, but they are one of many MRI markers of small vessel disease, which along with cortical superficial siderosis, does significantly increase future ICH risk. And so even in people who've never had an ICH, if they happen to have an MRI, it may be reasonable to look at the MRI and incorporate this burden of small vessel disease, and especially these hemorrhagic markers into, uh, decision-making about interventions.  Dr Albin: That's a really excellent point. And so, I think that your article did a really beautiful job of thinking holistically about the patient, incorporating clinical markers of their risk for having ICH, but also those radiographic markers. I'm just gonna ask you to summarize those again one more time because not everyone will be familiar with these. So, when you're looking at an MRI, what are the things that you're particularly clued in on that would increase the patient's risk of future ICH?  Dr Ziai: In the past, what we're looking for really is markers of cerebral amyloid angiopathy, which significantly increase a person's risk for lobar hemorrhage in particular. And so, we have a set of criteria called the Boston Criteria, and there's a new version of these, version 2.0. And these, um, incorporate a number of imaging markers that provide a very high sensitivity and specificity to diagnose CAA after an ICH. But even if someone's never had an ICH, and they evaluate that risk-benefit ratio for different cardiovascular prevention strategies. And so, the markers that we're specifically interested in are, of course, microbleeds. But not just having microbleeds, but are they lobar or are they deep? Lobar having a higher risk for lobar ICH. How many microbleeds are there? Is it greater than five, or is it just one or two? Also, cortical superficial siderosis is a marker, a hemorrhagic marker, that does portend a significant increased risk of recurrent ICH, along with having a lobar ICH. And now we have these new markers, which are the white matter hyperintensity multi spot pattern, which requires these hyperintensities on flare imaging in the subcortical area, having greater than at least ten of these multi spots, and also having enlarged perivascular spaces in the centrum semiovale, and having at least twenty of those. And finally, white matter hyperintensities, which can be measured with the physica score or just by visualizing them. We can look at white matter hyperintensities as well as being a measure of small vessel disease.  Dr Albin: Got it. And so just to summarize, we're looking for small vessel disease markers because that puts our patients at higher risk of ongoing future bleeds. And then we're also looking for markers of particularly small vessel disease that's caused by cerebral amyloid angiopathy, which again, because it's having that protein deposition, that puts the patient at risk of those leptomeningeal very small vessels, putting the patient at risk of lobar ICH. Just confirming I've summarized this all correctly.  Dr Ziai: Yes. That was perfect.  Dr Albin: Amazing. Dr. Shah, I'm gonna go back to you. Let's say we have a patient. Let's say this is a sixty-five-year-old man who comes in and they want follow-up and they're... And you're trying to think about they've had an ICH in the past, and they are also at risk for ischemic disease. Let's say they, they have hypertension, they've had a smoking history. They have some risk for ischemic events. And you're trying to think about how do you balance those. Let's say the patient needs to be on aspirin but does have some of those high-risk features on their MRI. Is there any guidance on how we think through preventing them from having a recurrent bleed if they're a high-risk patient, also preventing them from having an ischemic event, which they might be at high risk for as well?  Dr Shah: Yes. So, I think, you know, the first step is of course trying to understand what was the type of bleed. I think that has a very important role, like you mentioned. If it's a lobar hemorrhage versus a deep hemorrhage, the risk of recurrent ICH and ischemic events is very variable. So lobar hemorrhages, there's obviously a higher risk of recurrent hemorrhage events, whereas deep hemorrhage is actually at or behaves sort of like small vessel ischemic strokes and have a higher risk of recurrent arterial ischemic events. So that distinction in itself can help you gauge which patients would be safe and would benefit from these therapies. To begin, and of course, looking for some of these markers on MRI that were mentioned by Dr. Ziai for recurrence of hemorrhage risk. In terms of antiplatelet, the, there is a lot more data now to guide treatment, and we have the RESTART as well as the ESTART trial that showed that starting an, a single antiplatelet after intracerebral hemorrhage did not increase the risk of hemorrhage recurrence. They were very variable in the timing when aspirin was started, and so that remains still a question about what is the safest time point to start aspirin. For example, in the ESTART trial, they started them very early, within the first three days, whereas in  the RESTART it was all the way up to two months after the hemorrhage. And so... But in general, the risk of recurrent ICH was very low with a single antiplatelet agent. And so, if it's needed for ischemic prevention, it's relatively safe broadly across all types of hemorrhages.  Dr Ziai: Yeah. I would just mention that there was also a subgroup analysis of the RESTART trial using MRI. And so, this more than likely included patients with CAA, since 40% of the hemorrhages were lobar in that study, and therefore seeing that there was no increased risk of recurrent ICH in RESTART, it is thought that putting patients back on their antiplatelet therapy is safe.  Dr Albin: That's a really huge takeaway pearl for our listeners, that regardless of whether it's a lobar bleed or a deep bleed, if there is a strong indication, you know, this is not just, oh, because someone gave them aspirin 81, but truly that there is a reason that they need to be on a single antiplatelet agent, it probably benefits them to be on that agent, and there's good data that there's not a huge increase in risk. Summarizing all of that?  Dr Ziai: Great.  Dr Albin: Now, things are gonna get a little bit tricky here, because what if the patient, what if they need to be on dual antiplatelet therapy? Or what if they need to be on anticoagulation? Dr. Ziai, I'll, I'll throw that to you. How do you tackle that patient population?  Dr Ziai: Yeah, the safety of dual antiplatelet therapy hasn't really been studied in patients who've had a prior ICH. Although, in people who've had previous strokes, putting them on dual antiplatelets doesn't seem to increase the risk of ICH, but it does increase extracranial hemorrhage. And so there may be other reasons not to put patients on dual antiplatelet agents. Patients who have cancer and also cardiovascular or cerebrovascular disease, putting them on dual antiplatelet therapy does seem to increase the risk for intracranial hemorrhage. So, I think there is enough of a bias against DAPT therapy in patients who have had an ICH that we would not recommend DAPT for patients with a prior ICH.  Dr Albin: Absolutely. And, and then what about, let's say they have atrial fibrillation, and you know that they have a high CHA2DS2-VASc score, and they are at very high risk of ischemic events, but they've also had a prior intracerebral hemorrhage. Walk us through a little bit, how should we approach that patient? Dr. Ziai, I'm gonna start with you again.  Dr Ziai: Sure. So again, looking at the MRI, which all patients with ICH should have nowadays. If patients do have these hemorrhagic findings, a lobar ICH, evidence of CSS, cortical superficial siderosis, especially if it's disseminated, and also lobar microbleeds, especially if there are greater than five, if they're multiple, then anticoagulation should really be avoided in those patients.  Dr Albin: Absolutely. So, I'm really hearing that when we have a patient with ICH, it is just critically important that we understand is this a hypertensive bleed or is this a lobar bleed that is probably related to cerebral amyloid angiopathy? And getting to that distinction is going to play a major role in our deciding whether or not the patient can be on DAPT or can be on anticoagulation. And then what are some of the strategies for patients that you're referring them to if they really cannot tolerate being on anticoagulation, but they have atrial fibrillation, and they do need some sort of ischemic stroke prevention?  Dr Shah: There's still a lot of controversy, even in non-lobar hemorrhages, about resuming anticoagulation and when that would be safe. HAF trial, there was a reduction in ischemic stroke recurrence, uh, but a significantly higher increase in hemorrhage recurrences. I think that trial included both deep and lobar hemorrhages. So, we still need more data, and I think the ASPIRE trial and maybe a meta-analysis would answer that eventually. But in the meantime, if a, specifically for lobar hemorrhages, which are, uh, thought to be CAA related, if they, uh, and the patient has AFib, you know, where anticoagulation would be contraindicated, a watchman device or, you know, AFib ablation may be some of the other strategies that can be looked into for those patients specifically.  Dr Albin: Right. I think that's a really important point to emphasize, that we don't just don't give up and say, "Oh, you're not a candidate for anticoagulation," but we really reach out to our cardiovascular friends and say, "Hey, what other procedures can you offer that will minimize the risk of recurrence?" You know, we don't want them to have an ischemic event, but we also know long-term that there would be a real risk of anticoagulation. Just reminder to our listeners that there are new procedures, and our cardiology colleagues are always doing new trials and new devices, and so we should really leverage their expertise here. I am in the final minutes gonna just switch gears a little bit from talking about sort of the nitty-gritty of secondary ischemic prevention and secondary hemorrhagic stroke prevention and thinking about there has been this degree of pessimism around ICH patients, and that, you know, they have a much more severe outcome than our patients with ischemic strokes. I think that that is probably a myth that we need to do some debunking around, and I think maybe we need to reframe in terms of thinking about just the trajectory. So, Dr. Shah, walk us through a little bit about what we can expect about the recovery trajectory in ICH compared to those patients who have an ischemic stroke. Dr Shah: Yes. From some newer data and studies, it is becoming clear that recovery after ICH is much slower than we expect. In general, for ischemic stroke, recovery is measured within the first few weeks to up to 90 days. But in ICH, we now know that patients can keep recovering all the way up to six months and even beyond. In general, from just a, a study of heart recovery that occurs after ischemic stroke, there's a steep recovery in the first seven days, and then sort of after that, patients still continue to recover, but it, it starts plateauing where up to 90 days. Whereas with ICH, there is not much recovery in the first 7 to 30 days, but after that, there is a recovery that occurs significantly between day 30 and day 180, and then some patients continue to recover all the way up to one year. The more severe the hemorrhage, the slower the recovery, but there's still some evidence to suggest that even severe hemorrhage patients can recover all the way up to one year out and beyond. This is, of course, in terms of functional recovery.  Dr Albin: I think that's a really important point for our audience. Many of the listeners are residents, they're fellows, they're seeing these patients in the hospital, and they may not see a whole lot of improvement over even 30 days. But to keep in mind that just because the patient has not had a dramatic recovery within that first month that they may be in the ICU and then on the floor does not mean that that patient will never have recovery, and that we reset our expectations that recovery is possible, it's just gonna be slower. And I think that that's not only important for the healthcare team to take in mind, but also for patients and their families to know there is hope here. It's just gonna be slower. Dr. Ziai, looking ahead, what developments in this are you most excited about that you think will move the needle for care for the long-term outcomes and the prevention for these patients? What's ahead in, in ICH?  Dr Ziai: Yeah, I think the research that's going on is very exciting at the moment. We just saw the presentation at the World Stroke Organization conference in the fall of the TRIDENT trial, Triple therapy prevention of Recurrent intracerebral Disease events, meaning strokes. And these investigators found that a single pill, a fixed dose of three blood pressure-lowering agents actually was successful in significantly reducing the risk of recurrent stroke in patients who have had a history of ICH and have just normal or low-grade hypertension. So rather than having patients on multiple antihypertensive agents, it may be possible to have them on a single pill, and may dramatically reduce their stroke risk. So that's exciting. There is also a trial ongoing, ASPIRING, testing whether antiplatelet monotherapy after 24 hours only can reduce the risk of all serious vascular events in ICH survivors. So very early antiplatelets. The SATURN trial, we didn't talk about statins yet, but it is comparing continuation versus discontinuation of statin therapy in ICH patients. And then we have ongoing epidemiological studies that are really needed to understand this interaction between the cardiovascular prevention strategies, the antithrombotic use, the blood pressure targets, and these high-risk neuroimaging markers for ICH. And I think that's gonna be key, personalizing the interventions for these patients.  Dr Albin: So, I love that. And what I'm hearing is that it's really important to think about the personalized approach as well as how do we simplify things. We know that blood pressure control is critically important to the primary and secondary prevention of ICH, but we have to make it easy for patients to do so. Dr. Shah, I want to end with kind of understanding, you know, this was an unusual topic for neurointensivists to talk about. This was really about prevention. It was about long-term survivorship. It was about not what's happening in the neuro ICU. How did you guys get interested in sort of that aspect of care?  Dr Shah: Yeah, so that's a great question. Dr. Ziai has been my mentor since I was in fellowship, so now about eight years that I've been working with her, and this was a project that I started in fellowship with under her mentorship, looking at long-term recovery in ICH patients, and specifically severe patients. Happy that work has received a lot of recognition. It was published in JAMA Neurology. We looked at patients with severe intracerebral and intraventricular hemorrhage, those that survived with an mRS of four and five at day 30, and what happened to them over the course of the year. There was really not much data on recovery after ICH. And we were very surprised to see that up to 40% of patients that were an mRS of four and five, so really, really severely disabled at day 30, recovered to an mRS of zero to three by one year. About one-third of that group that recovered actually achieved functional independence with an mRS of zero to two, which was very surprising, really breaking the myths around the pessimism with ICH. We found that a lot of the baseline comorbidities like diabetes, white matter disease, as well as what happens to them during the acute hospitalization, were adding all of that information to the severity of the hemorrhage significantly improved our ability to predict long-term recovery after ICH. And so that's kind of how we got interested in this work, looking at how factors in the care that we provide in the ICU, as well as what the patients come in with, how all of that could be modified to promote recovery in these patients that are often been forgotten.  Dr Albin: I think that there's one takeaway to our listeners is that this is really a place where there's a lot of hope for recovery, and that the nihilism that has really surrounded ICH is a thing of the past, and we have to move forward with thinking about how do we proactively impact the recovery and counsel the patients and give them hope. Because just as your research shows, there really is the ability that they can attain that functional independence, which is absolutely astounding. It's really amazing. Again, today I've been interviewing Dr. Wendy Ziai and Dr. Vishank Shah about their article on intracerebral hemorrhage. This article appears in the April 2026 Continuum issue on cerebrovascular disease. Please be sure to check out Continuum Audio episodes from this and other issues. Please go and check out. They have a wonderful article with lots of tables and figures, so much data. And again, thank you to our listeners for joining us today. Thank you, Dr. Ziai and Dr. Shah.  Dr Ziai: Thanks very much.  Dr Shah: Thank you.   Dr Monteith: This is Dr. Teshamae Monteith, Associate Editor of Continuum Audio. If you've enjoyed this episode, you'll love the journal, which is full of in-depth and clinically relevant information important for neurology practitioners. Use the link in the episode notes to learn more and subscribe. AAN members, you can get CME for listening to this interview by completing the evaluation at continpub.com/audioCME. Thank you for listening to Continuum Audio.

1 For this reason I, Paul, a prisoner of Christ Jesus on behalf of you Gentiles— 4 Sopater the Berean, son of Pyrrhus, accompanied him; and of the Thessalonians, Aristarchus and Secundus; and Gaius of Derbe, and Timothy; and the Asians, Tychicus and Trophimus. 27 When the seven days were almost completed,…

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Host Miko Lee speaks with Dr. Connie Wun and we get to hear her new podcast Think Twice. The post APEX Express – 7.9.26 – Connie Wun & Think Twice appeared first on KPFA.

