Podcasts about el paso

In the final episode of Borderly, host Mario Carrillo turns to the people who carry the border's weight long after headlines fade. From immigration law to community care, this conversation centers on what it means to show up with dignity when systems fail, and lives hang in the balance. Mario sits down with Melissa M. López, Executive Director of Estrella del Paso, to explore what welcoming people with dignity looks like in practice, not as policy, but as daily work. They reflect on growing up in El Paso, the emotional toll of immigration advocacy, the lasting impact of family separation, and why border communities are so often asked to absorb the consequences of decisions made far away. As Borderly comes to a close, this episode brings the series full circle, returning to El Paso not as a symbol, but as a real place shaped by care, resilience, and responsibility. Wherever borders exist, people quietly hold communities together. This is their story. Borderly is a project of Immigrantly. New episodes follow weekly in January. Join us in creating new intellectual engagement for our audience. You can find more information at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Please share the love and leave us a review on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠to help more people find us!  You can connect with Saadia on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IG ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@itssaadiak⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email:saadia@immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠ Host: Mario Carrillo I Producer: Saadia Khan I Editorial review: Shei Yu I Sound Designer & Editor and Borderly Theme Music: Lou Raskin I Other Music: Epidemic Sound Immigrantly Podcast is an Immigrantly Media Production. For advertising inquiries, contact us at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠info@immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Want to go deeper into your own identity? Download Belong on Your Own Terms, the app helping first-gen, second-gen, and third-culture kids reclaim belonging on their own terms. link below http://studio.com/saadia Don't forget to subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Immigrantly Uninterrupted⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠for insightful podcasts. Follow us on social media for updates and behind-the-scenes content. Learn more about your ad choices. Visit megaphone.fm/adchoices

Minnesota Now has been hearing from people affected by federal immigration activity in the state. Ma Elena Gutierrez is a Bush Fellow and founder of an immigrant rights nonprofit in central Minnesota. She has been working with volunteers to get food to people who are afraid to be in public. She's also been communicating with observers. Recently, those communications hit very close to home, when her brother was arrested by ICE and sent to Camp East Montana in El Paso, Texas.

En este episodio tuve el gusto de conversar con dos de los pastores más influyentes de la nueva generación: Daniel Jaguar y Kim Richards.Además de pastorear la iglesia Un Corazón en El Paso, Texas, también son ampliamente conocidos por su expresión musical a través de la banda Un Corazón. Por ello, en esta conversación nos enfocamos profundamente en el arte y en la necesidad que todos tenemos de expresarnos por medio de él.Tal vez hoy no siempre consideramos que el arte sea una parte vital de nuestras vidas, pero muchas veces aquello que no sabemos o no podemos decir encuentra su voz a través del arte. Sin duda, el arte importa más de lo que creemos.

Coming at you LIVE from Benny Frank's! Where we are joined by Food Network's ‘Chopped' Champion Chef Enrique where he gives us some incite to being a chef, his speciality menu at Benny Frank's and the perks of being Chef Enrique. Plus Voo hits us with 21 questions where things get a little spicy. Follow us on social media @AaronScenesAfterParty

As world leaders gather in Davos, President Trump escalates pressure on allies with new tariff threats, renewed talk of acquiring Greenland, and plans for a sweeping new “Board of Peace” that could reshape global diplomacy. Three people die in six weeks at the country's largest immigration detention center in El Paso, raising urgent questions about medical care, oversight, and the role of private contractors. And Indiana completes one of the most improbable turnarounds in college football history, capping a perfect season with a national championship win over Miami.Want more analysis of the most important news of the day, plus a little fun? Subscribe to the Up First newsletter.Today's episode of Up First was edited by Dana Farrington, Alfredo Carbajal, Russell Lewis, Mohamad ElBardicy, Alice Woelfle.It was produced by Ziad Buchh, Ben Abrams and Christopher Thomas.We get engineering support from Neisha Heinis. Our technical director is Carleigh Strange.And our Supervising Senior Producer is Vince Pearson.(0:00) Introduction(01:58) Trump's World Stage(05:51) El Paso Detention Deaths(09:17) Indiana College Football ChampionsLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

In the first two episodes of Borderly, we explored the history, journalism, and lived realities of El Paso and Ciudad Juárez. In Episode 3, we turn to art as memory, resistance, and belonging. Host Mario Carrillo sits down with Patrick Gabaldon, an El Paso–born artist and public defender whose vibrant work reshapes how the border is seen, felt, and remembered. From cactus portraits and desert color palettes to murals at the El Paso airport, Patrick's art challenges the flat, fear-driven narratives often attached to border cities. They talk about growing up on the border, leaving and finding their way back, and why El Paso's art scene is one of the most powerful and underrated cultural forces in the country. Patrick shares family stories that blur history and folklore, reflects on how law and art intersect in his life, and explains why blooming brightly in a desert landscape is a political act. This episode is about place, pride, and the creative pulse of a city that refuses to be reduced to headlines. It's an invitation to look closer at El Paso, at the border, and at the art that records its truth. Borderly is a project of Immigrantly. New episodes follow weekly in January. Join us in creating new intellectual engagement for our audience. You can find more information at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Please share the love and leave us a review on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠to help more people find us!  You can connect with Saadia on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IG ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@itssaadiak⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email:saadia@immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠ Host: Mario Carrillo I Producer: Saadia Khan I Editorial review: Shei Yu I Sound Designer & Editor and Borderly Theme Music: Lou Raskin I Other Music: Epidemic Sound Immigrantly Podcast is an Immigrantly Media Production. For advertising inquiries, contact us at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠info@immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Want to go deeper into your own identity? Download Belong on Your Own Terms, the app helping first-gen, second-gen, and third-culture kids reclaim belonging on their own terms. link below http://studio.com/saadia Don't forget to subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Immigrantly Uninterrupted⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠for insightful podcasts. Follow us on social media for updates and behind-the-scenes content. Learn more about your ad choices. Visit megaphone.fm/adchoices

Immigrant and legal rights groups are calling for the federal government to close the nation's largest immigration detention center. Three people have died in custody at Camp East Montana in El Paso, Texas. That includes Victor Manuel Diaz, who was arrested in Minneapolis and died at the detention center on Jan. 14. ICE officials believe his death was a suicide, according to a press release, but it's under investigation.Attorneys in Minnesota said many of their clients who have been taken into ICE custody recently have been sent to Camp East Montana, sometimes within hours of arrest. MPR News host Nina Moini spoke with Washington Post reporter Douglas MacMillan, who has been covering the detention center since before it opened in August.