Sometimes, our social media algorithm knows what it's doing, and delivers us classic Kdrama scenes. So these are the scenes we never skip when they show up on our feeds--ones that make us cry, get our blood pumping, or make us cringe with second-hand embarrassment.CLOY Border Scene: https://youtu.be/qiHfMceiKg8?si=85rPJLWWs7SEPhfuScenes That Make Us CryGoblin Rooftop: https://youtu.be/5JteB30DAN4?si=BK65sIk5TZBt04ReEun Tak Remembering Kim Shin: https://www.youtube.com/watch?v=xI7dByRuw5kEun Tak Going Up the Stairs: https://youtube.com/shorts/mtgoQvhFQv8?si=PUyUT3_faCfHXCRmI Am Not A Robot Reset Scene: https://www.youtube.com/watch?v=RSCT9tkpB14My Dearest auction scene: https://www.youtube.com/watch?v=KW5XKIq_P64Scenes That Make Us LaughCondom Shower: https://youtube.com/shorts/V1eV67YPr4Y?si=Y9B4pyrduqExi8LnDokkaebi Underwear Song: https://youtu.be/UZ72CNde3h4?si=X6O0093qx6rsspoPDeath of Sebastian and Elizabeth (fish) https://www.youtube.com/shorts/8awuJTBNZAcSamantha and Rachel: https://www.youtube.com/watch?v=5KpE_IhZ1aEAction Scenes That Never Get OldLee Gon on Horse: https://youtu.be/yaZkYUUVZG4?si=lljxHs_MEEhuzSwNCaptain Ri Motorcycle Scene: https://vimeo.com/381918963Flaming bookbag from Study Group: https://www.youtube.com/watch?v=xD3UINhqQFIK2 shower scene: https://www.youtube.com/watch?v=HexDL4OinoYSexy Scenes that Make Our Hearts RaceCoffee Prince Door Kiss: https://youtu.be/O4YZ8NHu0uQ?si=h1u2ES2WWeg3reEgDestined With You Cotton Candy: https://www.tiktok.com/@rowoon__tr/video/7290185127324421381Bad and Crazy kiss: https://www.youtube.com/watch?v=tZbJqz9kRBIScenes That Give Us Second-Hand EmbarrassmentI Am Not A Robot Disguisehttps://www.dramabeans.com/wp-content/uploads/2018/01/Robot17-00005-copy.jpgFight for My Way aegyo: https://www.youtube.com/watch?v=XFu3Hufti5EBadass ScenesJang Uk emerging from the funeral pyre:https://drive.google.com/file/d/15LilRRk1xDZ4OdWqrN-U_un4Bu5h3oI0/view?usp=sharingBallerina action scene with a can of pineapples: https://www.youtube.com/watch?v=D32dnh6lF1MHonorable Mention Scenes We Will Never ForgetEnd of Train to Busan: https://www.instagram.com/reels/DYSBfIOsW27/Gyeongseong Creature monster mother: https://www.youtube.com/watch?v=7gUS_SU9L2kReady to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for takes on Bangtan life. ★ Support this podcast on Patreon ★

It was a dream come true to speak with Kristi on the podcast. The whole point of this show is to celebrate Asians who bring us joy. In the 2020s, there have been many great gold medal performances by Asian Americans at both the summer and winter Olympics. But in 1992, Kristi's gold was only the 2nd gold medal won by an Asian American woman ever (first in the Winter Games)! The joy and pride of seeing a fellow Asian American (and a Bay Area kid) on top of the podium was really indescribable.  Off the ice, Kristi has helped countless others pursue their education and passions with Kristi Yamaguchi's Always Dream, https://alwaysdream.org . She is, and always has been, a great ambassador for the sport of figure skating and the Bay Area. It was a real treat to speak with her! Listen to this episode on Spotify, Apple Podcasts, or find us at infatuasian.com Our Theme: “Super Happy J-Pop Fun-Time” by Prismic Studios was arranged and performed by All Arms Around, with a cold open by @conerclubofficial Cover Art and Logo designed by Justin Chuan @w.a.h.w (We Are Half the World) #asianpodcast #infatuasian #aapi #representationmatters

We're sliding into the All-Star Break, but first, what's going on in the world of Asians in Baseball??3:20 - Ohtani, Yamamoto, and Corbin Carroll make it into the All-Star game, but Lee Jung Hoo was snubbed; vote Barbara Hahn - "balldudette" at Oracle Park for the All-Star ball crew; and Dave Roberts becomes the fastest manager to win 1000 games.13:28 - In position player news, Mune is set to begin a rehab assignment, the Rookie Report features a new Asian in Baseball Josh Kuroda Grauer, and Seiya Suzuki becomes the 4th Japanese-born pitcher in MLB history to hit 100 homers (and the first RHH, he'd like to add).28:04 - Happy birthday, Ohtani! Sorry about your bicep?!?!38:50 - In pitching, Naomi's cousin Go Woo Suk becomes a Twin twice over, Bryan Woo and Yamamoto keep representing, everybody wants to leave the Mets, and Roki "didn't cry" ... alright.

APEX Express is a weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. Over the past few years, a series of popular uprisings across the world have been described by mainstream media as “Gen-Z Uprisings” – movements led by young people and described in western media as generally being against government corruption. These movements have been most notably visible in our own media due to their use of technology, including platforms like Discord and TikTok, and internationally consistent adoption of pop culture symbolism, like the flag of the “straw hat pirates,” a black flag depicting a grinning jolly roger wearing a straw hat. The flag is the banner of the protagonists of the long-running hit anime series One Piece whose adventures often find them coming to the defense of marginalized communities around their world. But these movements didn't come out of nowhere (or the internet for that matter). Understanding their origins – and the elections that have resulted from their successes – can shed light both onto the international struggle against authoritarianism and the challenges we face building an alternative. In this episode we are looking at two countries, Nepal and Bangladesh, where popular uprisings in the summer of 2024 and fall of 2025 have led to elections this year. In this episode, we are joined by two US based organizers, Sharmin Hossain and Samir Shrestha, whose work as part of South Asian diasporas has rooted them in movement work here in the US while maintaining relationships and solidarity abroad. Sharmin Hossain is a Bangladeshi Muslim organizer from Queens, New York, who is currently the Organizing Director for 18 Million Rising. To learn more about 18 Million Rising, check out their site at www.18millionrising.org. Follow Sharmin on all platforms at @sharminultra Samir Shrestha belongs to the indigenous Newari tribe of Nepal, where he was born. He has spent the last 18 years involved in movement work here in the US. To learn more about The Ruckus Society and request a training, visit: www.ruckus.org/training-action-support/training-requests/ To learn more about Convergence Magazine and the Block and Build Podcast, follow them at @_convergencemag and @blockandbuildpod. Check out Covergence's work at www.convergencemag.com. Transcript Swati Rayasam: [00:00:00] welcome fellow travelers to Apex Express. It's been a minute, but in case you don't remember, my name is Swati Rayasam, and I'm gonna be your conductor tonight. I have been very excited about this week's episode for a few months because tonight Apex is featuring Convergence Magazine's Block and Build podcast. Block and Build is creating a roadmap for the movement that's working to block the impacts of [00:01:00] rising authoritarianism while building the strength and resilience of the broad front that we need to win. And both the team at Convergence and the guests for tonight's show are close comrades and friends of Apex. On this episode, Cayden Mak, podcast host and editor-in-chief of Convergence, is joined by Samir Shrestha and Sharmin Hossain, two US-based organizers from the South Asian diaspora, Nepal and Bangladesh respectively. Sharmin and Samir will talk about the history and continued struggles of the international Gen Z uprisings, which have only really made a blip in Western media coverage. They'll discuss the history of those movements and the political conditions which created them, as well as help us understand how Americans can be in meaningful solidarity with people's movements abroad. Without further ado, I'll hand it over to Cayden. Cayden: Over the past few years, a series of popular uprisings across the world have been described by mainstream media as the Gen Z uprisings, movements led by young people and described in Western media as [00:02:00] generally being against government corruption. These movements have been most notably visible in our own media due to their use of technology, including platforms like Discord and TikTok, and internationally consistent adoption of pop culture symbolism. but these movements didn't come out of nowhere, or out of just the internet, for that matter. Understanding their origins and the elections that have resulted from their successes can shed light both onto the international struggle against authoritarianism and the challenges that we face building an alternative. In this episode, we're looking at two countries in particular, Nepal and Bangladesh, where popular uprisings in the summer of 2024 and fall of 2025 have led to elections this year. I was recently joined by two US-based organizers, Sharmin Hossain and Samir Shrestha, whose work as part of the South Asian diaspora has rooted them in movement work here in the US while maintaining relationships and solidarity abroad. Sharmin Hossain is a Bangladeshi Muslim organizer from Queens, New York, who's currently the organizing director for 18 Million Rising. Sharmin, thanks so much for joining us today  Sharmin: Thank you for having me. I love Convergence.  Cayden: Thank you. [00:03:00] And, Samir Shrestha belongs to the indigenous Newari tribe of Nepal, where he was born. He spent the past 18 years involved in movement work here in the US, and Samir, it's really good to see you this morning.  Samir: So good to see you too, Cayden.  Cayden: Well, to start us off, let's try and set some context Sharmin. I'm wondering if you can give us kind of a quick gloss of the 2024 uprisings in Bangladesh, where Prime Minister Sheikh Hasina and her party were ousted from power. What are the sort of themes of the protests, and then the way that the state responded, and where are we kind of now? Sharmin: Wow, absolutely. Thank you so much for having me. It's an honor to talk about my country and all the amazing things that happened, because I think the Global South really forges, like, new possibilities as far as, like, what we can do and, and consolidate as far as power goes. So today is actually March 26th, and it's Bangladeshi Independence Day, coincidentally. Cayden: Happy independence Day.  Sharmin: Happy Independence Day. I find it very serendipitous for us to delve into this layered and complex history, um, of the student movement. So [00:04:00] the Bangladesh student protests of July 2024, were deeply rooted in systemic inequalities that the young working class and the poor faced. Nearly 32 million young people were actually out of the workforce, or education in a population of a country of 170 million. So that's a pretty significant number. And so that issue was a focal point for widespread discontent in the country. In July of 2024, the High Court of Bangladesh actually reinstated a quota system for government jobs after an appeal was made when the then-ruling Hasina government abolished the quota system, um because in 2018 she faced a lot of pressure from student protesters. But this quota system is really interesting, and it represents a lot. It reserved 30% of government jobs for descendants of freedom fighters. And in Bangladeshi history, that's a very complex and layered identity. Millions of our [00:05:00] ancestors actually fought in the liberation war against the US-backed Pakistani military, and the Bangladeshi Liberation War, and genocide in Bangladesh actually resulted in the death of over three million people who sacrificed for the birth of our nation. And so for the Hasina government, the quota system was actually what she used to appoint a lot of her loyalists and her supporters to high levels of government, the military, and it basically created the political ecosystem for the Awami League, her party, to maintain dominance. And the Awami League actually was the party that once led the liberation struggle, and over the course of 15 years, we actually saw how much they consolidated power through political repression, the Digital Security Acts that was surveilling and targeting freedom of speech, as well as the corruption and fear that they [00:06:00] stoked against their opposition. And these government jobs, like most of us, it represents many things. It represents the government's responsibility to take care of poor people, um, economic and political opportunity, and it also represents, like, the corruption and the authoritarian rule of the Awami League, and how they were rigging elections, and how the court systems, and even entrance exams for the Bangladeshi civil service, were actually regularly leaked and compromised. And so -within that background, that's when you have the Students Against Discrimination movement take the streets in July demanding fair access to government jobs. And things actually got violent really fast. Within seven days, nearly 174 people were murdered, and thousands were injured. There was an indefinite curfew, social media blackouts, and then a military occupation with shoot on sight orders. And of course, the bullets that were raining upon, Bangladeshis were US, [00:07:00] arms. So students were terrorized by these vigilante groups that were collaborating with the Bangladeshi police. And these student groups were actually organized by the Bangladeshi Awami League. These student groups were notorious for repressing student elections, sexually assaulting students, um really threatening people that were running for student elections. And so there's already this, like, vigilante ecosystem that exists within the campuses that was weaponized during the student protests. And then you have a climax moment on July 14th. Sheikh Hasina went on television accusing the students of being Razakars, and Razakars are collaborators of the Pakistani army, and it's a very derogatory term in Bangladesh, and it refers to people who support the Pakistani military's operation to suppress the Bangladeshi Liberation War. They're also accused of heinous crimes. And so when students were accused of being Razakars, it, like, [00:08:00] lit a fire. Millions took the streets that day, and they were like, “Oh, hell no.” Like, “How dare she disrespect us?” While there's thousands of people who are on the streets, blood, everywhere. Rickshaw wallas are having to pull students into hospitals. There's just so much violence happening on the ground. And so on that National Day of Action, July 15th, clashes happen. Multiple deaths are live-streamed, and one of them, Abu Sayeed, he was a university student at Rangpur University in northwest Bangladesh, really galvanized the country because we watched this student, who is not armed, surrender and get sh- shot, by the Bangladeshi police. And we know what these spontaneous moments of violence do to the public, right? It usually always sets fire to another wave of social protests and action. And so then millions start marching to Sheikh Hasina's home, and [00:09:00] really, her brutal and arrogant response sealed her fate. And the protesters, and at this point, this is a populist movement, millions of people that are rickshaw wallas, working-class people, students, teachers, are taking the streets, marching towards her house. And they demand her resignation. And on August 5th, within 36 days of the movement, she resigns and flees to India, our neighboring country. Over 1,400 people have been killed, under her brutal repression. And so that's some of the background of the student movement, and we can talk more about some of the dynamics of it. Cayden: Yeah, that's super helpful, and I think reflecting on the ways in which also the sort of, like, escalation on the part of the government is, I think, a really important story here, for sure. Samir, I'll also now turn it to you. What should our listeners know about last fall's uprisings in Nepal, which also ousted the sitting government of, K.P. Oli and his, his party and how they led to [00:10:00] elections, earlier this month, in March of this year?  Samir: Thanks, Cayden, and Happy Independence Day to you, Sharmin. I am somebody who was born and raised in Nepal, and am spending most of my life in the diaspora now, and I wanna name the limitations of, uh, my understanding of what's going on in Nepal because of me not being on the ground organizing with the masses. And, I wanna honor the work that's been happening in Nepal, on the ground one of the big things that, that's really n- is important to name is, like, it's only been 20 years since we abolished monarchy. Uh- Mm-hmm. … uh, 2006, right? That is a big thing for us to understand. And the party that was in power, and has been in power since, was the party that has been organizing our movements, and that is the organized left in Nepal, and, like, really betrayed our people once we, once they got into power, right? And, like, started kind of veering towards the right once they got in power. So 20 years later The economic conditions of our people on the ground are really dire. There's no jobs available. People are migrating. A lot of our folks, one of the biggest source of economy and source of money for our, [00:11:00] our people back home is, like, migrant work, uh, in Dubai and, traveling to Dubai, Qatar, and working under very bad conditions. So one- that's one of the big things that's also been informing,, lot of the consciousness of the- our young people in Nepal, right? And then one of the other things that's named really important is, so since the election, since 2006, the Communist Party, the Congress Party, and the Maoist Party have been, they're the only ones who have been in power for the last 20 years, and these are all old upper caste men, even though they were the ones who were leading the movement and were organizing at left. But these were s- the representation and the leaders in these parties were all upper caste, caste Arya people, which is the dominant caste in Nepal, right? And that's a very important layer to name. And that really informed, I think, a lot of the ways they showed up after we won. And, and that's one, one big question that we always have in the left, right? What do we do after we- Yeah … abolish monarchy? What do we do after we win? And we haven't figured that out too, as does any other movements, right? And 20 years later, the frustration is on the very high, against the status quo. And then we, and there [00:12:00] was a lot of, like, obviously there was a lot of inspiration from Bangladesh, like Indonesia, and, like, the uprisings there. And, like, this one, uh, thing started trending the young people started organizing around Nepo babies. There's like, you know, “Yeah, you don't have access to we do, you're gonna take our access away from social media while your kids, and people who have connections to you and have, access to you are just posting about the life, the lavish life they're living abroad and in my homelands,” right? So that's one of the places where it started. And once that started, there was online campaign. And there was already conversations around banning social media in Nepal, and they were- Hmm … finding, like, different ways around it, and that really escalated the way people really responded to the situation, is like once they started organizing around Nepo babies and how they were, like, getting momentum around that, that's when exactly the social media ban went into effect, right? And that's a really important name because, like, one of the biggest pet peeves for me as a diaspora person has been this idea of people only started the uprising and took the streets because of the social media ban. [00:13:00] But just- Hmm. Mm-hmm … all these other things really added up to it. That was just the, just the point of escalation, right? So fast-forward, people started organizing on Discord. Uh, also the irony of it is that was one of the apps that was banned, uh, in Nepal as, uh… And people started organizing in Discord. And also wanna name the reality of, like, the only people who had access to Discord are also, like, privileged folks like us- Sure like younger, upper middle class people. So we were not really getting folks from outside Kathmandu and from our villages and from rural areas, right? So they didn't really have any say in what the organizing would look like. So it happened very, organically, very decentralized. So there was a call for people to show up at Maitighar which has been a popular protest space in Nepal, for a very long time. And it was like at the, at the center of Kathmandu. So there was a call out september 8. A lot of folks came out, and then people from outside Kathmandu that couldn't make it to Kathmandu started coming in big numbers. And the goal of the protest was peaceful protest, right? [00:14:00] And one of the things that happened, don't quote me on this, but my understanding of it from, talking to people there is, like, a lot of political parties who had, who were the opposition from the Communist Party at that time started infiltrating the protest, and the protest started becoming, quote-unquote, “violent,”, which was not, uh, what the young people wanted. So fast-forward, that led to 19 deaths on the first day of the protest, which led to the home minister resigning, at the end of the day. But Oli, the prime minister, is so arrogant and really didn't figure out the power of young people and, like, how they could keep mobilizing and organizing. He decided to just downplay them and say, “I'm not resigning,” which led to more heightened escalated protests the second day, where people started marching to the parliament buildings and started burning down buildings. And people started, people got to a lot of, like, the political parties' political party leader home and started burning them, and, really started, holding them accountable. And also , there was videos of clips of, like, people torching into people's homes and, like, [00:15:00] Sher Bahadur Deuba, who has been in power for the last 20 years in different, ways, who's one of the, considered one of the most corrupt leader in Nepal, from Nepali Congress party, got attacked by the protesters. So fast-forward, more escalation led to, like, 52 more deaths, and the Oli party finally decided to resign at the end of that night, and that's, that's when curfew was impo- imposed by, the army. So that led to, like, a total of 72 deaths. I wanna name, like, in just the two days of mobilization, two days of organizing, because sometimes in the left we don't understand. We talk about the similarities of our struggles but we don't really talk about the conditions that led to it and, like, the level for the risk that our folks leveraged, to be able to topple the government, right? So I just wanna name that out loud and honor that part of, like, how the, how people, like, really leveraged risk. And then fast-forward, people started organizing. The conversation kept going on on Discord, and then there was, like, a town hall style meetings happening on Discord where, like, I think 7 to 8,000 people were on it. And also I still wanna name again, the people who didn't have access to the internet and [00:16:00] phones were not able to part- participate in that. And decided Susila Karki, who was a chief justice 10 years ago, a woman, who also joined protesters during the first day of them mobilizing in the street. They decided, they voted, to hold her as the interim prime minister for now. And There was also one other layer is like a lot of people wanted Balen Sah, who is our prime minister now, but constitutionally if he was part of the interim government, he wouldn't be able to run for prime minister. So that was like a strategic decision that, uh, like he made, and the movement made around not electing him as part of the interim government. So one of the big responsibilities of the interim government was to hold elections in six months, which honestly I was not very-  Cayden: That's hugely ambitious. Samir: It is hugely ambitious, right? And also the reality is it happened, and also there are questions around, yeah, were we able to hold elections in a way where everybody had access to it, right? And that is a big question that I'm still asking, I'm still sitting with. But there were like record numbers that showed up to the polls, but [00:17:00] we haven't really, like we still really don't have answers around what accessibility looked like for people to show up at the polls. And fast-forward now, the Rastriya Swatantra Party which emerged at like a, at a very popular party in 2022, won with majority. And we just sworn in our new Prime Minister Balen Sah yesterday, we can talk about more later. Cayden: Well, thank you for summing up, both of you for summing up- Pretty long, complex histories fairly quickly for us. I've been thinking about the way that, like, Western media largely reports on these kinds of uprisings as if they come out of nowhere. And, like, we know as movement people that rarely, if ever, like, do they truly come out of nowhere. So, like, yeah, I wanna dig into what the longer arc of these stories really is. And I, I really wanna talk about, I guess, like, the specific texture in both Bangladesh and Nepal about how these protest movements position themselves against the government, against, like, other social forces, and, like, how kind of, like, other social phenomena acted on and shaped [00:18:00] these movements as well. Sharmin: I love that question 'cause it allows us to see, like, also the rich history of our, like, respective areas, and how much, like, young people have always been at the forefront of so many revolutionary struggles. And we often, um, you know, uh, post social media era like to make generalizations that this never existed before. But actually, you know, in Bangladesh, students are the most incredibly organized force that has shaped much of our history since 1947. The 1969 uprisings against Ayub Khan, the 1971 Liberation War, and then the , 1987 protests against the military dictator Ershad. And then later, our return to democratic governance in 1990 and the road safety protests of 2018, which actually laid the groundwork for so much of the student, frustration with the government not being able to keep students safe because of road safety issues and [00:19:00] just, the general mismanagement of transportation and, public resources. And so the campus has always been a key space for the pulse of the nation. But it's also a key space for goons and vigilante groups to organize their forces. So the Bangladesh Awami League has their faction, the Chhatra League, and then there's, you know, the Jamaat-e-Islami, which is the right-wing Islamist group of Bangladesh that has been growing, has their faction, the Chhatra Shibir. And then the Bangladesh Nationalist Party, which, you know, has been in opposition to the Awami League, also has their goons on campuses. And so one of the major, trends you'll see during these moments is how these factions are actually weaponized to make sure that the violent state apparatus is deployed within public spaces. And, you know, you asked about, like, missteps and some of the things that political formations, might forget to plan for or think [00:20:00] about. And, you know, one of the things that I, I'm sure Samir can relate a little bit is, like, a lot of these student organizations, you know, students against discrimination, there was a group of men who claimed leadership of the student movement and formed, a party, the National Citizens Party. And you notice quickly the contradictions of their formation. All the women leaders were either asked to leave or they left because of what an undemocratic, unfeminist space it was. And then you noticed quickly that the National Citizen Party started allying itself with the right-wing forces to gain a populist base. And that, to me, is the, one of the biggest contradictions of what do leftists do when we gain power? And also, like, the sober conversation is, are these leaders leftists? Or did-  Cayden: Yeah, were they ever? Were they ever?  Sharmin: Or did we project our leftist dreams onto them and I think one of the things that [00:21:00] we've been doing for many generations, and I think Vincent Bevins' work really synopsizes this well, in looking at the last decade of popular uprisings, is that we've been doing politics without ideology, right? Mm-hmm. That these political for- formations actually don't have a coherent theory of change when they're contesting for power. And so you notice quickly the National Citizens Party was very reactionary, and it was very anti-fascist by, their vernacular, but what anti-fascism meant was that we hate the Awami League, we're gonna ban the Awami League, and the Awami League is no longer going to exist. And then we're- Yes … gonna fight for Sheikh Hasina to be hanged, right? And so that became their populist slogan.  Cayden: Hmm.  Sharmin: And so, you know, there is no left force in Bangladesh, and that's something that we have to name, that for sure there are garment workers that are organizing a party. There's a communist league that does not actually grow in their base. Um- Hmm … and that is why coming out of [00:22:00] the July uprisings, you notice this leadership actually turned center right really fast because they didn't have a, a vision that was rooted in economic and political struggles of the working-class students who made up majority of the base of people that were on the streets. Um, and you know, it was surprising, Cayden, I'll just say, like, after the, the NCP was getting ready for elections that just happened this past February, they joined a coalition with the largest Islamist force of Bangladesh, and this is such a misstep, right? To join forces. W- your enemy of your enemy is not your friend, right? Like, wh- where, like, where, when has that gotten us anywhere? It falls into the traps of organizing without a clear, coherent ideology, and then the post-uprising impact is weakened. And so a lot of that groundwork of, like, theoretical work, we actually have to do that to be able to be ready for fights that take power in the way that [00:23:00] feel, restorative and generative, instead of what we're seeing now, which is a populist right-wing growth in Bangladesh. Cayden: That feels like such an important lesson that we need to learn, unfortunately, over and over again, and I feel like this theme of, the enemy of my enemy is sometimes still my enemy has been coming up on this show a lot lately. That like, it, I, uh, you know, we see it happening in our movement politics here too, especially in, in this sort of moment of authoritarian retrenchment in our own government, that like, there are, there are challenges around that, and there's like ways that I think, yeah, it makes sense that it feels good in the moment to be like, “Yeah, there's more of us than there are of them.” But it's like, well, who, who are us? Like, what is the us that we're talking about? Samir, I will pass it to you to talk about, I guess, some of the texture that we should know about the protest movement in Nepal, and like what are the ways that, other social forces also outside the state have shaped the way that the protests have played out there. Samir: I was listening to Sharmin, and I was like, “Oh, there's so many similarities,” [00:24:00] like in a lot of the political forces that led our movements and also like talking about K.P. Oli, there's so many similarities of like how they were the face of the movement. And as somebody who really admired K.P. Oli because, you know, he was part of the social movement left. He was part of , like the first people's movement struggles, uh, that happened in the '90s that got rid of absolute monarchy. He was the face of the Communist Party. He did take up arms, right? So all of the tools that our revolutionary histories have used to, find liberation, right? So he used a diversity of tactics. Like, he started as somebody who believed in picking up arms. And then he led a people's movement in the '90s of, like with other political parties to get rid of the Panchayat system, which was a system of absolute monarchy and where all the political parties were dissolved right by the king from the 1960 to 1990, right? But one of the big things that I think we didn't think about when our movements were being led, when our movement ancestors were organizing and like really thinking about is like what does identity mean for our movements. There's political forces, [00:25:00] the social movement parties that are leading our people and organizing our people, and they did the organizing that happened in Nepal, the door-to-door, the base building that happened, if that was done by political parties, right? Which is true, and we need to name that layer, too. And I think one of the things that we're missing in this moment right now is we have been so, so frustrated by the last 20 years of governance by these forces. We wanna forget the political history of how we got here, right? Mm-hmm. And that has been one of my big critique of the young people in Nepal, right? And for me, I also think about as somebody who's getting older and also had access to my dad who was part of this movement, right? He was a big force as part of the Communist Party, and now he's heavily traumatized because of the way he got betrayed by his comrades, right? And I think one of the forces I was talking about identity is, like, all of these political forces were led by upper caste Brahmin men, and there was no indigenous representation. So finally, the 1990, we were able to get rid of absolute [00:26:00] monarchy. By '96, we still don't have full democracy in Nepal, so, you know, the Maoists decided to wage a civil war where they really organized the masses, and really created conditions for the monarchy, to bow down, right? And the Maoist party came out of this forest and, like, built a coalition with the Communist Party and the Congress Party to take the streets again. In 2006, we finally were able to get rid of monarchy, but 2006 to 2014 was a struggle to, like, really, draft a new constitution for us, where we made some progress and where we also did some things where it took us back around, like, women's rights, right? And so there was a big feminist movement that really created, like, organizing conditions of 2026 in so many ways, right? And one of the things that we were seeing during the last 20 years is what's happening is all the communist parties, the people who led our movements and uprisings were veering towards the right, right? Hmm. Because they consolidated more power, like, you know, exactly what happened with, uh, Bangladesh. They consolidated more power where, you know, they could stay in power [00:27:00] for long. The indigenous folks were part of the struggles and the uprisings in the 100 years of our movement struggles. But once we won and they got, the Communist Party got into power, they started, like, pushing policies that would not benefit indigenous peoples, right? And then one of the big things that Nepal wanted is federalism in terms of, like, one of the big critiques of Nepal has been the government is so centralized in Kathmandu. Other people outside of Kathmandu really don't get to take part in politics. And, so federalism was one of the big things that we pushed for, right? At Indigenous Struggles, that is the one thing that we pushed for so that we can govern our homelands, and that was the one thing that Oli was, like, against too, and that was also one of the reasons why he started becoming less and less popular, right? But one of the things that's 2026 was, I think it's also really important to understand, is the 2026 uprisings were led by youth who I believe, I dare to say, didn't have, the full understanding, the political understanding of our political histories in that way. And there's this, like, disconnect in terms of, like… it's hard for me to bridge the 100 years of left in Nepal [00:28:00] and like, you know, this youth uprising that's happening in Nepal that has no connection because it's not an organized group, right? It's very decentralized. Right. It happened on Discord. And that is one of the big questions we have now is, like, how do we as young people, the young people who led this uprisings, how do they stay organized, right? And that is a big question we still don't, we don't have answers to, right? The movement histories and, you know, the last 20 years has been very traumatizing, but there's also so many lessons and so many beautiful things that happened during the organizing, right? So how do we make those connections? How do we ask those questions? How do we talk to this feminist group? How do we talk to, like, workers, right? We need to figure that out. And I think one of the big things, like Sharmin talked about too, is like the student protest student movements were a big part of how we got liberation in Nepal, and the student movements are like directly connected to political parties because they have the student wing. But that also doesn't mean they are not organized. Yes, they were organized, and they really figured it out, but they have gotten corrupt. There's goons there, there's only men there. [00:29:00] And, like, how do we really ask those questions as a movement now and start building on some of our social movement histories? And that is a big question. And I haven't heard anything, and I'm very curious what's gonna happen on that, and I've been sitting with that a lot, too.  