On Friday, temperatures are expected to drop into the upper and mid-20s. Saturday is expected to see the most intense conditions, as odds favor a transition from rain to sleet to snow given the increasing depth of the cold air. In other news, President Donald Trump addressed the shift from Wall Street to Y'all Street as a negative thing in a social media post Sunday evening; Dallas police arrested five people early Monday morning after they gathered at a traffic accident scene and began assaulting officers and interfering with the investigation; an immigrant from Nicaragua was found dead at a Texas immigration detention facility last week. Immigration and Customs Enforcement officials said in a statement that Victor Manuel Diaz appears to have killed himself Wednesday at the sprawling tent complex at the U.S. Army's Fort Bliss base in El Paso; and Dallas' decorative crosswalks may have run out of pavement. In a newly released notice, Texas regulators denied the city's request to keep the artistic markings and set an end-of-month deadline to plan their removal or risk losing state or federal transportation funding. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Stories we're following this morning at Progress Texas:A third death in the last two months at the Camp East Montana ICE detention facility at El Paso has lawmakers from multiple states demanding answers: https://www.commondreams.org/news/ice-detention-center-deaths...A summary of ICE activity in Texas so far, and a reminder of your rights if confronted by them: https://www.texastribune.org/2026/01/19/texas-immigration-ice-arrests-raids-police/Ken Paxton thought it would be funny to issue a long-winded (and legally toothless) condemnation of Texas DEI programs on MLK Monday: https://www.texastribune.org/2026/01/19/ken-paxton-john-cornyn-mlk-day-legal-opinion-dei-republican-primary-senate/...Paxton is also leading the way in the use of fake AI-generated video of his opponents in his campaign ads - AI use that, in Texas, remains perfectly legal: https://www.kxan.com/news/texas-politics/ai-generated-video-of-crockett-cornyn-dancing-takes-center-stage-in-paxtons-1st-campaign-ad/Mount Pleasant State Rep. Cole Hefner is in a twist over an "Islamic Games" event scheduled for May in Colleyville - it will be the event's third year in that city: https://x.com/ColeHefnerTX/status/2013371002776854667...Learn more about the Islamic Games, which will also return to Houston in October: https://islamic-games.com/Icy weather is coming this weekend to Texas - and Texans are having Winter Storm Uri flashbacks: https://www.chron.com/news/article/cold-front-brings-freeze-risk-north-southeast-21303269.phpProgress Texas will be covering the debate held by the Richardson Area Democrats between Texas Attorney General candidates and Dems Joe Jaworski and State Senator Nathan Johnson! RSVP to join us live: ⁠https://www.mobilize.us/richardsonareademocrats/event/879644/⁠Early voting in the March primary starts in mere weeks, on February 17 - the time to research your ballot is right now: ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apps.texastribune.org/features/2026/texas-march-2026-primary-ballot/?_bhlid=7d8eca3d2a16adc7c9b44185414443fa32be6d84⁠⁠⁠⁠⁠⁠⁠⁠⁠See the full list of 2026 races and candidates, courtesy of Lone Star Left, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠HERE ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠HERE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Check out our web store, including our newly-expanded Humans Against Greg Abbott collection: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://store.progresstexas.org/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Progress Texas is expanding into both broadcast radio - including a new partnership with ⁠⁠⁠⁠⁠⁠⁠⁠KPFT-FM in Houston⁠⁠⁠⁠⁠⁠⁠⁠ - and into Spanish language media! Make a tax-deductible contribution to our radio initiative ⁠⁠⁠⁠⁠⁠⁠⁠HERE⁠⁠⁠⁠⁠⁠⁠⁠, and to our Spanish expansion ⁠⁠⁠⁠⁠⁠⁠⁠HERE⁠⁠⁠⁠⁠⁠⁠⁠.Thanks for listening! Our monthly donors form the backbone of our funding, and if you're a regular, we'd like to invite you to join the team! Find our web store and other ways to support our important work at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://progresstexas.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Purpose, trust and laughter matter.  SUMMARY Dr. Heather Wilson '82, former secretary of the U.S. Air Force, and Gen. Dave Goldfein '83, former chief of staff of the Air Force, highlight the human side of leadership — honoring family, listening actively and using humility and humor to build strong teams. Their book, Get Back Up: Lessons in Servant Leadership, challenges leaders to serve first and lead with character.   SHARE THIS PODCAST LINKEDIN  |  FACEBOOK    TOP 10 LEADERSHIP TAKEAWAYS FROM THIS EPISODE Leadership Is a Gift and a Burden – Leaders are entrusted with the well-being and development of others, but that privilege entails tough, sometimes lonely, responsibilities. Servant Leadership – True leadership is about enabling and supporting those you lead, not seeking personal advancement or recognition. Influence and Teamwork – Lasting change comes from pairing authority with influence and working collaboratively; no leader succeeds alone. Embrace Failure and Own Mistakes – Effective leaders accept institutional and personal failures and use them as learning and teaching moments. Family Matters – Great leaders recognize the significance of family (their own and their team's) and demonstrate respect and flexibility for personal commitments. Be Data-Driven and Strategic – Borrow frameworks that suit the mission, be clear about goals, and regularly follow up to ensure progress. Listening Is Active – Truly listening, then responding openly and honestly—even when you can't “fix” everything—builds trust and respect. Humility and Curiosity – Never stop learning or questioning; continual self-improvement is a hallmark of strong leaders. Celebrate and Share Credit – Spread praise to those working behind the scenes; leadership is not about personal glory, but lifting others. Resilience and Leading by Example – “Getting back up” after setbacks inspires teams; how a leader recovers can motivate others to do the same.   CHAPTERS 0:00:00 - Introduction and Welcome 0:00:21 - Guest Backgrounds and Family Legacies 0:02:57 - Inspiration for Writing the Book 0:05:00 - Defining Servant Leadership 0:07:46 - Role Models and Personal Examples   CONNECT WITH THE LONG BLUE LINE PODCAST NETWORK TEAM Ted Robertson | Producer and Editor:  Ted.Robertson@USAFA.org Send your feedback or nominate a guest: socialmedia@usafa.org   Ryan Hall | Director:  Ryan.Hall@USAFA.org  Bryan Grossman | Copy Editor:  Bryan.Grossman@USAFA.org Wyatt Hornsby | Executive Producer:  Wyatt.Hornsby@USAFA.org      ALL PAST LBL EPISODES  |  ALL LBLPN PRODUCTIONS AVAILABLE ON ALL MAJOR PODCAST PLATFORMS     FULL TRANSCRIPT SPEAKERS Host: Lt. Col. (Ret.) Naviere Walkewicz '99 Guests: Dr. Heather Wilson '82, former Secretary of the U.S. Air Force, and former Air Force Chief of Staff Gen. (Ret.) Dave Goldfein '83  Naviere Walkewicz 0:09 Welcome to Focus on Leadership, our accelerated leadership series. I'm your host, Naviere Walkewicz, Class of '99. I'm honored to welcome two exceptional leaders whose careers and friendship have helped shape the modern Air Force, while inspiring thousands to serve with purpose and courage. Our guests today are Dr. Heather Wilson, USAFA Class of '82, the 24th secretary of the Air Force, now president at the University of Texas El Paso. And Gen. Dave Goldfein, Class of '83, the 21st chief of staff of the Air Force. Both are United States Air Force Academy distinguished graduates. Together, they've written Get Back Up: Lessons in Servant Leadership, a powerful reflection on resilience, humility and the courage to lead to adversity. And our conversation today will dive deeply into the lessons they learned at the highest levels of command and in public service, and what it means to serve others first. Thank you for being here. Gen. Dave Goldfein 1:08 Thank you for having us. Naviere Walkewicz 1:09 Absolutely. This is truly an honor. And I mentioned that I read this incredible book, and I'm so excited for us to jump into it, but before we do, I think it's really important for people to know you more than the secretary and the chief. I mean chief, so Gen. Goldfein, you came from an Air Force family. Your dad was a colonel, and ma'am, your grandpa was a civil aviator, but you really didn't have any other military ties. Dr. Heather Wilson 1:29 Well, my grandfather was one of the first pilots in the RAF in World War I, then came to America, and in World War II, flew for his new country in the Civil Air Patrol. My dad enlisted by that a high school and was a crew chief between the end of the Second World War and the start of Korea, and then he went back home and became a commercial aviator and a mechanic. Naviere Walkewicz 1:52 I love that. So your lines run deep. So maybe you can share more and let our listeners get to know you more personally. What would you like to share in this introduction of Gen. Goldfein and Dr. Wilson? Gen. Dave Goldfein 2:02 Well, I'll just tell you that if you know much about Air Force culture you know we all get call signs, right. Nicknames, right? I got a new one the day I retired, and you get to use it. It's JD, which stands for “Just Dave.” Naviere Walkewicz 2:17 Just Dave! Yes, sir. JD. I will do my best for that to roll off my tongue. Yes, sir. Gen. Dave Goldfein 2:25 And I will just say congratulations to you for your two sons who are currently at the Academy. How cool is that? Naviere Walkewicz 2:31 Thank you. We come from a Long Blue Line family. My dad was a grad, my uncle, my brother and sister, my two boys. So if I get my third son, he'll be class of 2037, so, we'll see. We've got some time. Gen. Dave Goldfein 2:41 We have grandchildren. Matter of fact, our book is dedicated to grandchildren and they don't know it yet, but at least on my side, they're Class of 2040 and 2043 at the Air Force Academy. Naviere Walkewicz 2:52 OK, so my youngest will be cadre for them. Excellent. Excellent. Dr. Heather Wilson 2:57 And my oldest granddaughter is 4, so I think we'll wait a little bit and see what she wants to do. Naviere Walkewicz 3:04 Yes, ma'am. All right. Well, let's jump in. You just mentioned that you wrote the book primarily for your film book. Is that correct? Gen. Dave Goldfein 3:09 Yes. Naviere Walkewicz 3:10 How did you decide to do this now together? Because you both have incredible stories. Dr. Heather Wilson 3:14 Well, two years ago, we were actually up in Montana with Barbara and Craig Barrett, who —  Barbara succeeded me as secretary of the Air Force. And our families, all six of us are quite close, and we were up there, and Dave was telling stories, and I said, “You know, you need to write some of these down.” And we talked about it a little bit, and he had tried to work with another co-author at one time and it just didn't work out really well. And I said, “Well, what if we do it together, and we focus it on young airmen, on lessons learned in leadership. And the other truth is, we were so tired of reading leadership books by Navy SEALs, you know, and so can we do something together? It turned out to be actually more work than I thought it would be for either of us, but it was also more fun.   Naviere Walkewicz 3:59 How long did it take you from start to finish? Dr. Heather Wilson 4:02 Two years. Naviere Walkewicz 4:03 Two years? Excellent. And are you — where it's landed? Are you just so proud? Is it what you envisioned when you started? Gen. Dave Goldfein 4:10 You know, I am, but I will also say that it's just come out, so the initial response has been fantastic, but I'm really eager to see what the longer term response looks like, right? Did it resonate with our intended tenant audience? Right? Did the young captains that we had a chance to spend time with at SOS at Maxwell last week, right? They lined up forever to get a copy. But the real question is, did the stories resonate? Right? Do they actually give them some tools that they can use in their tool bag? Same thing with the cadets that we were privileged to spend time with the day. You know, they energized us. I mean, because we're looking at the we're looking at the future of the leadership of this country. And if, if these lessons in servant leadership can fill their tool bag a little bit, then we'll have hit the mark. Naviere Walkewicz 5:07 Yes, sir, yes. Ma'am. Well, let's jump right in then. And you talked about servant leadership. How would you describe it? Each of you, in your own words, Dr. Heather Wilson 5:15 To me, one of the things, important things about servant leadership is it's from the bottom. As a leader, your job is to enable the people who are doing the work. So in some ways, you know, people think that the pyramid goes like this, that it's the pyramid with the point at the top, and in servant leadership, it really is the other way around. And as a leader, one of the most important questions I ask my direct reports — I have for years — is: What do you need from me that you're not getting? And I can't print money in the basement, but what do you need from me that you're not getting? How, as a leader, can I better enable you to accomplish your piece of the mission. And I think a good servant leader is constantly thinking about, how do I — what can I do to make it easier for the people who are doing the job to get the mission done? Gen. Dave Goldfein 6:08 And I'd offer that the journey to becoming an inspirational servant leader is the journey of a lifetime. I'm not sure that any of us actually ever arrive. I'm not the leader that I want to be, but I'm working on it. And I think if we ever get to a point where we feel like we got it all figured out right, that we know exactly what this whole leadership gig is, that may be a good time to think about retiring, because what that translates to is perhaps at that point, we're not listening, we're not learning, we're not growing, we're not curious — all the things that are so important. The first chapter in the book is titled, Am I worthy? And it's a mirror-check question that we both came to both individually and together as secretary and chief. It's a mere check that you look at and say, “All right, on this lifelong journey to become an inspirational servant leader, am I worthy of the trust and confidence of the parents who have shared their sons and daughters with the United States Air Force and expecting us to lead with character and courage and confidence? Am I worthy of the gift that followers give to leaders? Am I earning that gift and re-earning it every single day by how I act, how I treat others?” You know, that's the essence of servant leadership that we try to bring forward in the book. Naviere Walkewicz 7:38 Right? Can you recall when you first saw someone exhibiting servant leadership in your life? Dr. Heather Wilson 7:46 Good question. It's a question of role models. Maj. William S. Reeder was my first air officer commanding here. And while I think I can probably think of some leaders in my community, you know, people who were school principals or those kind of things, I think Maj. Reeder terrified me because they didn't want to disappoint him. And he had — he was an Army officer who had been shot down as a prisoner of war in Vietnam. He still had some lingering issues. Now, I think he had broken his leg or his back or something, and so you could tell that he still carried with him the impact of that, but he had very high expectations of us and we didn't want to disappoint him. And I think he was a pretty good role model. Gen. Dave Goldfein 8:47 You know, one of the things we say at the very end of the book is that we both married up. We both married incredible leaders, servant leaders in their own right. So in my case, I married my high school sweetheart, and we've now been together almost 43 years, coming up on 43. And when you talk about servant leadership, you know, very often we don't give military spouses enough credit for the enormous courage that they have when they deal with the separations, the long hours, very often not talked about enough, the loneliness that comes with being married to someone who's in the military. And so I just give a shout out to every military spouse that's out there and family to thank them for that very special kind of courage that equates to servant leadership on their part. Naviere Walkewicz 9:47 Excellent. Those are both really great examples, and I think, as our listeners are engaging with this, they're going to start to think about those people in their lives as well, through your descriptions. Early in the book, you make this statement: “Leadership is a gift and a burden.” Might you both expand on that?   Dr. Heather Wilson 10:03 So it's a gift in that it's a gift that's given to you by those whom you are privileged to lead, and it's not just an institution that, you know, it's not just the regents of the University of Texas who have said, “Yes, you're going to be the president of the University of Texas at El Paso.” It is those who follow me who have given me gift of their loyalty and their service and their time. It's a burden, because some days are hard days, and you have to make hard calls based on values to advance the mission and, as chief and service secretary, there are no easy decisions that come walking into that part of the Pentagon. The easy decisions are all made before it gets to the service secretary and chief and so. So there is that responsibility of trying to do well difficult things. And I think sometimes those are lonely decisions. Gen. Dave Goldfein 11:09 And I think as a leader of any organization, part of what can be the burden is if you care deeply about the institution, then you carry the burden of any failures of that institution, both individuals who fall short, or the institution itself. And we face some of those, and we talk about that in the book. One of our chapters is on Sutherland Springs and owning failure. There was no dodge in that. And there was, quite frankly, there was an opportunity for us to actually showcase and teach others how to take ownership when the institution falls short and fails, right? And you know, one of the interesting elements of the relationship between a secretary and a chief is that if you go back and look at the law and read the job description of the chief of staff of the Air Force, it basically says, “Run the air staff and do what the secretary tells you.” I'm not making that up. Because most of the decision authority of the institution resides in the civilian control, the military civilian secretary. So almost all authority and decision authority resides with the secretary. What the chief position brings is 30 years in the institution that very often can bring credibility and influence. And what we determined early in our tenure was that if we were going to move the ball, if we were going to actually move the service in a positive direction, neither of us could do it alone. We had to do it together. We had to use this combination of authority and influence to be able to move the institution forward. And so that was a — and we talked a lot about that, you know, in the book, and it sort of runs throughout our stories. You know, that that trust matters. Naviere Walkewicz 12:59 Absolutely. We're going to visit that towards the end of our conversation, because there's a particular time before you both — before you became the chief and before you became the service secretary, when you met up together. And I want to visit that a little bit. But before we do, Gen. Goldfein — JD — you shared a story in the book, and obviously we want everyone to read it, so I'm not going to go tell the whole story, but you know where you took off one more time than you landed, and you had to, you know, you were hit, you had to evade and then you had to be rescued. There was a particular statement you made to identify yourself. And many of our Long Blue Line members will know this: fast, neat, average, friendly, good, good. In that moment of watching the sun start to rise while you're waiting to be retrieved, how did that come to your mind? Of all the things you could be thinking of to identify yourself? Gen. Dave Goldfein 13:53 Well, you know, it's interesting. So, you know, for those who've never, you know, had gone through a high-speed ejection, people asked me, what was like? I said, “Well, I used to be 6-foot-3. This is all that's left, right?” And you know, my job once I was on the ground was, quite frankly, not to goof it up. To let the rescue team do what the rescue team needed to do, and to play my part, which was to put them at the least amount of risk and be able to get out before the sun came up. And at the very end of the rescue when the helicopters — where I was actually vectoring them towards my location. And I had a compass in my hand, and I had my eyes closed, and I was just listening to the chopper noise and then vectoring them based on noise. And then eventually we got them to come and land, you know, right in front of me. Well, they always teach you, and they taught me here at the Academy during SERE training, which I think has been retitled, but it was SERE when we went through it, survival training. Now, I believe they teach you, “Hey, listen, you need to be nonthreatening, because the rescue team needs to know that you're not — this is not an ambush, that you are actually who you say you are. Don't hold up a weapon, be submissive and authenticate yourself. Well, to authenticate myself required me to actually try my flashlight. And I could see the enemy just over the horizon. And as soon as the helicopter landed, the enemy knew exactly where we were, and they came and running, and they came shooting, and they were raking the tree line with bullets. And so, you know, what I needed to do was to figure out a way to do an authentication. And I just, what came to mind was that training all those years ago, right here at the Academy, and I just said, “I could use a fast, neat, average rescue,” and friendly, good, good was on the way. Naviere Walkewicz 15:53 Wow, I just got chill bumps. Dr. Wilson, have you ever had to use that same kind of term, or, you know, reaching out to a grad in your time frequently? Dr. Heather Wilson 16:04 Yes, ma'am. And, you know, even in the last week, funny — I had an issue that I had to, I won't go into the details, but where there was an issue that might affect the reputation, not only of the university, but of one of our major industry partners, and it wasn't caused by either of us, but there was kind of a, kind of a middle person that was known to us that may not have been entirely acting with integrity. And I just looked up the company. The CEO is an Academy grad. So I picked up the phone and I called the office and we had a conversation. And I said, “Hey, I'd like to have a conversation with you, grad to grad.” And I said, “There are some issues here that I don't need to go into the details, but where I think you and I need to be a little careful about our reputations and what matters is my relationship as the university with you and your company and what your company needs in terms of talent. But wanted to let you know something that happened and what we're doing about it, but I wanted to make sure that you and I are