Cayden: Yeah. No, I, I mean, I feel like thinking about the challenges in remembering and then sometimes, like, having movement history misremembered to us by people with motivations. I can see how in that way for these young people who are getting organized, who are, like, trying to figure out what they want from the government in the future . there's some real, delicate territory for them to negotiate around, like, understanding themselves in a lot of ways as political and historic actors, which is really interesting. Swati Rayasam: You are tuned in to Apex Express on 94.1 KPFA, 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno and online@kpfa.org.  Cayden: One of the other trends that [00:30:00] I would love to talk about is this, sort Western media trend where, an uprising happens somewhere, a protest movement happens somewhere, and they're like, “Oh, there's an interim government. Great.” And then, like, in the US, we don't hear anymore the establishment of interim government is, first of all, deeply informed by the social movements and social forces that are already moving on the ground and also glosses over the way politics is done in a particular place. I'm wondering if there's stuff that you've noticed that has really been lost from the international media discourse about the politics of both Bangladesh and Nepal since the sort of student uprising moment. And if there's stuff that you've been seeing in the like, interim government moments that you're like, “Oh, this is something to watch out for.” Like, “This is something that we can draw some lessons from.”  Sharmin: Yeah. Well, in Bangladesh we had a United States favorite Nobel Laureate, you know, Muhammad Yunus- Mm-hmm as our interim government. And, and I think what's so fascinating is that, you know, he is the world's sweetheart because he created [00:31:00] this, like, you know, microfinancing program that is, a program that they say, you know, empowers the poor people. And, we know that in practice it actually did not reverse poverty, and it actually left millions of people in more debt, than, they or- originally were projected to gain. And so I think what's very fascinating about having such a pro-capitalist, figure that is, a sweetheart of empire, it spoke to his legacy in office, you know? During his time, he also signed one of the most devastating US-Bangladesh trade agreements with Trump- Hmm … which actually, further isolates China from the Bangladeshi trade market and, forces Bangladesh to do all of our trade deals with the US. And it's a non-binding agreement. And so it is, deeply unlawful and also devastating to the economy of this area of Southeast Asia that actually needs China as, an ally, as a country that has, contributed a lot to the development of [00:32:00] our, transportation systems and, so for us it- it's also about how much of this interim government was, you know, representing the interests of the global elite and what he was willing to do to be able to s- to, to squash, revolutionary energy within the country. The Women's Commission was one of the most powerful consolidation of feminist leaders under the interim government that were looking to reform land laws for women. And similar to what, Samir was saying, right? Women's rights just are the first thing that these governments throw under the bus and that- women's commission report that was looking to really examine land laws and inheritance laws and and the rights of women economically like actually triggered one of the largest anti-feminist rallies in the country's history- Wow … where millions, millions of Jamaat-e-Islami men and their supporters took the streets in [00:33:00] protest of women having rights. And that was something you did not see the Western media touch, even-  Cayden: No …  Sharmin: even though the Western media was, like, so excited for this revolution, right? You know, on the ground too, you have those people that are like, “This is a CIA-backed, like, uprising,” right? And then on the ground you see, like, oh yeah, people actually don't want to touch the complexities of this country because it is layered within, like, religious nationalisms- Mm-hmm ethnic nationalisms, and caste. And so in my experience, I would just say that people know very little of the political forces within this, greater West Asian political landscape and how it connects to US imperialism here and abroad, you know? Pakistan was once the CIA's closest ally in the Cold War, and they continue to be during the war on terror right now, right? Mm-hmm. The United States provided Pakistan with military, diplomatic, and economic support because a [00:34:00] pro-US military dictatorship in this region that was a staunch anti-communist ally created a buffer between the axis of the USSR, China. Cayden: Hmm.  Sharmin: And then I'll say at the same time, on the ground, there were dozens of reports of mobs that were attacking temples and Hindu leaders. Hindus are a minority in Bangladesh that have been historically, marginalized, and these contradictions were, were getting highlighted, right? Because that violence was eerily similar, right? The partition of South Asia- Yeah …  Cayden: excluded  Sharmin: Hindu-Muslim communalism, and there were tensions and divides that fell across class lines. And for Western and, hegemonic media outlets, this looked like, oh, the Muslims are attacking the Hindus again.  Samir: Right.  Sharmin: And so for me, like, the being able to reckon Islamophobia, communal violence, identity and class politics, but also the way nationalism operates in South Asia, it, it's a tricky dance [00:35:00] And I've been learning how to really convey this complex history because the country's, uh like, beautiful history of, like, using guerrilla warfare to defeat US-backed forces in the region, it also represents something different from its neighbors, India and Pakistan. Mm-hmm. And within that, you know, we have Bangladesh joining the PLO in Lebanon to fight on behalf of Palestinian liberation. We have the fact that the country's actually i- inception was based on a socialist vision, right? And it's now one of the fastest-growing economies in the world with the fast fashion garment industry that's also ravaged by climate crisis and mass displacement. And so for me, it always just comes back to anti-war and anti-imperialism, like all the nodes of my brain, because I'm like, “Here's this US global death-making machine and this defense industry that sells tear gas shells to my country and [00:36:00] sells Israeli surveillance technology to my country.” And then there's this Bangladesh trade agreement that Trump was able to wager during this vulnerable moment for our country and it's at the core of all the political and economic violence within my country. And so the neoliberalization of our campuses and what these students are facing is because of the war economy. And so, so I just, like, zoom out in those moments, and I'm like, “Oh, this, this feels very much so like Cold War politics and the aftermath.”  Cayden: Yeah, like the politics of the Cold War have just simply never left us. Like, they're still here, and it's like we've sort of swapped in China as the big bad in a lot of ways.  Sharmin: Right.  Cayden: Samir, I wonder if there's, stuff that you've been seeing about the interim government in Nepal that you think are worth our sort of examination as kind of like lessons that we can draw from what happens after the protest, and yeah, like how that has been part of the electoral moment also we're in in Nepal right now. Samir: Yeah, [00:37:00] well, the interim government was, what was it, about five months. I think we didn't really see a lot of work that happened from the interim government, but obviously one of the big wins of the interim government was they were successfully able to hold elections. And the Western media has only focused on Balen Saha, this, quote-unquote, “rapper,” this charismatic guy who is gonna, who's 35 years old and is gonna lead. And then like Sushila Karki, I mean, one of the big things that everybody is like, “Oh, she's the first woman prime minister of Nepal, and what does that mean for us?” And, you know, this identity politics of like, “Oh, we finally got a woman president.” And for us it's like when we talk about it, that's the only thing we see in the discourse. But the reality is she was also a woman prime minister in an interim government that she knew was gonna last for six months, right? And also one of the things that a lot of people don't think about and realize is like the youth really didn't know who she was. And I think that's one of the big things that Sarmin talked about too, is like how do our youth have the consciousness? And do we have a left, social movement left, that's actually supporting them to really understand, you know, the conditions [00:38:00] of our people and who we're electing and, like, how we're organizing and what that means for us, right? But one of the big popularities about her was, like, she was not a career, jurist as she was appointed, was a lawyer that was appointed to the Supreme Court in 2009 by the Judicial Council, and she had this reputation of pushing back against some of the political parties and some of the establishments in that time. So that was, like, one of the big things that really lured our folks, there was this one interview of her that went really viral about how she talks about, you know, establishment parties and how she challenged, some of the status quo while she was… Because a lot of times what happens with some of these appointments are people who are loyal to the to the parties, right? That was the one big thing that really attracted a lot of our young folks, to mobilize around her being the prime minister. And it's just, like, a lot of unknowns around, like, we still don't know because with the older parties, it was very clear to us that the Communist Party was, like, more loyal to China, right? And the Congress party was more loyal to India. And then one of the things a lot that we don't see in the discourse even in left spaces, right? Even [00:39:00] in, like, media spaces is, more than US imperialism, India and China is also waging some form of imperialism in our homelands, right? And that we don't wanna name that layer because in the US, as, us being in the belly of the beast, our only responsibility is to fight US imperialism. And then for me, as somebody from the Global South, I understand that how that impacts our movement and how that is dangerous and harmful to our people in our, back in our homeland. Because China and India are bullying Nepal in a lot of different ways politically, right? Because nothing happens in Nepal without the consent of India and China, right? And India obviously has more power, and they're, like, fighting over that power in Nepal right now. And the other thing that I wanted to name is, I was hoping K.P. Oli, during our interim prime ministership, during that interim government, would be held accountable, which didn't happen. And we're not talking about that, right? And also she [Karki] had a lot of limitations, and we still are figuring out what, like, what kind of power she held, right? But the hope was for me was, like, that she would hold the people who were responsible for our people's deaths accountable during the six months she was there, which [00:40:00] really didn't happen and really moved. And that's one of the things that hasn't been talked about, and I think that was a big political opportunity for her to do some of that work to push K.P. Oli out of power because he, after doing all of this, was still able to contest the elections and lost really badly. But one of the things for me, the inspiration was, like, how Sheikh Hasina was pushed out of the country, right? Like, that was one of the hopes and dreams, and that didn't really happen, during this interim government.  Cayden: Hmm. That's interesting that there's, like, a possibility that he might be back. Well, I wanna turn a little bit to thinking about this history that's been unfolding and, like, what it is like to be observing, talking to comrades and loved ones as an organizer who's based here in the US as part of your diasporic community. One of the things I think a lot about is, like- When we talk about solidarity with people's movements internationally in the US, sometimes we forget that, like, people from those diasporas are our comrades. They are here. And that we have a lot to, [00:41:00] like, learn from them. What has it been like watching the sort of, like, social movements in Bangladesh and Nepal respectively, and what has it been like to have that consciousness as an organizer here in the US dealing with all of the political stuff that we've been dealing with here? Samir: I love that you asked that question, Cayden, and also, like, yes, I just wanna start with, like, this layer of like, oh, yes, we have comrades here who are from these diasporic communities who actually can inform us in this. And to add another layer to that, even with, with my, you know, my history of being born and raised in Nepal and, like, being connected to our movements there and, like, living here for the last 20 years now, right? That also creates another layer where I don't have access to everything, and that also creates a layer of, like, that I don't have to know everything, right? And I wish our left- Mm-hmm … Western left understood that layer sometimes because – In our movements, I'm gonna go be a little– I'm gonna little shit about our movements here, you know? Because one of the things that happens is, like, the romanticization of what's going on in our homelands without understanding, and this idea- Mm-hmm of, like-like, we have to know the answers to every… It's okay to not have answers. I think that's a big thing that I reflect on a lot as somebody here, [00:42:00] right? And also, the reality is I have access to my father, who is, for me, the only revolutionary that I know who was part of, like, social movements and who, like, really spent his whole life to the movement and is now still doing things after being betrayed by his party, right? So I think that's one of the big things. I think it's okay to know that. I think the second thing for me as somebody in the diaspora, it's my role in the diaspora. It's also what is my role in the diaspora to inform my comrades. If you're an upper-caste person, it is your responsibility to name that in the movement spaces that you hold and name that layer- Mm … and inform people about that layer. I think about that a lot. I sit up, I sit with that and reflect on that a lot, and that really informs the way I show up as somebody in the diaspora. And my responsibility, one of the things that we saw when all of this was happening you know, the movements, the social movement left was so fast, got into this train of, like, it's a Color Revolution [i.e., the revolution is backed by the US government/is a US-led intervention], as if our peoples don't have the capacity to organize. Yes, there was infiltrations. Yes, India was involved. But yes, there was also uprising where 70 people died, right? So just, bringing it down to, like, it's not really being complex and, like, [00:43:00] being nuance about that. And that really is harmful to our people back home, right? Because that, in that, when we're doing that, we're taking away, like, access from our people in terms of, like, how they are doing things. And also, like, really, I think invalidating the fact that our, the governments that was being oppressing against the uprisings are oppressive. So that just, like, invisibilizes, uh, what the state is doing, right? Because it is a Color Revolution, you know. The, it is not led by the people. We're, there was even sign, things like they said, like, “Oh, there were signs in English.” Like, can you just think about, you know, the, the orientalist, uh, you know-  Cayden: Yeah …  Samir: orientalist way that you are thinking even as somebody who considers yourself a social movement left. So that's, I think, one my, that, for me, that is a big responsibility. And- And that is where I can also make an impact as somebody in the diaspora. I am not on the ground, that is the reality of it, and knowing where I can make impact and how I can make impact, and knowing very clearly that I don't have all the answers, and I'm not– I'm an outsider in so many… I go back home every time I go home for a couple of months, the way I show up in these movement spaces [00:44:00] is I'm here to listen and I'm an outsider, and I'm trying to figure out how I can support you, right? And that is, for me, a role as a diasporic person, and I'm very clear on that. And I think it's also because I have access to my dad who grounds me in that, and it's like- Mm-hmm “Samir, you don't live here anymore.” He will remind me very clearly. He's like, “You don't live here anymore.” And you need to understand that, and that's okay.” And he will ground me in that, and that really helps me in terms of thinking of how I wanna show up as a diasporic person.  Cayden: Yeah. No, that's, that's really helpful, and I think that, like, this thing that you're describing about the sort of like in some ways, like, healthy, but in other ways sort of, like, overblown skepticism that US observers can have about uprisings, revolutions in other countries just because, like… The, the word that came to mind as you were describing it was, like, infantilizing, right? That it's, like, as if people can't independently form their own political opinions without the intervention of the, like, global superpower is just sort of, like, baffling to me. You hit on something that, like, I think about a lot [00:45:00] also as somebody who is, like, a generation removed from the immigrant generation in my family. I don't have a ton of relationships with my family who are in Hong Kong and China, but, like, how do I, like how do I relate to that? It's very challenging, and it's- and I, I think that there's so much in, like, US like left social movement discourse that I'm just kind of like, “I actually don't know how to relate to this as a diasporic person sometimes.” Sharmin, I'm also interested to hear from you on this.  Sharmin: Yeah. Yeah, similarly, I feel, I feel like there is this, like, uh, relationality that it's pushing people that are here to really think about more clearly. I feel like some of the early '70s through the '90s was a very, like, symbolic type of solidarity that we had- Mm-hmm where, where, you know, we would do the cultural attire, the cultural associations, you know, the melas, which are, like, big fairs that we have in these hubs of, like, immigrant communities. And now I think the politics are coming back. Like, I think after the July uprising, [00:46:00] you actually saw solidarity actions popping up across hubs in, you know, New York and California where people were like, “Actually, this impacts me and I wanna talk about what this means. I wanna talk about the cultural and political organizations that run this local community.” And one thing that I really took back from the last two visits to Bangladesh is really learning the skills of talking to somebody who disagrees with me because-  Cayden: Hmm …  Sharmin: I think in the United States the left does not practice, being able to engage, talk, even, like, be in relationship with people that might be politically opposed to you. And so when I go to Bangladesh, I'm actually surrounded by a lot of homophobes. I'm surrounded by a lot of men who, like, support the Awami League, and I've had to kind of, like, sit in this in between of being like, “Oh, yeah, like, I actually have to learn how to debate better. I have to learn how to, like, you know, be that person that's, like, holding humanity but also holding the, the critical left analysis that I, I believed in to be right because I [00:47:00] know I'm right.” Right? And I know that, like, this is a hill that's worth dying on. And I think with Mamdani's win in, in New York, like, there's so many examples of how that, like, South Asian left politic that's actually talking about class exists- Mm-hmm.  Cayden: Yeah …  Sharmin: within the geography of our communities. And, you know, especially for, you know, Samir and I are, like, the minority South Asians, so we're not the Indian upper caste. And so for us, we're like, “This has always been the reality of our people.” They are working-class organizers. They're people who know how to talk about the intricacies of domestic labor, about the unorganized labor forces, about the people that are left out of the political agenda of our government. And so for me, like, I really take some of the lessons that DRUM [ Desis Rising Up and Moving]  is doing on the ground in New York around what it means to actually build a member base that's rooted in relationship, but also towards a North Star. And that North Star, it looks a little socialist. It looks a little working class. It looks [00:48:00] very deeply rooted in a feminist, anti-oppressive politic. And I think for someone in diaspora, that's been the biggest growth area for me, where I'm like, “How do I hold this vision and not lose hope that my people are not, like, all right-wing people that are out to, like, you know, destroy me and my people?” But we are in this center-right populous moment that will require us to do cultural shift. It will require us to do that, like, slow work of tilling the land, like Ella Baker spade work. And you know, a comrade of mine, Nafiz, who's a brilliant writer at Jamhor, when I was talking to him about processing the February elections, he was just like, “You know, I actually think, like, I'm seeing a lot of possibility right now because I saw what happened to Egypt after Tahrir Square, and I saw where Egypt went and what a military dictatorship did to that country.” And he was like, “And Bangladesh, that's not what happened to us.” And, and he was like, “And this is important for us to really reckon with how… Not to [00:49:00] say, like, ‘Oh, it could be so much more worse,' but it could be so much more worse.” And we have to work within these, like, terrains in a way that's, like, really reckoning with why are people wanting to find comfort in these right-wing religious social groups, because they are the only organized groups of people that are providing shelter and food. And so unless the left fills that gap, we are gonna see right-wing populism, and we've seen it within white supremacy here, but it translates to every Global South country, from Brazil to, you know, um, obviously South Asia. And so yeah, I just am trying to be more, like, relative in that way, where I'm like-  Cayden: Hmm Sharmin: “Oh, we're a lot more relative than we think we are.”  Cayden: Yeah. That is such a good insight about, like, having to context switch Across geography, across political context, like builds a, like a really important muscle for us as organizers. This has been an absolutely fantastic [00:50:00] conversation and I've learned so much from both of you. My one sort of like, well I have two outgoing questions and they're sort of related to one another. One is thinking about like as a monolingual English speaker, as somebody who's like in the US, I think one of the things that I've often felt a challenge around is like where do I look to for news, for updates, and for analysis about what's going on in the Global South, especially for places where I have no cultural or language connection. And like when you're assessing news and information that's coming out about movement politics. What do you consider, what do you think about, what are the questions you ask yourself when you're like seeing headlines, kinda day-to-day that you think would be useful for other folks to start thinking about? Sharmin: Yeah. I, I really think about, like, multiple nationalisms right now, that there's, like, these competing forces of, like, who gets to tell the story. And I always, like to think about, like, how, uh, US [00:51:00] interests, Chinese interests, or even, like, Indian interests are determining the news landscape right now. And I don't like to think about it, but I, I've been looking at so much coverage that feels very much like, yikes, like what is going on, with our, like, news ecosystem? And unfortunately, I think we need to get back on Facebook. Like, I think that the fact that- … progressives and the left have left Facebook, like, I get it. Fuck Meta, and Facebook is the main place for so much like organizing. And we-  Cayden: Contest every space.  Sharmin: Get back on Facebook. Who cares if there are right-wing trolls on it? You we have to create alternative like information systems that are, like, really amplifying to these networks and groups of people that are getting inundated with that information. And I think we're really lucky because there's a lot of leftist South Asian publications now, Himal South Asian, Jumphore, you could become Patreon supporter and really be a part of these legacy, South Asian [00:52:00] left, thinkers that are actually thinking about, like, the long-term arc, and they, they're contending with socialism. They're contending with the communist, like, legacies of our organizations. And so, I just really appreciate that they're doing political analysis with politics and not just focusing on, like, symbolic forms of, like, political analysis. So shout-out to them and, and their hard work because yeah, they, they're English media that is getting translated for this day and age, you know? Cayden: Yeah. I… It was really exciting to me to, like, do a lot of the sort of, like, background for this conversation and find, like, English language movement media coming out of South Asia. I was like, “This is so exciting.” Like, this is… I feel like in some ways the thing that they're trying to do is, like they're kind of our comrades- Mm-hmm in a sense, right? Like, they're trying to do a similar thing to the thing that we're trying to do at Convergence, and I was like, “Ooh, this is really cool. Like, I'm bookmarking this.” Yeah. So I don't know. Samir, do you have, do you have other thoughts about, like, what things [00:53:00] US people should be thinking about as they're kind of assessing news and developments? Samir: Yeah, big ups Himal Magazine. I think that is a big source of information for me too. And also as somebody who struggles with reading Nepali now, which I'm very embarrassed of it's really hard for me to get access. to. I have to sit with my dad to, like, really go through some of the news articles, which, you know, my dad gracefully agrees. Uh, I think one of the big things is, like, I do benefit a lot from his free labor. I'll just name that on this podcast. But I think, and one of the things I would say is like- Thanks,  Cayden: dad …  Samir: really, like, figuring out, like, I don't know, like, pushing through the binary of, like, what US imperialism means for Nepal and what also there's, there could be other forms of imperialism that I named earlier, that Sharmin named too. And also right now, I think there's a lot of unknowns for us too, right? We have this party that was not part of the political establishment that came into picture in 2024. So we are still grappling with the idea of, like, what does this mean for us? Who are they gonna be loyal to, and how does, what does this mean for geopolitics in Nepal, right? So we are still sitting with that question. And there is some clarity around, I think one of the things I would say is there's a [00:54:00] lot of excitement, even in diaspora community, and my role in the diaspora also has been talking to some of my friends who are stoked about this prime minister right now because we haven't built a left that is informing them of the nuances and, like, how we can actually figure out the critique of this person, right? Because for me, I think it's really important the social movement left to understand because even my friend, my comrades are sending me, “Oh, this rapper is a prime minister now.” It's somebody that I trust a lot, right? Yeah. And I have to do the work of like, “Hey, this person has this history of governing in this way when he became the mayor of Kathmandu, where he was against poor people,” right? He did some changes, structural changes that helped, upper middle class people. And using that as a way to, like, really assess what he's gonna do for Nepal, and I'm actually skeptical, right? He is somebody from the Madhesi movement, which is a indigenous group that is very marginalized in Nepal, but he also comes from a very upper class background, right? And that's also real. We have to name that. His party's ideology is to push us away from federalism in some sense, right? And also the reality is they had a majority, they won a majority because we didn't have a social movement left outside of political parties that would help us assess him, right? [00:55:00] So that's, I think that's the question. Those are some of the questions I would love people to ask, because I am asking those questions as somebody who is from Nepal and from the diaspora, and I check myself every time. And yeah, I will end it with, like, it's okay to not have all the answers, and just, yeah, do some of that work of, like, reflecting on, like, asking yourself how you are taking in some of the information that you're seeing. And obviously, Himal Magazine is a big source, and one of the Substacks that I would highly recommend too is, I think we could put it in the links later, it's called Kalam Weekly, which is on Substack. I have some critiques of their writing too, but that's really been helping me understand what's going on in Nepal right now.  Cayden: You both have been so incredibly generous with your time, and this has been such a rich conversation. I don't know if there are places also where if our listeners want to follow your work, I don't know, if there's organizations or places where you are publishing thoughts, either your own or organizationally that you wanna share. Sharmin, is there any place people can find you online? Sharmin: Yeah, for sure. We're building the Asian American left at 18 Million Rising, so you could follow us there, and I'm @sharminultra [00:56:00] on all social media.  Cayden: And Samir, is there a place people can find you?  Samir: Uh, yeah, I am a very quiet person. Uh, but direct action has been a big part of our struggles in the last few years, and we are really thinking about, like, how we can escalate strategically, so I am part of a network of direct action trainers called the Ruckus Society. Hit us up. We do trainings, go to our website, request a training if you need any direct action support. We love nerding out on action design and thinking about action curriculum and how we train our people to do action safely. And follow Ruckus Society, and I don't really have a social that's public, so…  Cayden: that's so fair. I respect your choice not to be perceived.  Samir: I mean, also, I'm not Sharmin, I feel I learn from her so much, from Sharmin, so I just wanna name that, and also just from how I- And  Sharmin: we're friends. Like, we, we've done direct actions together. Like, we've been arrested together. Like-  Cayden: Yeah. …  Sharmin: we're comrades, so it's just so fun to be able to talk about this- Well, I really-  Cayden: Yeah …  Yeah. Thanks again, Sharmin, Samir. Absolutely a pleasure to talk, and I'm, I'm sure we'll talk again soon.  Sharmin: Talk soon. [00:57:00] Thank you, guys.  Samir:

IS THERE A DOCTOR IN THE HOUSE? Technically, no, but if it's K-Drama woes that ail you, we have the remedy with Dr. Noonas Prescription Service. We asked listeners to write in with their drama related ailments so we could prescribe the perfect medicine. Whether it's a light and fluffy romcom you can watch with the kiddos or a thoughtful drama to help you through hard times, the doctors are at your service. And if you're bummed you missed out on getting your prescription filled, have no fear! The doctors will be back with future segments. All you have to do is fill out THIS FORM to let us know what you need! Also, if you want to see the sport Lia spent a year playing, here's a look at Underwater Hockey. Ready to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for takes on Bangtan life. ★ Support this podcast on Patreon ★

Send us Fan MailHate can feel natural when you grow up around it, but that's the lie we challenge today. We're looking straight at xenophobia and afrophobia in Africa and asking the question most people avoid: if we keep repeating the same cycle, what kind of future are we building for the next generation? This conversation is candid, emotional, and rooted in a clear belief that hate is learned, which means it can also be unlearned. We walk through a timeline of major anti-foreigner incidents across Africa, including Ghana's 1969 Aliens Compliance Order, Uganda's 1972 expulsion of Asians, Nigeria's mass expulsions in the 1980s, and the political identity battles that shaped Côte d'Ivoire. From there, we zoom in on post-apartheid South Africa and the repeated waves of xenophobic violence, from early attacks in the late 1990s to the horrific 2008 outbreak, later eruptions in 2015, tensions targeting Nigerian-owned businesses, and the rise of Operation Dudula-style anti-migrant campaigns. Along the way we ask what these patterns reveal about power, economics, scapegoating, and the stories people are taught to believe about “outsiders.” But this isn't just history. We connect it to everyday choices, including how quickly resentment shows up in something as simple as football support, and we wrestle with the cost of revenge logic. If “an eye for an eye” leaves everyone blind, what does it look like to be the better person in the room, to reach out, and to refuse the self-destruct button? If you care about African unity, immigration, social cohesion, and breaking cycles of violence, listen through to the end and share this with someone who needs it. Subscribe, leave a review, and tell us what you think is the first step to stopping this pattern.Support the showYou can support this show via the link below;https://www.buzzsprout.com/1718587/supporters/new

In this episode, the three of us catch up on:All things World Cup, the incredible vibes from all around, but especially from Korean and Mexican fans, and some history on Asians in Mexico (0:24)Is this the Asian in sports golden age? (9:00)A trip to Asia, Jazz Fest, a month in Mexico, and other recent happenings (17:38)Why we love sports (31:59)

Odds and Ends: We talk about homemade food things that should be monstrosities, but then you try it and da bih ga.Feature Film: Widely regarded as one of, if not the worst best picture winner ever, we talk about Crash in all of its misguided glory, leading to a first ever judgement call in Duds history. Everyone in this is racist and so are you, just so you know. But no one else is as bad as the Asians, at least.Next episode's movie: The Relic (1997) and The Item (1999)You can join the conversation Wednesdays at 7pm EST! Available in podcast form on all your favorite podcatchers!Socials:linktr.ee/ThereWillBeDudsTwitch // ThereWillBeDudsYouTube // There Will Be DudsTwitter // @ThereWillBeDudsFacebook // There Will Be DudsInstagram // ThereWillBeDudsTikTok // @ThereWillBeDuds(0:00) Show start(8:47) Crash(1:28:04) Next episode's movie

Keiko Shimosato Carreiro was born in the Bay Area … the Boston Bay Area. In Part 1 of this episode, meet Keiko. Today, she's a longtime member of the San Francisco Mime Troupe collective. But her story goes back to her parents' migration to the US from Japan after World War II. Keiko's dad got a Fulbright scholarship to come to this country. He studied medicine. Her mom came to visit the US for one year, but in that time, met Keiko's dad at a Japan Society picnic in Cambridge, Massachusetts. Two weeks after they met, her dad proposed, and roughly a year later, they had their first child—Keiko, named thusly because she was conceived on Cape Cod. Because her dad was doing his residency in Boston, Keiko was born in Cambridge, just across the Charles River. She spent the first 15 years of her life in the Boston area, frequently going to protests of the war in Vietnam with her parents. Keiko also attended "Burn Your Bra" rallies in Harvard Square. Her family comprised the only Asians in Lexington, where they lived. Keiko and her sister were the only Japanese school kids in the district. Perhaps because of that dubious distinction, reporters approached Keiko when she was very young to ask her what she thought of the US war in Vietnam. On the other hand, there were white Americans who welcomed Keiko and her family. Her mom had a sponsor, an American woman who had been a journalist in Japan during WWII. And her dad came here on a Fulbright scholarship, after all. Both had plans to return to their home country, but meeting and considering that Japan was still something of a war-torn country, they decided to settle in Massachusetts. Before they knew it, they had three daughters. We shift the conversation to talk about Keiko and her sisters and their sibling relationships. Keiko sees the demands from her parents on her, as the oldest child, being the highest. Going younger in age among her sisters, the demands lessen. I know this all too well, being the youngest of three boys myself. Keiko and her youngest sister didn't get along when they were young. Maybe it was the seven-year gap in age. But through the experience of Keiko caring for her aging and dying parents, and then losing their middle sister after their parents' passing, the two became and remain close as adults. Midway through her time in high school, Keiko's dad moved his family from the Boston area to Iowa. There was a job opportunity there, but the main reason to leave went back to racism. Her dad didn't feel that he was appreciated at the Boston area hospital where he worked. Going from afternoons in Harvard Square to her parents' new house amid corn fields and barns was a shock, to put it mildly. Keiko also had to say goodbye to her boyfriend back home, which, at 15, was of course devastating. In her new city, the only place Keiko felt comfortable and welcomed was in high school band. She'd been playing flute for some time and wanted to go on to study music in college. There were no Asian grocery stores in Iowa City at the time. Keiko's parents helped to open the first of those. Later, folks from Vietnam, Korea, and some Southeast Asian countries arrived. And when they got there, there were food shopping options available to them. Keiko graduated high school a year early and went to the University of Iowa. Fueled by a desire to escape a cruel world in school, she also started taking college-level courses before graduating high school. The university gave Keiko a full music scholarship to study there, in fact. For fun, she took an acting class amid her music studies at UI. That acting class flipped a switch for Keiko. It felt more like what she wanted to do, more than music did. Eventually, she changed her major to interdisciplinary arts, which freed her up to take classes like dance and creative writing. I take us on a sidebar here, mentioning that I believe it's more important to find something you enjoy doing than it is being quote/unquote good at it. Then Keiko shares the story of how she transported herself from the corn fields of Iowa to the best city in the world—San Francisco. It involves a theater company in Canada. Keiko had married her clown teacher while still in college. He was Canadian, and the theater company called for him. But he wasn't home and so they asked about her. They told her they didn't like to separate couples, so they invited both of them to join. Keiko and her now-ex met this horse-drawn theater company in the middle of its tour (where else?) in California. For the next year-and-a-half, she and her husband traveled with this theater company doing shows of a political nature, mostly around climate issues. That caravan stage company ended up staying in the Bay Area. For Keiko, the thought of returning to Iowa to finish her master's program, especially in the winter, was not attractive at all. She got a job here as an actor in a children's theater company and decided to stay in The City. In 1986, the San Francisco Mime Troupe held auditions for The Dragon Lady's Revenge. Keiko tried out and joined the collective that year. Check back tomorrow for Part 2 of our SF Mime Troupe episode. In it, you'll meet Keiko's friend and fellow collective member Michael Gene Sullivan. We recorded this podcast at the SF Mime Troupe studio in the The Mission in June 2026. Photography by Marcella Sanchez

This week on Asians in Baseball, we get deep into the feels! 2:23 - All Star Game voting update: Ohtani is a shoo-in, but Kazuma Okamoto is the only other Asian who makes it to the second round?!?! Be sure to vote until this Thursday 7/2 at 12pm ET! 13:25 - In position player news, Tommy Pham signs with the Phillies which can't end well, the Asians on the Red Sox are contributing to their upswing, and Hao Yu Lee has been hot at the plate for the Tigers and has lunch with his new bestie Kai Wei Teng. 26:04 - Ohtani keeps crushing the ball and manages to stay dominant on the mound, despite communication issues with his catcher.34:19 - Kodai Senga is sent to the bullpen where he pitches more innings in relief than as a starter, Detroit has Kai Wei Teng's number but Tatsuya Imai has back to back double digit strikeout starts, Joey Cantillo could use a little help from the offense, and Brennan Bernadino and Orion Kerkering have been lights out. 44:00 - HOT TOPIC: Is there crying in baseball? (Yes.)