clear.” And it was foundation of values that we act with integrity and we don't tolerate people who won't. Naviere Walkewicz 17:30 Yes, ma'am, I love that. The Long Blue Line runs deep that way, and that's a great example. JD, you spoke about, in the book, after the rescue — by the way, the picture in there of that entire crew was amazing. I love that picture. But you talked about getting back up in the air as soon as possible, without any pomp and circumstance. “Just get me back in the air and into the action.” I'd like to visit two things. One, you debriefed with the — on the check ride, the debrief on the check ride and why that was important. And then also you spoke about the dilemma of being dad and squad comm. Can you talk about that as well? Gen. Dave Goldfein 18:06 Yeah, the check ride. So when I was in Desert Storm, an incredible squadron commander named Billy Diehl, and one of the things that he told us after he led all the missions in the first 30 days or so, he said, “Look, there will be a lot of medals, you know, from this war.” He goes, “But I'm going to do something for you that happened for me in Vietnam. I'm going to fly on your wing, and I'm going to give you a check ride, and you're going to have a documented check ride of a combat mission that you led in your flying record. I'm doing that for you.” OK, so fast forward 10 years, now I'm the squadron commander, and I basically followed his lead. Said, “Hey, I want…” So that night, when I was shot down, I was actually flying on the wing of one of my captains, “Jammer” Kavlick, giving him a check ride. And so, of course, the rescue turns out — I'm sitting here, so it turned out great. And so I called Jammer into a room, and I said, “Hey, man, we never did the check ride.” I said, “You know, you flew a formation right over the top of a surface enemy missile that took out your wingman. That's not a great start.” And he just sort of… “Yes, sir, I know.” I said, “And then you led an all-night rescue that returned him to his family. That's pretty good recovery.” And so it's been a joke between us ever since. But in his personal — his flying record, he has a form that says, “I'm exceptionally, exceptionally qualified.” So I got back and I thought about this when I was on the ground collecting rocks for my daughters, you know, as souvenirs from Serbia. I got back, and I looked at my wing commander, and I said, “Hey, sir, I know you probably had a chance to think about this, but I'm not your young captain that just got shot down. I'm the squadron commander, and I've got to get my squadron back on the horse, and the only way to do that is for me to get back in the air. So if it's OK with you, I'm gonna go home. I'm gonna get crew rest and I'm going to fly tonight.” And he looked at me, and he looked at my wife, Dawn, who was there, and he goes, “If it's OK with her, it's OK with me.” Great. Dawn, just a champion, she said, “I understand it. That's what you got to do.” Because we were flying combat missions with our families at home, which is, was not in the squadron commander handbook, right? Pretty unique. What I found, though, was that my oldest daughter was struggling a little bit with it, and so now you've got this, you know, OK, I owe it to my squad to get right back up in the air and lead that night. And I owe it to my daughter to make sure that she's OK. And so I chose to take one night, make sure that she and my youngest daughter, Diana, were both, you know, in a good place, that they knew that everything's going to be OK. And then I got back up the next night. And in some ways, I didn't talk about it with anybody in the media for a year, because my dad was a Vietnam vet, I'd met so many of his friends, and I'd met so many folks who had actually gotten shot down one and two and three times over Vietnam, in Laos, right? You know what they did after they got rescued? They got back up. They just went back up in the air, right? No fanfare, no book tours, no, you know, nothing, right? It was just get back to work. So for me, it was a way of very quietly honoring the Vietnam generation, to basically do what they did and get back in the air quietly. And so that was what it was all about. Naviere Walkewicz 21:25 Dr. Wilson, how about for you? Because I know — I remember reading in the book you had a — there was something you said where, if your children called, no matter what they could always get through. So how have you balanced family? Dr. Heather Wilson 21:36 Work and life. And so, when I was elected to the Congress, my son was 4 years old. My daughter was 18 months. First of all, I married well, just like Dave. But I also think my obligations to my family don't end at the front porch, and I want to make a better world for them. But I also knew that I was a better member of Congress because I had a family, and that in some ways, each gave richness and dimension to the other. We figured out how to make it work as a family. I mean, both my children have been to a White House Christmas ball and the State of the Union, but we always had a rule that you can call no matter what. And I remember there were some times that it confounded people and, like, there was one time when President Bush — W. Bush, 43 — was coming to New Mexico for the first time, and he was going to do some events in Albuquerque. And they called and they said, “Well, if the congresswoman wants to fly in with him from Texas, you know, she can get off the airplane in her district with the president. And the answer was, “That's the first day of school, and I always take my kids to school the first day, so I'll just meet him here.” And the staff was stunned by that, like, she turns down a ride on Air Force One to arrive in her district with the president of the United States to take her kids to school. Yes, George Bush understood it completely. And likewise, when the vice president came, and it was, you know, that the one thing leading up to another tough election — I never had an easy election — and the one thing I said to my staff all the way through October, leading — “There's one night I need off, and that's Halloween, because we're going trick or treating.” And wouldn't you know the vice president is flying into New Mexico on Halloween for some event in New Mexico, and we told them, “I will meet them at the stairs when they arrive in Albuquerque. I'll have my family with them, but I won't be going to the event because we're going trick or treating.” And in my house, I have this great picture of the vice president of the United States and his wife and my kids in costume meeting. So most senior people understood that my family was important to me and everybody's family, you know — most people work to put food on the table, and if, as a leader, you recognize that and you give them grace when they need it, you will also have wonderful people who will work for you sometimes when the pay is better somewhere else because you respect that their families matter to them and making room for that love is important. Naviere Walkewicz 24:36 May I ask a follow on to that? Because I think that what you said was really important. You had a leader that understood. What about some of our listeners that maybe have leaders that don't value the same things or family in the way that is important. How do they navigate that? Dr. Heather Wilson 24:52 Sometimes you look towards the next assignment, or you find a place where your values are the same. And if we have leaders out there who are not being cognizant of the importance of family — I mean, we may recruit airmen but we retain families, and if we are not paying attention to that, then we will lose exceptional people. So that means that sometimes, you know, I give a lot of flexibility to people who are very high performers and work with me. And I also know that if I call them at 10 o'clock at night, they're going to answer the phone, and that's OK. I understand what it's like to — I remember, you know, I was in New Mexico, I was a member of Congress, somebody was calling about an issue in the budget, and my daughter, who was probably 4 at the time, had an ear infection, and it was just miserable. And so I'm trying to get soup into her, and this guy is calling me, and she's got — and it was one of the few times I said — and it was the chairman of a committee — I said, “Can I just call you back? I've got a kid with an ear infection…” And he had five kids. He said, “Oh, absolutely, you call me back.” So you just be honest with people about the importance of family. Why are we in the service? We're here to protect our families and everybody else's family. And that's OK.   Naviere Walkewicz 26:23 Yes, thank you for sharing that. Anything to add to that, JD? No? OK. Well, Dr. Wilson, I'd like to go into the book where you talk about your chapter on collecting tools, which is a wonderful chapter, and you talk about Malcolm Baldridge. I had to look him up — I'll be honest — to understand, as a businessman, his career and his legacy. But maybe share in particular why he has helped you. Or maybe you've leveraged his process in the way that you kind of think through and systematically approach things. Dr. Heather Wilson 26:49 Yeah, there was a movement in the, it would have been in the early '90s, on the Malcolm Baldrige Quality Awards. It came out of the Department of Commerce, but then it spread to many of the states and it was one of the better models I thought for how to run organizations strategically. And I learned about it when I was a small businessperson in Albuquerque, New Mexico. And I thought it was interesting. But the thing that I liked about it was it scaled. It was a little bit like broccoli, you know, it looks the same at the little flora as it does at the whole head, right? And so it kind of became a model for how I could use those tools about being data driven, strategically focused, process oriented that I could use in reforming a large and not very well functioning child welfare department when I became a cabinet secretary for children, youth and families, which was not on my how-to-run-my-career card. That was not in the plan, but again, it was a set of tools that I'd learned in one place that I brought with me and thought might work in another. Naviere Walkewicz 28:02 Excellent. And do you follow a similar approach, JD, in how you approach a big problem? Gen. Dave Goldfein 28:07 I think we're all lifelong students of different models and different frameworks that work. And there's not a one-size-fits-all for every organization. And the best leaders, I think, are able to tailor their approach based on what the mission — who the people are, what they're trying to accomplish. I had a chance to be a an aide de camp to a three-star, Mike Ryan, early in my career, and he went on to be chief of staff of the Air Force. And one of the frameworks that he taught me was he said, “If you really want to get anything done,” he said, “you've got to do three things.” He said, “First of all, you got to put a single person in charge.” He said, “Committees and groups solve very little. Someone's got to drive to work feeling like they've got the authority, the responsibility, the resources and everything they need to accomplish what it is that you want to accomplish. So get a single person in charge. Most important decision you will make as a leader, put the right person in charge. Second, that person owes you a plan in English. Not 15 PowerPoint slides, right, but something that clearly articulates in one to two pages, max, exactly what we're trying to accomplish. And the third is, you've got to have a way to follow up.” He said, “Because life gets in the way of any perfect plan. And what will happen is,” he goes, “I will tell you how many times,” he said, “that I would circle back with my team, you know, a couple months later and say, ‘How's it going?' And they would all look at each other and say, “Well, I thought you were in charge,” right? And then after that, once they figure out who was in charge, they said, “Well, we were working this plan, but we got, you know, we had to go left versus right, because we had this crisis, this alligator started circling the canoe, and therefore we had to, you know, take care of that,” right? He says, “As a leader, those are the three elements of any success. Put someone in charge. Build a plan that's understandable and readable, and always follow up. And I've used that as a framework, you know, throughout different organizations, even all the way as chief to find — to make sure that we had the right things. Dr. Heather Wilson 30:21 Even this morning, somebody came by who reminded us of a story that probably should have been in the book, where we had — it was a cyber vulnerability that was related to a particular piece of software widely deployed, and the CIO was having trouble getting the MAJCOMMS to kind of take it seriously. And they were saying, “Well, you know, we think maybe in 30, 60, 90 days, six months, we'll have it all done,” or whatever. So I said, “OK, let all the four-stars know. I want to be updated every 36 hours on how many of them, they still have, still have not updated.” I mean, this is a major cyber vulnerability that we knew was — could be exploited and wasn't some little thing. It was amazing; it got done faster. Naviere Walkewicz 31:11 No 90 days later. Oh, my goodness. Well, that was excellent and actually, I saw that in action in the story, in the book, after the attack on the Pentagon, and when you stood up and took charge, kind of the relief efforts, because many people were coming in that wanted to help, and they just needed someone to lead how that could happen. So you were putting into practice. Yes, sir. I'd like to get into where you talk about living your purpose, and that's a chapter in there. But you know, Gen. Goldfein, we have to get into this. You left the Academy as a cadet, and I think that's something that not many people are familiar with. You ride across the country on a bike with a guitar on your back for part of the time — and you sent it to Dawn after a little while — Mini-Bear in your shirt, to find your purpose. Was there a moment during the six months that you that hit you like lightning and you knew that this was your purpose, or was it a gradual meeting of those different Americans you kind of came across? Gen. Dave Goldfein 32:04 Definitely gradual. You know, it was something that just built up over time. I used to joke — we both knew Chairman John McCain and always had great respect for him. And I remember one time in his office, I said, “Chairman, I got to share with you that I lived in constant fear during every hearing that you were going to hold up a piece of paper on camera and say, ‘General, I got your transcript from the Air Force Academy. You got to be kidding me, right?' And he laughed, and he said, Trust me, if you looked at my transcript in Annapolis,” he goes, “I'm the last guy that would have ever asked that question.” But you know, the we made a mutual decision here, sometimes just things all come together. I'd written a paper on finding my purpose about the same time that there was a professor from Annapolis that was visiting and talking about a sabbatical program that Annapolis had started. And so they started talking about it, and then this paper made it and I got called in. They said, “Hey, we're thinking about starting this program, you know, called Stop Out, designed to stop people from getting out. We read your paper. What would you do if you could take a year off?” And I said, “Wow, you know, if I could do it, I'll tell you. I would start by going to Philmont Scout Ranch, you know, and be a backcountry Ranger,” because my passion was for the outdoors, and do that. “And then I would go join my musical hero, Harry Chapin.” Oh, by the way, he came to the United States Air Force Academy in the early '60s. Right? Left here, built a band and wrote the hit song Taxi. “So I would go join him as a roadie and just sort of see whether music and the outdoors, which my passions are, what, you know, what it's all about for me.” Well, we lost contact with the Chapin connection. So I ended up on this bicycle riding around the country. And so many families took me in, and so many towns that I rode into, you know, I found that if I just went to the library and said, “Hey, tell me a little bit about the history of this town,” the librarian would call, like, the last, you know, three or four of the seniors the town, they'd all rush over to tell me the story of, you know, this particular little town, right? And then someone would also say, “Hey, where are you staying tonight?” “I'm staying in my tent.” They said, “Oh, come stay with me.” So gradually, over time, I got to know America, and came to the conclusion when I had to make the decision to come back or not, that this country is really worth defending, that these people are hard-working, you know, that want to make the world better for their kids and their grandkids, and they deserve a United States Air Force, the best air force on the planet, to defend them. So, you know, when I came back my last two years, and I always love sharing this with cadets, because some of them are fighting it, some of them have embraced it. And all I tell them is, “Hey, I've done both. And all I can tell you is, the sooner you embrace it and find your purpose, this place is a lot more fun.” Naviere Walkewicz 35:13 Truth in that, yes, yes, well. And, Dr. Wilson, how did you know you were living your purpose? Dr. Heather Wilson 35:19 Well, I've had a lot of different chapters to my life. Yes, and we can intellectualize it on why we, you know, why I made a certain decision at a certain time, but there were doors that opened that I never even knew were there. But at each time and at each junction, there was a moment where somehow I just knew. And at South Dakota Mines is a good example. You know, I lost a race to the United States Senate. I actually had some interns — I benefited from a lousy job market, and I had fantastic interns, and we were helping them through the loss. You know, they're young. They were passionate. They, as Churchill said, “The blessing and the curse of representative government is one in the same. The people get what they choose.” And so I was helping them through that, and one of them said, “Well, Dr. Wilson, you're really great with students. You should be a college president somewhere. Texas Tech needs a president. You should apply there,” because that's where this kid was going to school. And I said, “Well, but I don't think they're looking for me.” But it did cause me to start thinking about it and I had come close. I had been asked about a college presidency once before, and I started looking at it and talking to headhunters and so forth. And initially, South Dakota Mines didn't seem like a great fit, because I'm a Bachelor of Science degree here, but my Ph.D. is in a nonscientific discipline, and it's all engineers and scientists. But as I went through the process, it just felt more and more right. And on the day of the final interviews, that evening, it was snowing in South Dakota, there was a concert in the old gym. I mean, this is an engineering school, and they had a faculty member there who had been there for 40 years, who taught choral music, and the students stood up, and they started singing their warm up, which starts out with just one voice, and eventually gets to a 16-part harmony and it's in Latin, and it's music is a gift from God, and they go through it once, and then this 40th anniversary concert, about 50 people from the audience stand up and start singing. It's like a flash mob, almost These were all alumni who came back. Forty years of alumni to be there for that concert for him. And they all went up on stage and sang together in this just stunning, beautiful concert by a bunch of engineers. And I thought, “There's something special going on here that's worth being part of,” and there are times when you just know. And the same with becoming cabinet secretary for children, youth and families — that was not in the plan and there's just a moment where I knew that was what I should do now. How I should use my gifts now? And you hope that you're right in making those decisions.   Naviere Walkewicz 38:43 Well, probably aligning with JD's point in the book of following your gut. Some of that's probably attached to you finding your purpose. Excellent. I'd like to visit the time Dr. Wilson, when you were helping President Bush with the State of the Union address, and in particular, you had grueling days, a lot of hours prepping, and when it was time for it to be delivered, you weren't there. You went home to your apartment in the dark. You were listening on the radio, and there was a moment when the Congress applauded and you felt proud, but something that you said really stuck with me. And he said, I really enjoy being the low-key staff member who gets stuff done. Can you talk more about that? Because I think sometimes we don't, you know, the unsung heroes are sometimes the ones that are really getting so many things done, but nobody knows. Dr. Heather Wilson 39:31 So, I'm something of an introvert and I've acquired extrovert characteristics in order to survive professionally. But when it comes to where I get my batteries recharged, I'm quite an introvert, and I really loved — and the same in international negotiations, being often the liaison, the back channel, and I did that in the conventional forces in Europe negotiations for the American ambassador. And in some ways, I think it might have been — in the case of the conventional forces in Europe negotiations, I was on the American delegation here. I was in Vienna. I ended up there because, for a bunch of weird reasons, then they asked me if I would go there for three months TDY. It's like, “Oh, three months TDY in Vienna, Austria. Sign me up.” But I became a very junior member on the delegation, but I was the office of the secretary of defense's representative, and walked into this palace where they were negotiating between what was then the 16 NATO nations and the seven Warsaw Pact countries. And the American ambassador turned to me, and he said during this several times, “I want you to sit behind me and to my right, and several times I'm going to turn and talk to you, and I just want you to lean in and answer.” I mean, he wasn't asking anything substantive, and I just, “Yes, sir.” But what he was doing was credentialing me in front of the other countries around that table. Now, I was very young, there were only two women in the room. The other one was from Iceland, and what he was doing was putting me in a position to be able to negotiate the back channel with several of our allies and with — this was six months or so now, maybe a year before the fall of the Berlin Wall. So things were changing in Eastern Europe, and so I really have always enjoyed just that quietly getting things done, building consensus, finding the common ground, figuring out a problem. Actually have several coffee mugs that just say GSD, and the other side does say, Get Stuff Done. And I like that, and I like people who do that. And I think those quiet — we probably don't say thank you enough to the quiet, hardworking people that just figure out how to get stuff done. Naviere Walkewicz 41:59 Well, I like how he credentialed you and actually brought that kind of credibility in that way as a leader. JD, how have you done that as a