A powerful exposé of the American public education system's indifference toward marginalized children and the "slow violence" that fashions schools into hostile work and learning environments.In 2017, sociologist Ranita Ray stepped inside a fourth-grade classroom in one of the nation's largest majority-minority districts in Las Vegas, Nevada. She was there to conduct research on the lack of resources and budget cuts that regularly face public schools. However, a few months into her immersion, a disturbed Ray recognized that that greatest impediment to students was the “slow violence” that preys on their minds, bodies, and spirits at the hands of teachers and administrators who are charged with their care.Slow Violence: Confronting Dark Truths in the American Classroom (St. Martin's Press, 2025) lays bare the routine indifference, racism, and verbal and emotional abuse and harassment that teachers and administrators perpetrate routinely against the most vulnerable children in our schools. We meet Nazli, a bright, funny Black girl, and math wiz, who loses her baby brother, and is told that “grit” will enable her to rise above her grief. Reggie is a devoted student and curious scholar, but his path to success is derailed when teachers fashion him as a predator after they find him looking at two inappropriate photos on his iPad. There's Nalin, a shy and determined Filipina who has just arrived in the US, but is ignored based on her educator's assumption that “Asians” are “good at math.” Her entire journey through school is darkened by this stereotype. And there's Miguel, a sharp, distracted Latino boy who can't overcome his teachers' urge to incorrectly diagnose him with autism.Bolstered by an empathetic and passionate voice as well as the latest breaking research in the social sciences, Ray goes beyond timeworn discussions about the school-to-prison pipeline, funding, and achievement gaps to directly address what happens behind the closed doors of classrooms, introducing a compelling—and crucial—new perspective into the conversation about our education system.In the warm, luminous spirit of character-driven books like Invisible Child, Slow Violence allows us to see that the way we've tried to make a start in education reform is wrong. To forge new approaches that foster young minds and flourishing generations we have to start with how children experience the classroom. Unflinchingly, Slow Violence tells us—and shows us where to begin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

A powerful exposé of the American public education system's indifference toward marginalized children and the "slow violence" that fashions schools into hostile work and learning environments.In 2017, sociologist Ranita Ray stepped inside a fourth-grade classroom in one of the nation's largest majority-minority districts in Las Vegas, Nevada. She was there to conduct research on the lack of resources and budget cuts that regularly face public schools. However, a few months into her immersion, a disturbed Ray recognized that that greatest impediment to students was the “slow violence” that preys on their minds, bodies, and spirits at the hands of teachers and administrators who are charged with their care.Slow Violence: Confronting Dark Truths in the American Classroom (St. Martin's Press, 2025) lays bare the routine indifference, racism, and verbal and emotional abuse and harassment that teachers and administrators perpetrate routinely against the most vulnerable children in our schools. We meet Nazli, a bright, funny Black girl, and math wiz, who loses her baby brother, and is told that “grit” will enable her to rise above her grief. Reggie is a devoted student and curious scholar, but his path to success is derailed when teachers fashion him as a predator after they find him looking at two inappropriate photos on his iPad. There's Nalin, a shy and determined Filipina who has just arrived in the US, but is ignored based on her educator's assumption that “Asians” are “good at math.” Her entire journey through school is darkened by this stereotype. And there's Miguel, a sharp, distracted Latino boy who can't overcome his teachers' urge to incorrectly diagnose him with autism.Bolstered by an empathetic and passionate voice as well as the latest breaking research in the social sciences, Ray goes beyond timeworn discussions about the school-to-prison pipeline, funding, and achievement gaps to directly address what happens behind the closed doors of classrooms, introducing a compelling—and crucial—new perspective into the conversation about our education system.In the warm, luminous spirit of character-driven books like Invisible Child, Slow Violence allows us to see that the way we've tried to make a start in education reform is wrong. To forge new approaches that foster young minds and flourishing generations we have to start with how children experience the classroom. Unflinchingly, Slow Violence tells us—and shows us where to begin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