leader? Champion, some of those quiet, behind the scenes, unsung heroes. Gen. Dave Goldfein 42:11 I'm not sure where the quote comes from, but it's something to the effect of, “It's amazing what you can get done if you don't care who gets the credit.” There's so much truth to that. You know, in the in the sharing of success, right? As servant leaders, one of the things that I think both of us spend a lot of time on is to make sure that credit is shared with all the folks who, behind the scenes, you know, are doing the hard, hard work to make things happen, and very often, you know, we're the recipients of the thank yous, right? And the gratefulness of an organization or for somebody who's benefited from our work, but when you're at the very senior leaders, you know what you do is you lay out the vision, you create the environment to achieve that vision. But the hard, hard work is done by so many others around you. Today, in the audience when we were there at Polaris Hall, was Col. Dave Herndon. So Col. Dave Herndon, when he was Maj. Dave Herndon, was my aide de camp, and I can tell you that there are so many successes that his fingers are on that he got zero credit for, because he was quietly behind the scenes, making things happen, and that's just the nature of servant leadership, is making sure that when things go well, you share it, and when things go badly, you own it. Naviere Walkewicz 43:47 And you do share a really remarkable story in there about accountability. And so we won't spend so much time talking about that, but I do want to go to the point where you talk about listening, and you say, listening is not passive; it's active and transformative. As servant leaders, have you ever uncovered challenges that your team has experienced that you didn't have the ability to fix and you know, what action did you take in those instances? Dr. Heather Wilson 44:09 You mean this morning? All the time. And sometimes — and then people will give you grace, if you're honest about that. You don't make wild promises about what you can do, but then you sit and listen and work through and see all right, what is within the realm of the possible here. What can we get done? Or who can we bring to the table to help with a set of problems? But, there's no… You don't get a — when I was president of South Dakota Mines, one of the people who worked with me, actually gave me, from the toy store, a magic wand. But it doesn't work. But I keep it in my office, in case, you know… So there's no magic wands, but being out there listening to understand, not just listening to refute, right? And then seeing whether there are things that can be done, even if there's some things you just don't have the answers for, right? Gen. Dave Goldfein 45:11 The other thing I would offer is that as senior leadership and as a senior leadership team, you rarely actually completely solve anything. What you do is improve things and move the ball. You take the hand you're dealt, right, and you find creative solutions. You create the environment, lay out the vision and then make sure you follow up, move the ball, and if you get at the end of your tenure, it's time for you to move on, and you've got the ball moved 20, 30, yards down the field. That's actually not bad, because most of the things we were taking on together, right, were big, hard challenges that we needed to move the ball on, right? I If you said, “Hey, did you completely revitalize the squadrons across the United States Air Force?” I will tell you, absolutely not. Did we get the ball about 20, 30 yards down the field? And I hope so. I think we did. Did we take the overhaul that we did of officer development to be able to ensure that we were producing the senior leaders that the nation needs, not just the United States Air Force needs? I will tell you that we didn't solve it completely, but we moved the ball down the field, and we did it in a way that was able to stick. You know, very often you plant seeds as a leader, and you never know whether those seeds are going to, you know, these seeds are ideas, right? And you never know whether the seeds are going to hit fertile soil or rocks. And I would often tell, you know, young leaders too. I said, you know, in your last few months that you're privileged to be in the position of leadership, you've got two bottles on your hip. You're walking around with — one of them's got fertilizer and one of them's got Roundup. And your job in that final few months is to take a look at the seeds that you planted and truly determine whether they hit fertile soil and they've grown roots, and if they've grown roots, you pull out the fertilizer, and the fertilizer you're putting on it is to make it part of the institution not associated with you, right? You want somebody some years from now say, “Hey, how do we ever do that whole squadron thing?” The right answer is, “I have no idea, but look at how much better we are.” That's the right answer, right? That's the fertilizer you put on it. But it's just equally important to take a look at the ideas that, just for whatever reason, sometimes beyond your control — they just didn't stick right. Get out the Roundup. Because what you don't want to do is to pass on to your successor something that didn't work for you, because it probably ain't going to work for her. Dr. Heather Wilson 47:46 That's right, which is one of the rules of leadership is take the garbage out with you when you go. Naviere Walkewicz 47:51 I like that. I like that a lot. Well, we are — just a little bit of time left. I want to end this kind of together on a story that you shared in the book about laughter being one of the tools you share. And after we share this together, I would like to ask you, I know we talked about mirror checks, but what are some things that you guys are doing every day to be better as well, to continue learning. But to get to the laughter piece, you mentioned that laughter is an underappreciated tool and for leaders, something that you both share. I want to talk about the time when you got together for dinner before you began working as chief and service secretary, and I think you may have sung an AF pro song. We're not going to ask you to sing that today, unless you'd like to JD? But let's talk about laughter.   Gen. Dave Goldfein 48:31 The dean would throw me out. Naviere Walkewicz 48:33 OK, OK, we won't have you sing that today. But how have you found laughter — when you talk about — when the questions and the problems come up to you?   Dr. Heather Wilson 48:40 So I'm going to start this because I think Dave Goldfein has mastered this leadership skill of how to use humor, and self-deprecating humor, better than almost any leader I've ever met. And it's disarming, which is a great technique, because he's actually wicked smart. But it's also people walk in the room knowing if you're going to a town hall meeting or you're going to be around the table, at least sometime in that meeting, we're going to laugh. And it creates a warmth and people drop their guard a little bit. You get to the business a little bit earlier. You get beyond the standard PowerPoint slides, and people just get down to work. And it just — people relax. And I think Dave is very, very good at it. Now, my husband would tell you that I was raised in the home for the humor impaired, and I have been in therapy with him for almost 35 years.   Naviere Walkewicz 49:37 So have you improved? Dr. Heather Wilson 49:39 He thinks I've made some progress.   Naviere Walkewicz 49:41 You've moved the ball.   Dr. Heather Wilson 49:44 Yes. Made some progress. I still don't — I used to start out with saying the punch line and then explain why it was funny. Naviere Walkewicz 49:52 I'm in your camp a little bit. I try. My husband says, “Leave the humor to me.” Dr. Heather Wilson 49:54 Yeah, exactly. You understand. Gen. Dave Goldfein 49:58 I used to joke that I am a member of the Class of 1981['82 and '83]. I am the John Belushi of the United States Air Force Academy, a patron saint of late bloomers. But you know, honestly, Heather doesn't give herself enough credit for building an environment where, you know, folks can actually do their very best work. That's one of the things that we do, right? Because we have — the tools that we have available to be able to get things done very often, are the people that are we're privileged to lead and making sure that they are part of an organization where they feel valued, where we're squinting with our ears. We're actually listening to them. Where they're making a contribution, right? Where they believe that what they're being able to do as part of the institution or the organization is so much more than they could ever do on their own. That's what leadership is all about. Dr. Heather Wilson 51:05 You know, we try to — I think both of us see the humor in everyday life, and when people know that I have a desk plate that I got in South Dakota, and it doesn't say “President.” It doesn't say “Dr. Wilson.” It says, “You're kidding me, right?” Because once a week, more frequently as secretary and chief, but certainly frequently as a college president, somebody is going to walk in and say, “Chief, there's something you need to know.” And if they know they're going to get blasted out of the water or yelled at, people are going to be less likely to come in and tell you, right, what you need to know. But if you're at least willing to laugh at the absurdity of the — somebody thought that was a good idea, you know. My gosh, let's call the lawyers or whatever. But you know, you've just got to laugh, and if you laugh, people will know that you just put things in perspective and then deal with the problem. Naviere Walkewicz  52:06 Well, it connects us as humans. Yeah. Well, during my conversation today with Dr. Heather Wilson and Gen. Dave Goldfein — JD — two lessons really stood out to me. Leadership is not about avoiding the fall, but about how high you bounce back and how your recovery can inspire those you lead. It's also about service, showing up, doing the hard work and putting others before yourself with humility, integrity and working together. Dr. Wilson, Gen. Goldfein, thank you for showing us how courage, compassion and connection — they're not soft skills. They're actually the edge of hard leadership. And when you do that and you lead with service, you get back up after every fall. You encourage others to follow and do the same. Thank you for joining us for this powerful conversation. You can find Get Back Up: Lessons in Servant Leadership, wherever books are sold. And learn more at getbackupeadership.com. If today's episode inspired you, please share it with someone who can really benefit in their own leadership journey. As always, keep learning. Keep getting back up. Keep trying. I'm Naviere Walkewicz, Class of '99. This has been Focus On Leadership. Until next time. Producer This edition of Focus on Leadership, the accelerated leadership series, was recorded on Monday, Oct. 6, 2025.   KEYWORDS Leadership, servant leadership, resilience, humility, integrity, influence, teamwork, family, trust, listening, learning, purpose, growth, accountability, service, courage, compassion, balance, values, inspiration.     The Long Blue Line Podcast Network is presented by the U.S. Air Force Academy Association & Foundation  

From one end of Texas to the other: Parades, celebrations and service events in honor of the Rev. Dr. Martin Luther King Jr. Veteran host of “In Black America,” John L. Hanson Jr., pays tribute to the civil rights leader.We’ll also hear from the host of a new PBS documentary on the evolving legacy of […] The post ICE detainee deaths draw scrutiny at El Paso facility appeared first on KUT & KUTX Studios -- Podcasts.