A powerful exposé of the American public education system's indifference toward marginalized children and the "slow violence" that fashions schools into hostile work and learning environments.In 2017, sociologist Ranita Ray stepped inside a fourth-grade classroom in one of the nation's largest majority-minority districts in Las Vegas, Nevada. She was there to conduct research on the lack of resources and budget cuts that regularly face public schools. However, a few months into her immersion, a disturbed Ray recognized that that greatest impediment to students was the “slow violence” that preys on their minds, bodies, and spirits at the hands of teachers and administrators who are charged with their care.Slow Violence: Confronting Dark Truths in the American Classroom (St. Martin's Press, 2025) lays bare the routine indifference, racism, and verbal and emotional abuse and harassment that teachers and administrators perpetrate routinely against the most vulnerable children in our schools. We meet Nazli, a bright, funny Black girl, and math wiz, who loses her baby brother, and is told that “grit” will enable her to rise above her grief. Reggie is a devoted student and curious scholar, but his path to success is derailed when teachers fashion him as a predator after they find him looking at two inappropriate photos on his iPad. There's Nalin, a shy and determined Filipina who has just arrived in the US, but is ignored based on her educator's assumption that “Asians” are “good at math.” Her entire journey through school is darkened by this stereotype. And there's Miguel, a sharp, distracted Latino boy who can't overcome his teachers' urge to incorrectly diagnose him with autism.Bolstered by an empathetic and passionate voice as well as the latest breaking research in the social sciences, Ray goes beyond timeworn discussions about the school-to-prison pipeline, funding, and achievement gaps to directly address what happens behind the closed doors of classrooms, introducing a compelling—and crucial—new perspective into the conversation about our education system.In the warm, luminous spirit of character-driven books like Invisible Child, Slow Violence allows us to see that the way we've tried to make a start in education reform is wrong. To forge new approaches that foster young minds and flourishing generations we have to start with how children experience the classroom. Unflinchingly, Slow Violence tells us—and shows us where to begin. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Host Miko Lee checks in with Dr. Robyn Rodriguez and we get to check out her podcast Spitting Fire: Doktora Robyn Speaks.   SHOW TRANSCRIPT [00:00:00] Opening: Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   [00:00:34] Miko Lee: Welcome to Apex Express. I'm your host, Miko Lee, and tonight I'm so excited to talk to my lovely colleague, Dr. Robyn Rodriguez. Robyn is such a powerful leader. She's often called the people's professor. She was a professor of Asian studies at UC Davis, and now runs the Reimagination Lab. She has created a farm that is a collective action space, and she is really thinking about new ways to reimagine our world. I'm so excited for you to learn more about Dr. Robyn and you're gonna get to hear from her new podcast, which is called appropriately, Spitting Fire: Doktora Robyn Speaks. And I just love this, 'cause spitting fire is this term for women that can speak out and share their stories, and Robyn has so much to tell. So I'm gonna interview her, and then you're gonna get to listen to her new podcast, Spitting Fire. Thanks so much for joining us on Apex Express.   [00:01:36] Welcome back Dr. Robyn Rodriguez to Apex Express.   [00:01:41] Dr Robyn Rodriguez : Oh, thank you so much for having me.    [00:01:44] Miko Lee: I'm so happy to have you with us once again. And I have asked you this before, but sometimes things change in the amount of years we've spoken to each other. So I'm gonna ask again, who are your people and what legacy do you carry with you?   [00:02:00] Dr Robyn Rodriguez : Yeah, who are my people? I think about folks of color broadly as my people. Whenever I refer to my people, I really do think about those of us who share intertwined and yet also distinct histories of colonization, empire, War, Violence. I think of all of us who've descend from peoples who've survived, fought back thrived, in spite of all that as my people and the legacy I hope to leave is lessons on continuing to not just dismantle the systems that caused harm on our ancestors and continue to cause harm for us now, but to offer also lessons on liberation and what it can look like and feel like so that we can continue to not just again, dismantle, but also build out the worlds we want.    [00:03:15] Miko Lee: Speaking of lessons, you have a brand new podcast series called Spitting Fire Doc. Robyn Speaks, and I wonder if you can talk to me about how this podcast came to be.   [00:03:27] Dr Robyn Rodriguez : You're gonna laugh. Well, there are a couple of things I think that lead to the podcast. I've always wanted to do a podcast. I did college radio when I was an undergrad at UC Santa Barbara. I had a co-host for a show called WAR Women in the Act of Resistance, and we used to love to always say, we declare war on.   [00:03:53] Miko Lee: I love that.    [00:03:53] Dr Robyn Rodriguez : Whatever it is that we, yeah,    [00:03:58] Miko Lee: that's so good.    [00:03:59] Dr Robyn Rodriguez : I, I, yeah. So I, I love doing college radio and have always, you know, people would joke or I don't know if it was a joke, but compliment me on having a kind of good radio voice. I don't know how true that is.   [00:04:16] Miko Lee: Very true, true.   [00:04:16] Dr Robyn Rodriguez : But I've always had a, an interest in, podcasting as a platform. I think in general I prefer the long form platform. I prefer storytelling and, uh, there's something really powerful about podcasts is I think for me, really connected to radio programming. I don't see them, I guess, in very different ways. So I'd always wanted to do podcasts even when I was still teaching at, uc Davis, in Asian American Studies. I always thought podcasts are a really, really powerful way to share the knowledges of ethnic studies beyond the classroom. So I'd actually clipped on a recorder while I was lecturing and had uploaded a bunch of a raw unedited audio to what used to be iTunes University. So in some ways that might have been like the first podcast in a way. And then the funny thing about, uh, Spitting Fire it was kind of launched a little sooner than I was ready to be honest. I basically messed up on what was supposed to be a Zoom video. I don't know exactly what happened, but we only had audio and I thought, you know what? We're slapping that together, editing it and putting it out there, because I thought that the conversation that we had over Zoom was so, just really powerful and informative, and I didn't want to not have it circulate in the world. And so I've sort of tried to proceed in that way. I, I guess I see podcasting alongside YouTube videos and other long form and even just more written essays as the sets of long form digital media that I tend to prefer and also recognize as an educator that people learn in so many different ways. Some people are able to learn better, by listening closing their eyes and listening and are able to kind of absorb knowledge differently in that way. Others respond better to a kind of visual medium. Others like to read. And as an educator too, I feel like each of the mediums can be really effective in terms of conveying and transmitting knowledge. But again, I have a preference if I have to use digital media for the long form. I do worry that the sort of clipped, abbreviated, kind of versions of digital media that is social media, whether it's TikTok or Instagram and other sorts, or just, I don't know that they serve us in the way that, especially as an educator, that I    [00:07:08] Miko Lee: Thank you for sharing. I'm wondering how you ended up selecting this lovely title. You went from WAR in college to Spitting Fire. Tell me about where this title comes from.   [00:07:19] Dr Robyn Rodriguez : You know, I think it must have been a student, honestly, who had said, oh, look at Dr. Rob Spitting Fire after some talk. And I, I was sort of drawn to that. I think too, honestly, as an Asian American woman I think I was kind of playing a little bit with these stereotypes of Asian American women as kind of dragon ladies. And, but trying to kind of remake that in a way to kind of paint a picture of sort of fierce Asian American woman who is unafraid to speak truth to power. I think I've been feeling as and in my interactions with younger generations of women, I do feel as if younger Asian American women, and again, maybe it has to do with social media maybe the permanency of that. The circulation of media and how rapidly it spreads. Cancel culture. I feel that there is a kind of timidness that I'm encountering with younger Asian American women who are a little bit reluctant to speak up and speak out without really taking a moment to first compose themselves. Edit and then maybe post or share. And I guess I, I had hoped that image of spitting fire might conjure up a different way of being, as a kind of Asian American, woman, and activist, and organizer. And that's even why I think I was really drawn to just not over editing any of the content. You know, if there were was content that I could pull from other conversations I was having, that might have been like originally a Zoom for instance, but might you know, be conveyed better to somebody who Is more of a listener than a a watcher or a viewer that could invite, people or women in particular feeling like it's okay to not be perfect. It's okay to be able to stand by a thought and recognize that are the things that we, we say in a particular moment have history and context and need to be understood in that way. So it plays with that image of, I think the dragon lady, Asian American woman, dragon leader lady. And also, you know, I always talk about my middle name. It's such an important part of who I am and my identity, but my middle name, which I get from my mother. Was my mother's maiden name means to be angry in Filipino, and I've always loved it because it was actually a made up name. It was a name that my great-great-grandfather claimed for himself. Changing his name from De Los Reyes, which means of the kings to Magalit to be angry because he was a revolutionary against the Spanish. And I'm so fiercely proud of this revolutionary lineage that I hold. And I think in a way, Spitting Fire also reflects that lineage of ancestors who've never been afraid to stand up, speak out and again, speak truth to power.   [00:10:54] Miko Lee: Ooh, that was such a lovely answer. I really appreciate reclaiming the dragon Lady is furious and powerful and a revolutionary figure. I think that's so lovely because usually we just think of the dragon lady as this evil villain, but dragons in Asian culture are creatures that are to be revered and are powerful and lucky too.   [00:11:19] So, I so appreciate that. I really, I wonder,    [00:11:21] Dr Robyn Rodriguez : you know, that too.    [00:11:23] Miko Lee: I'm wondering, you, you said that you feel like young women are timid today and I was like deep sigh of that because I feel like still really now with, I don't know, I just, that's that. Um, do you find that in the students that you're working with now, that they're still Asian, young women are still being timid?   [00:11:46] Dr Robyn Rodriguez : I mean, honestly, I don't think that this is a uni. You know, this is certainly not true for all of the young women I encounter. No, that would be unfair, but I also feel as if the boldness that might be out there I feel is often highly curated. A lot of it is expressed through social media. And again, if we understand social media, the reality of Instagram is it's never so instant. There is a much time and effort put into filters, into kind of visualizations aimed to draw a more attention. Really careful framings, and accompanying captions. I mean, I, you know, even for posts, 'cause I think a lot of, I think political conversation and discourse is happening, I would say on Instagram, I've decided to opt out of TikTok. I know that's also a place, but that's all to say that I think that these become a kind of shield or crutch. And then I've found and often been surprised. When I meet people in person, such a disconnect between a persona and, how one actually moves in the world with other people. And, that's where I've seen some surprising timidness and caution. And it does worry me a bit. I mean, I, and 'cause I think that there are maybe competing notions. I think some people in my generation feel this generation to be very brave. And I'm not, you know, I hate to say this, I'm not a hundred percent certain that's true sometimes, at least in sometimes the young people that I've encountered. I think social media has. I guess I'm not convinced that social media is the modality or the mechanism by which change will happen. And we make change in our relationships with actual, kind of, with everyday people. With people. And in relation to the land and kind of the resources of the earth. And yeah, that's where I feel like that kind of boldness and bravery needs, you know, makes more lasting impact than the kind of illusory, fleeting, and very superficial for me trade and visuals and words over social media. So, yeah, I do, I do worry about it. I, I feel like I've seen it too often, a hesitance to speak up.   [00:14:32] Miko Lee: This is so interesting. I just did an interview uh, with NAKASEC about the new study that they released on Asian American men and the Manosphere, and how more and more Asian American men are being persuaded by right wing media in the Manosphere. But I wonder about Asian American women as you bring this up. And I, I think back to that many years ago, that documentary film that. Slaying the dragon. Do you remember that from years past    [00:14:58] Dr Robyn Rodriguez : that? Oh my gosh, yeah. It's a while.    [00:15:00] Miko Lee: Yeah. That was all on the, you know, the on representation of Asian American women and that, and that was maybe 20 years ago. So I wonder how much that's changed    [00:15:10] Dr Robyn Rodriguez : maybe more. Yeah,    [00:15:11] Miko Lee: maybe more. Right? So, but I wonder how that's changed with, because that was pre-social media and if Asian American men are being pulled in the manosphere, what are Asian American women being pulled into?    [00:15:24] Dr Robyn Rodriguez : Yeah, I do worry. I worry again, just, I mean, my goodness, you know, the proliferation of just the growth of the beauty industry.    [00:15:35] Miko Lee: Yeah.    [00:15:35] Dr Robyn Rodriguez : Um, the casualness, by what I mean, just in terms of cosmetic surgery becoming so even normalized   [00:15:45] Miko Lee: for young people very young people .   [00:15:48] Dr Robyn Rodriguez : Absolutely. Absolutely. And our kind of television series through streaming platforms you know, even movies. I mean, it's, it's clear that there are, you know, real investments in cosmetic surgery by many of the women that we hold up, across race. And yeah, this sort of, it's just, it's, I've been shocked by how, how, I mean, just the other day, I, I'm like a very loyal client. Well, when it comes to my hairstylist, I go, I travel two hours to Sacramento from our farm to get my hair cut every six months from one woman. I, I just, I could not believe just the conversations I was hearing women including Asian American women in the seats next to me around injections, fillers, I remember seeing flyers posted all around the salon. For a session being held by a, a cosmetic, I don't even know the terms, but there's now a proliferation of job titles even associated what is it? Medical aesthetician. But yeah, I, I do worry. Right. Trading in the visual. Maybe that's why too, the podcast feels like a way where people can. Especially if I, you know, am in conversation with others or for myself even to just kind of show up without having to worry about you know, what I look like or what others look like. Or there's, you know, people don't have to worry about, the talking heads and kind of can pay attention more to the knowledges or the stories being shared. But I feel like that is a pull, I mean, if there was, if we've always, I think as as Asian American women, our bodies, right? Subject to just, these representations, right? The hypersexualization of Asian American women, which is really at the core of, I can recall of slaying the dragon. I think that has gotten worse. And we're being more actively recruited into our own participation in this kind of hypersexualization on one hand, or being recruited into participating in these what are ultimately white aesthetics and remaking our bodies. To conform to notions of beauty and it's all being cast as if it's empowering and liberating somehow. And I, I've heard that and, and witnessed that, that somehow, no, these are not aesthetic choices that have to do with whiteness. I just wanna look pretty. Without any interrogation around what are the standards of beauty based on and even why, like, what is it about you know, desirability, youthfulness and all of that. That I think is definitely a co a concern I have and why I've pulled away from social media. I don't know that I've looked on Instagram for I don't know how many months. It's been quite a bit of time, so much so that, Instagram is now sending me emails to remind me of all the messages and posts I'm missing. Facebook was doing that as well. But. I get troubled by the things that I am seeing. And I do worry for not just kind of younger generations of Asian American women, I think this is also a worry for all younger women of color.    [00:19:20] Miko Lee: It's interesting they cast it almost as colorblindness in terms of the beauty standards, but it's laced in white supremacy because the whole, the very basic of the standard of beauty is based in whiteness. That's quite powerful and interesting.    [00:19:40] Dr Robyn Rodriguez : Yeah. And it's also deeply rooted in kind of capitalist consumption, right? The notion that the only thing that is of value is a thing that is new and novel. Anything else has zero value. And we're seeing that right where women are terrified. Terrified of getting older. I mean, I was in conversation with a few women, you know, in, in my circles, not even 30. Who are being policed by their peers about their frown lines, watching how they express themselves because they're approaching 30 and another woman in her early thirties you know, just commenting too that, well, the procedures now are so good. They've gotten so good at it that you can't even tell. But you know, just this, that it's happening at such a young age and, and you know, women, we already have to deal with all of these demands on our bodies, right? Some that are external, some that we internalize around, reproduction if we're straight or if we desire children, even if we're not, you know, just these pressures around that. And I mean, I feel like what woman is, especially younger women, you know, really, really worried about whether they've met certain milestones at at every age. I mean, I hear it with young women. Oh my god, I'm 25 now. I'm a quarter century. This is huge, right? Oh, I'm 30, three decades in, where am I at? So there are all these other demands around achievement, professional achievement. Scholastic achievement, nevermind, you know, your body, whether it comports to the thing that is di desirable and is doing the thing it needs to do, that it's athletic and that it's light, that it's, it can make babies. So it just it's a lot. And I feel like if we were went through it as, as younger women the intensity is, even greater. and I noticed it myself. It's probably part of the reason why I've, I had to pull away from social media, you know, I'm 53, you know, and feeling like I don't see many representations of myself too in social media. That is, I don't know that it's a space for me either. And you can't help when you're in these spaces. Even the most, kind of radical critical of us you know, can fall prey to, the intrusive thoughts of patriarchy around our bodies and aging and our utility. So yeah, it's worrying, it's really worrying to me.   [00:22:05] Miko Lee: So I wanna flip the switch on that and ask you, as a 53-year-old, what do you feel most powerful about?   [00:22:13] Dr Robyn Rodriguez : I personally have experienced so much personal loss of people, beloved people. I've also witnessed too many people who have not had the opportunity and privilege to reach this age. I think what makes me powerful or what, what makes me feel powerful, or maybe less the term, I don't know if powerful is the term, but just I feel deep gratitude that my body has, allowed me to live in this form, to this age to have the range of experiences that I've been able to experience in this body. Looking at the world through these eyes experiencing it, you know, with this skin. And I just, that is, I guess, a source of power because of the wisdom that it offers. The I think empathy, you know, and compassion that it makes possible. Because you've experienced and witnessed so much. I think that there's a lot that I have also, let go of. I think there were so many kind of insecurities that I think I struggled with as a younger woman that I no longer experience and that feels very empowering. To come to a place. And, and it really comes with life experience, I think. And that you are able to get perspective on things that might've, felt as personal failures in the past, but then you can look at differently as just lessons. Along this journey, in life. And I think I've just also been blessed with elder women in my life who you know, just are so, unapologetic about who they are, what they think, and how they move in the world. And so I have really great models. That make me excited about the prospects of continuing to, to get older and and being able to kind of experience and learn new things along the way. There's a power there.    [00:24:26] Miko Lee: Thank you for sharing. Yeah. As somebody who's 60 this year, I feel like it's lessons that I've learned, but also I don't care. I don't care as much I don't obsess over the little things. I just, and I say what I feel because why not? We're at a phase in life where, you know, I've done a lot of things. I've experienced hardship, and I'm just gonna say how I feel where I'm at what's going on right now? So there's a freedom to that, that I think is very different from being young. What would you like your podcast audiences to understand?   [00:25:01] Dr Robyn Rodriguez : Yeah. You know, I think my podcast audiences need to understand that I am really approaching the podcast from a place of embracing my role as a elder or a young elder. I think it's a role that, I was struggling a bit with and again, I'm not immune to as much as I feel empowered by being older, I also am not immune to all of the, the messages around youthfulness and value that I think we're constantly being barraged. But I do recognize that there is a really special role to be played by women in middle age, which I am. And I think that's what I want audiences to understand, that I am coming into this podcast, doing this podcast from a very specific vantage point. A vantage point that offers insights that on, you know, and of course I'm coming in as me, right? Somebody who still considers herself a scholar, if not necessarily one based at a university. Somebody who's been a really sort of radical thing and shift by becoming a farmer and doing land based work. That, yeah that they're going to be hearing, a perspective, you know, from somebody who has been an organizer, continues to do that work, but is also experimenting and risk taking in different ways. They get the chances to hear from a yelder who's lived a little. Who has a very unique perspective, not just from a particular vantage point in terms of age, but also somebody who's you know, done the work, studied the thing when it comes to kind of the Asian American experience done the thing it, and when it comes to Asian American, organizing. It's continued to grow by stepping away from previous ways of being, uh, by doing this work on our farm. You know, I feel like it's a unique set of perspectives that I'm hoping can offer inspiration or lessons for the moment. But yeah.    [00:27:33] Miko Lee: So last time we talked was a few years ago and you were just getting your farm set up and now you actually have this whole farm. Can you share a little bit more about your connection to the land and what it's like being a farmer now?   [00:27:48] Dr Robyn Rodriguez : Yeah, no, thank you. You're right. I recall, I think we had literally just moved in when I was in conversation with you, and now we're at the start of season four. It has been an amazing journey. I'm actually right now and I hope to be able to talk about it on the podcast. I've come, I'm in the process of finishing, a book, reflecting on my experiences over the last four years in this transition from university professor to farmer. there's so much that I've learned. One of the major things I've, learned especially as an organizer, to differently appreciate all of the metaphors we use in organizing. cause we use them a lot, right? How do we describe certain kinds of organizing? We, we describe it as grassroots. How do we talk about the ways we might be building our, you know, struggles of resistance? We think about ourselves as sowing seeds. More and more people talk about, you know, mycchorizal networks. There are all of these metaphors that proliferate when we're thinking about, struggles for justice. And there is something that shifts when you do land-based work and really understand and learn at the knee of mother nature around all the things that are required for cultivating life, which for me, I think is what activism and, organizing really is about. You know, we live in a system that ultimately thrives on death. I mean, war, empire, capitalism, disposability, you know, all of that is, is a system that thrives actually on, on death. And I think that when we're organizing as folks who are activists, social justice activists, ecological and environmental justice activists and organizers, what we're doing is we're in the business, so to speak, of cultivating life. But how best to learn about how to cultivate life, if not at the knee of of Mother Nature. And so I've learned a lot about that. Learned about you know, how long it can take. In fact for, plant sowing a seed a seed can only germinate, you know, and there's the right kinds of conditions and even the right kind of conditions can't be fully predicted. You tend to that ground, that soil anyhow, you know, seeds being so small and nearly invisible to the eye and yet, we know them to be there and we, we support their growth. Seeds when under the right conditions germinate and grow can become these healthy, mature plants. One singular plant can feed so many, I mean, all of those lessons when you understand them in deeply embodied ways, I think allow you to approach organizing and activism differently. I think especially now, there seems to be an urgency to everything. Everything feels urgent. Um. Something needs to be responded to, you know, immediately it feels like all the time. and that not responding somehow is being complacent or enabling. But I think what I've learned as a farmer is that transformation in life takes time and we need to tend to that. And I mean, I feel like I think organizers would benefit a lot from, doing land-based work. Not only because the earth needs us to do this work of regeneration and restoration, but I think we would have better perspective around, what liberation would look like and require, from these systems of domination and power if we, you know, humbled ourselves a bit and learned from. Mother Nature, and the ways that, you know, she's endured through it all and, you know, adapted through it all. I think, I think there are important lessons there, but lessons that I think that really require a work of embodied learning and knowledge.    [00:31:56] Miko Lee: So you speak of your farm as this, as a place that's cultivating growth, and can you talk a little bit more about that, cultivating the mind? Because I know you're also doing work on your farm with organizers, with nonprofits, with students. So can you talk a little bit more about the cultivation of people on your farm?    [00:32:15] Dr Robyn Rodriguez : Yeah, absolutely. Yeah. I mean, so much of what we do isn't just about the food that we grow, which we do, and I shouldn't name that, you know, a lot of. our aim with food growing is not just to feed, you know, sort of a community of people who've opted in to get food from us, which, you know, we do have a CSA, a Community sourced agricultural program, but we're also working with native communities here to support in addressing their food needs. So that's. Important, piece of what we do that I wanna name in terms of food and plant production. But yes, in terms of cultivating people, I think a lot of what we do here is about facilitating this reconnection to land. I grew up a very urban, suburban existence. I think it always as an organizer and activist, valued ecological and, environmental justice. But I don't know that I centered it in the way that I do now, in part because I didn't. Have a relationship with the land in the way that we do now. I really think that our work is to help cultivate that relationship. I think we need that relationship to fully appreciate what's at stake when we talk about climate change. It's one thing to kind of know the facts. It's another thing to be in relation to the land, and I think it takes a certain set of conditions to be able to, to be in relation to the land. So yeah, we, we hold space for lots of organizations, educational institutions, nonprofits, community-based organizations, other folks, who also are feeling that there is a need to be in relation to the land. Not only to be in a relationship, but to be in a right relationship with the land. So we, we hold space for a lot of that. And of course that process is also deeply healing. There is something really healing about learning from the land. just understanding there's something really magical like, for example, when you come out of winter and you start to see new growth, I think that cycle of growth offers a kind of hope and reassurance when we're feeling especially despairing, which I think a lot of people feel tremendous despair now. And yet, you know, being bearing witness to that is it can be super just powerful and can kind of keep and sustain the fight.   [00:34:37] Miko Lee: And lastly, can you share more about your school for Liberating education?    [00:34:42] Dr Robyn Rodriguez : Sure. So the School for Liberating Education is an online platform through which I share all of the ethnic studies knowledge that I was teaching at the university. Most recently at the University of California Davis, you know, always believed ethnic studies was never intended to be just another academic field like anthropology, sociology, political science. But that, it is a form of knowledge that is meant to raise our consciousness to inspire and to provide us real skillsets and pathways to taking that knowledge and doing the work of changing our world for the better. And so, you know, the School for Liberating Education I set up so that people can have access to that knowledge without having to go through. All of the, the, hoops that are required for, you know, getting into a four year university, even all of the kind of bureaucracy it takes to get even to a community college, which is not as easy as one would think. But also a very unapologetic, form of ethnic studies. I think part of what's happening at colleges and universities now is, these are battlegrounds. The, right wing has taken it upon itself to really attack ethnic studies in various institutions. They've been very successful in gaining, Support. University administrations have also been very easily bent not only kind of grassroots right wing movements because they're really organized at the grasses, but certainly the series of executive orders that Trump passed, you know, within days after inauguration. Effectively illegalizing ethnic studies and of course we know what he's trying to do in terms of, the Department of Education and, its, effective dismantlement. But this is meant as a place to offer the knowledge that our forebearers and fought really hard for the university, but can't really fully thrive there either. And so, I wanted to make sure that there was a place where this knowledge can be accessed, to anybody with the interest and desire.    [00:36:55] Miko Lee: Thank you so much for chatting with us today. I'm wondering if there's anything you would like podcast listeners to prepare themselves for before they bust out Spotify and listen to Spitting Fire.   [00:37:10] Dr Robyn Rodriguez : Well, it's just, you know, to, you're gonna get a lot of raw, unedited audio. And so, um, you're gonna kind of get just, you know, as the, the host of the, show me in a very unedited, very unfiltered form, which can be, I hope enjoyable for folks. But, you know, I think people will, will learn a lot, and a lot of the topics are rooted in the things that I care about. Certainly social justice issues certainly even, you know, the work we're doing at the farm. So, you know, I, I mean, it's broadly, uh, the podcast is around social and ecological justice. But very much from the lens of somebody who, again, is a yelder, somebody who's taught ethnic studies, continues to teach, although not at the university. Um, somebody who does the work of kind of social and ecological justice organizing and is doing land-based work. So, you're getting all of the, the things that connect to all of the ways that I, I'm moving in the world right now.    [00:38:15] Miko Lee: Thank you so much Dr. Robyn for joining us today on Apex Express.   [00:38:20] Dr Robyn Rodriguez : Thank you so much again for having me.   [00:38:38] Welcome everybody, to Resistance, Defiant Love, and Radical Care. Today we are launching, uh, the pre-registration for my new activism course, my course on Asian American activism, and it will be drawing on my book, co-edited with Diane Fujino, uh, Professor Diane Fujino, entitled Contemporary Asian American Activism: Building Movements for Liberation.   [00:39:09] I'm really, really excited that the book is coming out, but probably even more excited that I'll be able to launch a mini course that draws from that book, as well as other work on Asian American activism, and that I'll be able to offer a mini course that really looks at Asian American activism in the coming months.   [00:39:30] And I'm very, very, very, very pleased to be joined by Artnelson Concordia. Artnelson and I actually hopped on earlier and we went back to, to just recollect when we met and how long ago, and I'll talk about that in a moment. But, um, oh, I guess I might as well just say, Art and I have known each other for exa- almost exactly half of our lives.   [00:39:54] Um- So we first met when we were only 12. Just kidding. We met when we were 25 years old. We, uh, so that was half of our lives. You do the math. Um, and, uh, it, it's just so wonderful, uh, to, to be able to reconnect, uh, with Artnelson in this way. But we go back, and as we'll talk about later on, we go back, um, 25 years ago, uh, where we, when we first met, uh, through, uh, our work, uh, in, in activist spaces.   [00:40:27] But Artnelson Concordia was born and raised in the Echo Park neighborhood of Los Angeles. The son of working class Filipino immigrants, he earned BAs in political science and history at the University of California in Los Angeles, so UCLA. Artnelson is a longtime educator who got his start in San Francisco and was a founding teacher of the San Francisco Unified School District's Ethnic Studies program that was the focus of a 2014 Stanford University study that highlighted the academic benefits of the district's ninth grade ethnic studies course.   [00:41:02] That's Artnelson. Currently, he coordinates Santa Barbara Unified School District's ethnic studies program. Artnelson is the father of four Brown boys, four beautiful Brown boys, and is in cahoots with his wife to raise them to have deep knowledge and love of self and community, as well as to be active disruptors of the white supremacist, patriarchal, heteronormative, imperialist hegemony.   [00:41:29] Yeah. He and his family have the great privilege to live in the beautiful town of Oxnard, California, which is unceded Chumash territory. And this fall marks the beginning of his 23rd year in education. And as I was saying before, Art and I go way, way back. We met right after we had both graduated from college.   [00:41:52] And yeah, as… Art and I are here to talk story a little bit about our shared activist path, because really, uh, it ma- it seems it's so appropriate to talk about our shared path as activists and educators because this pivot for me to offering, uh, courses through the School for Liberating Education has everything to do with my activism and everything to do with my deep, deep belief that education, uh, and a critical education, uh, can be so vital for, uh, movement building, for building the world that we want.   [00:42:29] So I'm gonna just hand it over to you, Art. And we can just start. But it's so great to see you and have this chance to chat.    [00:42:37] Artnelson Concordia: Right on. What a, what an introduction, uh, hearing that coming from you. Um, and- Reflecting on the time and how quickly that really does fly. And I think it's actually more than 25.   [00:42:50] We've known each other more than 25 years. Um, and I think, yeah, that's more than half of our lives. But I think the moment that we, we met each other, we were already on our journey to, to really committing ourselves to figuring out, you know, what the hell is going on with this world. I mean, beginning with our own lived experiences and what's, what was happening with our communities.   [00:43:18] Um, but yeah, education has always been central, and I think my, my path to really focusing in on that was in, in organizing spaces before I became a teacher. It was so key in bringing people to to support and be a part of whatever issue. Like, it was, well, how do we move people? Well, w- we tell them the truth.   [00:43:47] We, we tell them the… an all-rounded kind of breakdown of how it will impact them and why they should get involved. And the, the, the think, um, really that is, was my introduction to organizing. Um, I think in community college, uh, I got to meet, um, a long time Filipino American, uh, organizer-activist, Royal Morales, was really my first introduction to Filipino American history and identity.   [00:44:23] And from there, it just really took off. Like, so much of the suffering, struggling, and questions I had about my own life was answered. I mean, of course over time, but it kept, it kept, it kept, uh, bringing me along, bringing me along, and I was hooked. I was hooked after that. Um, yeah, the power of education to really transform lives is, has been a theme throughout.   [00:44:53] Uh, and I'm sure for you as well. I, I- Yeah … the, the spaces that we, we shared were always about, like, getting to root problems and how everything is related inside.    [00:45:06] Dr Robyn Rodriguez : Yeah. No, absolutely. It's funny, I was just thinking, I don't… You know, I think we might have first encountered each other indirectly around the, the fight against Proposition 209.   [00:45:19] Oh. Uh, you know, right? And maybe even before that, around Proposition 187. 187. Y- yeah. And so for people who don't know, and actually I end up writing… I ended up writing a chapter on, uh, student organizing, specifically around 187 and 209, in this book. So, you know, the book itself, um, so, you know, Professor Fujino, who happened to, happened to be my professor as an undergrad, so she's now my collaborator.   [00:45:47] But, um, Diane, uh, and I kind of pulled a, a whole range of organizers together to contribute to this anthology, but I also ended up contributing a separate chapter to it, and it was a reflection on the '90s, and specifically our campus organizing across the UC system- Mm-hmm … around first 187 and 209. And for people who aren't familiar with it, you know, 187 was this, uh, this terrible, um, voter initiative that ended up being passed by the state of California that would essentially criminalize, um, undocumented Californians.   [00:46:24] And not just that, it was really going to, uh, m- make- teachers and, uh, and social workers and anybody who worked for the state of California stand in as border agents.    [00:46:37] Artnelson Concordia: Right. ‘   [00:46:38] Dr Robyn Rodriguez : Cause basically it would be their, their responsibility as employees of the state of California to report on anybody seeking out service or that they're encountering in the space of their jobs, to report them if they were, if, if they suspected that these individuals, if they suspected these individuals- Yeah, yeah [00:46:58] were, um, undocumented. And so, you know, uh, Art and I and so many other UC students, uh, were, you know, going, um, were organizing in, in, in partnership with community organizations to, of course, try to stop Californians from, from, from voting for 187. W- they did, and of course that ended up not becoming law because it got, you know, challenged in, in the courts.   [00:47:24] Right. But nevertheless, we were part of the resistance movement. And then, uh, after 187 was Proposition 209, which essentially eliminated affirmative action programs, um, in, in, uh, the University of California system. And, you know, I know, you know, that was also something that was also meaningful for, for us.    [00:47:45] Artnelson Concordia: Yeah.    [00:47:45] Dr Robyn Rodriguez : You know, uh, as, as, as young people who were also very much recipients of affirmative action programs. Yeah. Um, some of our ethnic studies knowledge was not even necessarily coming through ethnic studies courses, but oftentimes through the counselors and, and other staff who worked in these affirmative action programs.   [00:48:06] And so, you know, that was, that was going to happen. Right. And it did, right? Had such a deep impact on us. Yeah. And we knew that, um, by making affirmative action, um, by eliminating affirmative action, it was going to have a major impact. Which it did, right? Mm-hmm. The Filipino, at least for Filipino Americans, our numbers at the UC system plum- plummeted after that.   [00:48:25] Plummeted. But I think that's when we first met, and then, but it was really afterwards where, where we really connected more, right? When- Hmm … um, I think you and I both, because we, we, uh, found ourselves, uh, with the, the, the, the opportunity to connect with, uh, people who were really active in the anti-martial ma- law, the anti-martial law movement, right?   [00:48:48] Um, for both of us. Yeah,    [00:48:49] Artnelson Concordia: in the Philippines. Yeah.    [00:48:50] Dr Robyn Rodriguez : Yeah. They were people who, uh, were already active in, um, the movement against the dictatorship- had come to the United States fleeing the tyranny of the Marcos dictatorship. Mm-hmm. And then were really responsible in, uh, growing the, uh, anti-martial law movement in the US, and I think, you know, at the time we met, of course martial law had ended, but, but the conditions in the Philippines hadn't changed. Still haven't changed.    [00:49:17] Artnelson Concordia: Yeah.    [00:49:17] Dr Robyn Rodriguez : And so our elders saw us, we saw them, right? I think. I mean, I can't even remember how I    [00:49:24] Artnelson Concordia: first met some of them. Looking for each other, I really feel.   [00:49:25] Dr Robyn Rodriguez : I think, you know, we, we end up gravitating to the same- Yeah … spaces, right? And we knew that that was something, you know, we wanted to be part of. T- maybe tell me about your story. How did you kind of find your way into that work and, and how did it resonate with you? But I know that that was really where we built together was- yeah … in the work around the Filipino, um, you know, liberation struggle.   [00:49:47] Artnelson Concordia: Yeah. Our, our paths definitely, um, crossed then, and my, my journey to that point really was through the Black liberation movement- Yeah where I, in undergrad, um, was exposed to the history of the Panthers, and I… And it was immediate, like in terms of the truth they were telling and how they resonated with me. I just swallowed text after text after text. Mm-hmm. Yeah. Um, To Die for the People, uh, uh, Huey's Revolutionary Suicide, Elaine Brown's, uh, Taste of Power- Mm-hmm   [00:50:25] Bobby Se- Seize the Time. I, I, I was so, um, I don't know, kind of- Absolutely, like, fascinated and inspired and wanting to find, well, what's the equivalent for, for Filipinos? Yes. And that was, that of course leads me from, um, Uncle Roy or Royal Morales, who's really talking about Filipino-American activism in History.   [00:50:55] Mm-hmm. And I got a lot of the really incredible, um, participation and organizing with the farm workers, but it kind of just would stop, and I, and I was curious about, well, what is existing now? And it was my meeting, um, it was a, a brother mentor, Ed- Edwin Ha- Habaquan. Edwin. And he, uh- I went with Edwin at the same time.   [00:51:25] Yeah. He was the, the founder of this Filipino apparel company, right? Tribal Pinoy. Oh my gosh. And I, um, I worked for the Filipino American newspaper for Samahang Pilipino at UCLA, Tan- Tanawin, and I only wrote one, maybe, maybe two articles. But the one article I, I, I very much remember, and I, I, I need to go find that article now, was an interview with Edwin, um, about Filipino-American activism. And he was like, “Look, it didn't just end with the farm workers. It continues today through this national liberation movement in the Philippines.”   [00:52:15] Ayame Keane-Lee: You just listened to a clip from Spitting Fire: Doktora Robyn Speaks from tonight's guest, Dr. Robyn Rodriguez. This episode is called Resistance, Defiant Love, and Radical Care: Asian American Activism Course Launch with Artnelson Concordia. You can check it out in our show notes. Thank you so much for listening   [00:52:36] Miko Lee: Please check out our website, kpfa.org/program/apexexpress to find out more about our show and our guests tonight. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Miata Tan, Preti Mangala-Shekar and Swati Rayasam. Tonight's show was produced by me Miko Lee, and edited by Ayame Keane-Lee. Have a great night The post APEX Express – 6.25.26 – Spitting Fire: Doktora Robyn Speaks appeared first on KPFA.

Just in case you were ever to forget: Megan, Lia and Amy all do write romance novels. Today we take on the second part of our kissing challenge by writing fan fic kissing scenes... did you ever expect a Doona and Mister Sunshine mashup? Neither did we. Also keep an eye out for Weak Hero Class and My Youth, Romantics Anonymous (kinda), and What Comes After Love...Ready to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for takes on Bangtan life. ★ Support this podcast on Patreon ★

On this episode of Unsupervised Learning Razib has a wide-ranging conversation, again, with Dan Hess, the man behind the More Births account on social media. An engineer with a large family in the DC area, Hess' essays on topics like Israelis' high birth rate have gained the attention of X. He has an account that has come from a few hundred followers to more than 45,000 in less than 4 years. His tweets have been boosted by Elon. Today Razib and Hess start the conversation talking about East Asia, and its massive fertility crisis. Hess makes the case against urban density, observing how low fertility is in some of these Asian cities in particular. Razib also brings up economic and cultural creativity, as he and Hess ruminate on the consequences of reduced dynamism due to an aging population. Hess also argues that we cannot rely on evolution to fix our demographic imbalances; the source nations of immigrants are experiencing demographic collapse as well.

JLB's 'Seoul Sister' SYDNEY PARK joins TWPS for a conversation about Asian representation and identity. And Sydney talks about how leaning into her comedy roots led to her latest role in Scary Movie. Follow That Was Pretty Scary on Instagram and TikTokFollow Jon Lee Brody on Instagram Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

After 51/2 years on our K-Drama journey, we reflect on how K-Dramas have changed our lives. From how we participate in fandoms, to what has changed in our writing, to the community we're so grateful to have found, watching dramas has truly been a life-altering experience. Ready to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for takes on Bangtan life. ★ Support this podcast on Patreon ★

We made it, ya'll. Your hosts Megan & Lia saw BTS PTD Las Vegas in 2022...and here we are 4 years, and 3,402 experiences later, catching them again on the Arirang Tour. Join us for an unscripted, unedited, uncensored chat about life, Stanford, Bay 2 Breakers, the universe, and Park Jimin's braids.DJ Spin That Shit!And remember--keep listening to Arirang top to bottom on your favorite streaming platform! And Come Over is now out on all platforms. Make sure to grab your copy on the iTunes Store and kkkkAre your family and friends sick of you talking about K-drama? We get it...and have an answer. Check out our sister pod www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest members of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Want to find more great BTS content? Head over to Afternoona Army for more takes on Bangtan life and links to our social media.

We never get tired of talking about kissing, whether it's writing it in our novels, reading it in romance books, or watching it on screen in a Kdrama. Today, we discuss writing kiss scenes, from the challenges to the triumphs. We also dissect some of our favorite Kdrama kisses, from the tropes to the leadup and how that makes them great.Ready to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for takes on Bangtan life. ★ Support this podcast on Patreon ★

JLB is joined by Asian filmmaker QUENTIN LEE. Quentin is a pioneer when it comes to Asian and Queer representation on screen and preserving the history of Asians in film.  Follow That Was Pretty Scary on Instagram and TikTokFollow Jon Lee Brody on Instagram Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

K-Dramas don't often do us dirty. But look, we here at Afternoona Delight Inc. love a good shower scene.  Lots of F words can happen in a shower. Fighting. Friction. Flirting. Forlorn. Fu----n. What can we say? We appreciate good hygiene. Hope you do too!Skip first 20 minutes if you don't want banter about BTS concerts.Ready to download your first audiobook? Don't forget to click HERE for your free Audible trial.*Audible is a sponsor of Afternoona Delight Podcast*Are your family and friends sick of you talking about K-drama? We get it...and have an answer. Join our AfterNoona Delight Patreon and find community among folks who get your obsession. And check out www.afternoonadelight.com for more episodes, book recs and social media goodness. And don't forget about the newest member of our network: Afternoona Asks where diaspora Asians living in the West find ways to reconnect to Asian culture via Asian/KDramas.Last but CERTAINLY not least....love BTS? Or curious what all the fuss is about? Check out our sister pod Afternoona Army for takes on Bangtan life. ★ Support this podcast on Patreon ★

Route 66, known as “America's Main Street” is not the longest or most-travelled American highway. Fully paved in the 1930s, it became a Depression-era migration route for poor farming families fleeing the Dust Bowl for a new start in California. It's been featured in popular media for decades. Kathleen Franz, lead curator at the Smithsonian's National Museum of American History, unpacks more of the road's history.And, the 1973 album “A Grain of Sand: Music for the Struggle of Asians in America” was one of the first recognized musical albums expressing Asian American identity. It's often considered a blend of political statements within a collective art project. Sojin Kim, curator of the Smithsonian Center for Folklife and Cultural Heritage, details the album's legacy.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Today we bring you a very informative episode with an expert in Traditional Chinese Medicine (aka TCM). Dr. Felice Chan -- respect that DOCTORAL DEGREE -- has a neuroscience background and leads a global community of over 700,000 people who look to her for guidance on skin health and nervous system regulation.  We talk about heartbreak manifesting as cold sores, big breakfast >>> late night sugar cravings, and cold plunges being bad for Asians. We also explored what true emotional balance looks like, the monetization of Eastern Medicine online, and if we should be taking more dr*gs (the fun ones, but also the not fun ones).  Plus, we had her check Jonnie's tongue and Steffie's pulse for ailments!!  Follow the IG: https://www.instagram.com/homeroom.show   Follow the TikTok: https://www.tiktok.com/@homeroomshow   Subscribe to our Substack: https://substack.com/@homeroomshow Dr. Felice Chan: https://www.instagram.com/drfelicechan/  Hosted by:  Jonnie Park: https://www.instagram.com/dumbfoundead https://www.tiktok.com/@dumbfoundead  Steffie Baik: https://www.instagram.com/steffiebaik https://www.tiktok.com/@steffiebaik  Podcast Producer: Caroline Y Choi  Audio: Johnny Chay Podcast Media Team: GGEZ Media Learn more about your ad choices. Visit megaphone.fm/adchoices

There are shit bags in every nation, race, continent, neighborhood..........   They come in every shape, size, and form.    I know a lot of good Asians, Blacks, Mexicans, Africans.......Europeans.....   I know the good and bad in every sector represented in the human race.    They're everywhere.    One thing I can tell you is, you can't group everyone into one category just because one of them has made mistakes or became a bad example for their people.    We can't lump people together in anything.    Operating with absolutes.    It cripples us as a whole.    What I can tell you is, we do have a responsibility to call people out of every race, creed, color, etc.    As the human race, we have to make clear the directions of what's acceptable and not acceptable in society.    So, the next time you hear someone of a certain race, color or creed did something fucked up, just know there's a counter balance in existence.    One person does not have the power or authority to represent one whole population or segment of people.    Keep it light and do right, no matter the shades of good and bad.    About the ReWire Podcast The ReWire Podcast with Ryan Stewman – Dive into powerful insights as Ryan Stewman, the HardCore Closer, breaks down mental barriers and shares actionable steps to rewire your thoughts. Each episode is a fast-paced journey designed to reshape your mindset, align your actions, and guide you toward becoming the best version of yourself. Join in for a daily dose of real talk that empowers you to embrace change and unlock your full potential.    Learn how you can become a member of a powerful community consistently rewiring itself for success at https://www.jointheapex.com/   Rise Above