Stories we're following this morning at Progress Texas:Polling released this week shows an uphill battle for likely Democratic nominee and State Rep. Gina Hinojosa against Governor Greg Abbott in November, with a gap of about 8 points: https://www.newsweek.com/gina-hinojosa-chances-beating-greg-abbott-flip-texas-gop-poll-11366360...Abbott is sitting on a massive war chest of $106 million: https://www.texastribune.org/2026/01/15/texas-governors-race-greg-abbott-gina-hinojosa-2026-election/...The poll also shows Ken Paxton to be the weakest of the three potential Republican nominees against both Jasmine Crockett and James Talarico: https://www.newsweek.com/crockett-vs-talarico-chances-of-flipping-gop-texas-senate-seat-new-poll-11364958A migrant's death earlier this month at the ICE detention facility at El Paso is being investigated as a homicide: https://www.elpasotimes.com/story/news/immigration/2026/01/15/cuban-immigrants-death-at-camp-east-montana-was-likely-homicide-report-el-paso/88204666007/...He is one of four migrants to die in ICE custody in just the opening days of 2026: https://thehill.com/homenews/administration/5686408-immigration-detention-deaths-early-2026/An analysis of the 291 private schools so far approved for the Texas voucher scam finds that the vast majority are Christian schools, many of which require a profession of faith for admission, specifically exclude LGBTQ+ and special needs kids, and engage in a host of questionable and exclusionary practices: https://www.texasobserver.org/texas-voucher-schools-openly-discriminate/Police in Goliad County have been using a highly questionable smartphone surveillance platform that has been rejected by Meta as "surveillance for hire" while being embraced by the authoritarian regime currently running El Salvador: https://www.texasobserver.org/texas-police-invest-tangles-sheriff-surveillance/Progress Texas will be covering the debate held by the Richardson Area Democrats between Texas Attorney General candidates and Dems Joe Jaworski and State Senator Nathan Johnson! RSVP to join us live: https://www.mobilize.us/richardsonareademocrats/event/879644/Early voting in the March primary starts in mere weeks, on February 17 - the time to research your ballot is right now: ⁠⁠⁠⁠⁠⁠⁠⁠https://apps.texastribune.org/features/2026/texas-march-2026-primary-ballot/?_bhlid=7d8eca3d2a16adc7c9b44185414443fa32be6d84⁠⁠⁠⁠⁠⁠⁠⁠See the full list of 2026 races and candidates, courtesy of Lone Star Left, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠HERE ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠HERE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Check out our web store, including our newly-expanded Humans Against Greg Abbott collection: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://store.progresstexas.org/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Progress Texas is expanding into both broadcast radio - including a new partnership with ⁠⁠⁠⁠⁠⁠⁠KPFT-FM in Houston⁠⁠⁠⁠⁠⁠⁠ - and into Spanish language media! Make a tax-deductible contribution to our radio initiative ⁠⁠⁠⁠⁠⁠⁠HERE⁠⁠⁠⁠⁠⁠⁠, and to our Spanish expansion ⁠⁠⁠⁠⁠⁠⁠HERE⁠⁠⁠⁠⁠⁠⁠.Thanks for listening! Our monthly donors form the backbone of our funding, and if you're a regular, we'd like to invite you to join the team! Find our web store and other ways to support our important work at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://progresstexas.org⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Texas Leads the Energy Transition for High-Tech DemandsPREVIEW FOR LATER: GUEST BUD WEINSTEIN. Bud Weinstein explains how Texas has become number one in wind and solar energy to power massive data centers. Despite the growth of renewables and batteries in the western state, fossil fuels remain a permanent fixture of the energy mix to meet 21st-century electricity demands.1886 EL PASO

Its another episode of the After Party and on this one we feature the man behind the mask smgbc! He comes on to tell us about his move from Tampa Bay to El Paso, some horny stories and working and promoting in the EP nightlife. Follow us on social media @AaronScenesAfterParty

Ever hear about how Woody Harrelson's dad was a hitman who killed a federal judge? The Chagra brothers came up along the El Paso and Juarez border when smuggling weed became one of America's booming industries. With Lee a prominent criminal defense attorney and Jimmy an outlaw, they gambled millions in Vegas, lived lavishly, and made a lot of enemies, chief among them prosecutors and judges. When the feds finally closed in, Jimmy Chagra got desperate...so desperate, he put a hit out on a federal judge. This is the story of the Chagra brothers, one of America's wildest cartels. Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode is about how a place learns to remember itself. Journalist Bob Moore has spent nearly four decades reporting from El Paso, witnessing the border's evolution through policy shifts, political cycles, tragedy, and resilience. In conversation with host Mario Carrillo, he reflects on what it means to tell the story of a border city over time, not as a headline, but as a lived reality. The discussion moves from El Paso in the 1980s, when crossing was fluid and routine, through the rise of border enforcement, post-9/11 security, family separation, and the ways national immigration debates have repeatedly landed on local communities. Moore speaks candidly about the role of local journalism, the responsibility of reporting on your own neighbors, carrying grief, and staying after the cameras leave. August 3, 2019, is part of this story. The conversation places that day within a longer arc, one shaped by language, fear, political power, and the quiet work of people who insist on documenting what really happened and why it matters. This episode examines El Paso not as a symbol but as a city: complex, welcoming, strained, resilient. A place that refuses to be reduced. Caution: This episode includes discussion of mass violence, hate crimes, and immigration-related trauma. No graphic details are described. New episodes follow weekly in January. Join us in creating new intellectual engagement for our audience. You can find more information at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Please share the love and leave us a review on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠to help more people find us!  You can connect with Saadia on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IG ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@itssaadiak⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email:saadia@immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠ Host: Mario Carrillo I Producer: Saadia Khan I Editorial review: Shei Yu I Sound Designer & Editor and Borderly Theme Music: Lou Raskin I Other Music: Epidemic Sound Immigrantly Podcast is an Immigrantly Media Production. For advertising inquiries, contact us at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠info@immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Want to go deeper into your own identity? Download Belong on Your Own Terms, the app helping first-gen, second-gen, and third-culture kids reclaim belonging on their own terms. link below http://studio.com/saadia Don't forget to subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Immigrantly Uninterrupted⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠for insightful podcasts. Follow us on social media for updates and behind-the-scenes content. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join us as Ocean House owner and award-winning author Deborah Goodrich Royce moderates a conversation with New York Times Bestselling Author Sarah McCoy. About the Author: SARAH McCOY is the New York Times, USA Today, and international bestselling author of the novels Whatever Happened to Lori Lovely?, Mustique Island, Marilla of Green Gables, The Mapmaker's Children, The Baker's Daughter, a 2012 Goodreads Choice Award Best Historical Fiction nominee, the novella “The Branch of Hazel” in Grand Central, The Time It Snowed in Puerto Rico, and Le souffle des feuilles et des promesses (Pride and Providence). Her work has been featured in Newsweek, Real Simple, The Millions, Literary Hub, Writer's Digest, Huffington Post, Read It Forward, Writer Unboxed, and other publications. She hosted the NPR WSNC Radio monthly program “Bookmarked with Sarah McCoy” and served as a Board Member for the literary nonprofit Bookmarks. Sarah taught English writing at Old Dominion University and at the University of Texas at El Paso. She lives with her husband, Dr. Brian Waterman, their dog Gilbert, and cat Tularosa in Winston-Salem, North Carolina. About The Book: In 1969, twenty-three-year-old starlet Lori Lovely, the apple of Hollywood's eye, shocks the world by ditching a promising film career to take vows of poverty, chastity, and obedience as a Benedictine nun. Gossip columnists and scandal sheets can't get enough of the story. Why would such a beautiful girl take the veil? Was she hiding from someone? Did it have anything to do with her costar, heartthrob singer Lucas Wesley? In 1990, Lu Tibbott is under the gun to complete her senior thesis in modern American history. Instead of spending weeks in dusty archives, Lu decides to dig into a true twentieth-century mystery and write about her aunt Lori, now the Mother Abbess at a cloistered convent in rural New England. Biographers, journalists, and media types have long speculated about her aunt Lori's sudden departure from Hollywood. Mother Lori, however, has refused all requests for interviews—until Lu arrives at the abbey with a tape recorder in hand. To her delight, Mother Lori announces she's finally ready to talk…but only if Lu is truly ready to listen. Lu is shocked to discover that the story of Lori Lovely's rise in Hollywood was far more tumultuous than she'd ever expected, a fairy tale twisting with ambition, unforeseen alliances, forbidden love, and secrets. What began as a history thesis now threatens to upend all their lives with its unexpected truths, especially as the media gets wind of Lu's project and begins to ask… Whatever happened to Lori Lovely? Please find out more about Sarah McCoy and her book at sarahmccoy.com. For details on Deborah Goodrich Royce and the Ocean House Author Series, visit deborahgoodrichroyce.com  

In this episode of Gangland Wire, Mafia Genealogist Justin Cascio joins Intelligence Unit detective Gary Jenkins to explore one of the most remarkable—and overlooked—figures of the Prohibition era: Pasqualina Albano Siniscalchi, the so-called Bootleg Queen of Springfield, Massachusetts. At the dawn of Prohibition in 1921, Pasqualina was a young widow living in Springfield's South End when she inherited her late husband's powerful bootlegging operation—one of the largest in western Massachusetts. Rather than step aside, she took control. Pasqualina ruled a crew of toughs and bootleggers, oversaw liquor distribution, and launched a relentless campaign of vengeance against rivals who challenged her authority. Newspapers dubbed her The Bootleg Queen, but her fight went far beyond rival gangs. She clashed with lawmakers, battled competing bootleggers, and even faced resistance from within her own family—all while operating in service of a secret society that would never fully accept her because she was a woman. Her story exposes the contradictions of organized crime: loyalty demanded without equality, power wielded without recognition. Cascio draws from years of meticulous research and family histories to bring Pasqualina's story to life, revealing her pivotal role in early Mafia expansion in New England and the hidden influence women could wield behind the scenes. His book, Pasqualina: The True Story of the Bootleg Queen of Springfield, challenges long-held assumptions about gender, power, and the Mafia during Prohibition. If you're interested in Prohibition-era crime, New England Mafia history, or the untold stories of women who shaped organized crime from the shadows, this episode is one you won't want to miss. Learn more about Justin and his work on Mafia Geneology by clicking this sentence. Get Justin’s book, Pasqualina: The Bootleg Queen of Springfield, Massachusetts Listen now on Gangland Wire — available on all major podcast platforms and YouTube. 0:02 Introduction to Mafia Genealogy 1:16 Pasqualina Albano’s Story 2:30 Family Reunion Revelations 4:56 The Impact of Prohibition 7:45 Prejudice and Organized Crime 10:50 Connecting the Genovese Family 12:34 Views from Sicily 13:50 Cultural Differences in Dress 16:37 Encounters with Modern Gangsters 18:36 Gina’s Documentary and Art 23:53 The Romance of the Gangster 27:24 The Nature of Risk 28:46 The Evolution of Organized Crime 33:16 Closing Thoughts and Future Plans Hit me up on Venmo for a cup of coffee or a shot and a beer @ganglandwire Click here to “buy me a cup of coffee” Subscribe to the website for weekly notifications about updates and other Mob information. To go to the store or make a donation or rent Ballot Theft: Burglary, Murder, Coverup, click here To rent ‘Brothers against Brothers’ or ‘Gangland Wire,’ the documentaries click here.  To purchase one of my books, click here. Transcript [0:00] Hey, all you wiretappers. Good to be back here in the studio of Gangland Wire. I’ve got on tap here a repeat guest. He’s been on before. I had a little technical glitch this morning with the internet, and I had to scurry around and do something different. I totally forgot about what I was going to talk about with Justin, but I knew Justin’s been on there before. I knew he does mafia genealogy, and I knew he knows his stuff, and so he doesn’t really need a lot of help from me. So this is Justin Cascio from the website and some books, some mafia genealogies. Welcome, Justin. Thanks so much, Gary. Great to be here. Really. And you’re from the Springfield, Massachusetts area. And so that’s been some of your emphasis has been on that area. But you’ve done a lot of other mob genealogy, correct? Yes. On my website, on mafiagenealogy.com, I write about a whole lot of different places that the mafia has been in the United States. In fact, coming up, I’m going to be writing about Kansas City. But for the last 25 years or so, I’ve lived in New England. I live about 20 miles away from Springfield, Massachusetts, which if you’ve heard of Anthony Aralata or Bruno or the Shabelli brothers, then you know the Springfield crew of the Genovese crime family. [1:12] And I’ve been following them pretty closely since I’ve lived here. A few years ago, I got into the story of Pasqualina Albano, who was a bootlegger in Springfield during Prohibition. [1:25] That’s what my new book is about. Yeah. Oh, that’s a new book, right? I’m sorry. I didn’t pick up real quick there. And she’s done a documentary recently that hasn’t been seen by very many people. And they really, she was a woman. They do use the A at the end. Those of us that know about romance languages would know as probably a woman, but she’s a woman. And she was running a certain segment of bootlegging back during the 30s and late 20s, exactly when it was, which is really unusual. She must have been a powerful individual. I think that she was a very remarkable person, so I couldn’t find out enough about her. I really needed to understand how it was possible that somebody who the Mafia would never have accepted as a member allowed her to lead this crew for so long, even into the years when it was associated with Vito Genovese and that crime family. Yeah. Don’t you imagine it was, she must have been making money for them. [2:24] She was making money for her family, for sure. Got a few people probably pretty comfortable, yeah. [2:30] So that family, you went to a family reunion recently and learned quite a little bit. You want to tell your experiences about that? Yes. So, Pasqualea Albano, that bootlegger, has a nephew who is now 101 years old. His name is Mario Fiore. And when he turned 100, I was invited to his birthday party. And it was an enormous scene. It was tremendous. In fact, it’s a cliche, but the opening scene of The Godfather, if you imagine that wedding scene, it’s what it looks like. There’s a guy singing live on a PA system. There’s a pizza oven parked over here. There’s kids in the pool. There’s so many people, so much food, and this great big lawn and incredible view. Just an amazing scene to be at. And I met so many different people who were in Mario’s family. I met people who came over from Italy to come celebrate his birthday and talked with them as much as I could. I have no Italian, by the way. So we did the best we could. But I also talked to her American relative. She has all these grand nieces and nephews, and nieces and nephews who are still living, who were at this party and told me stories and drew little family trees for me. And what I was able to get a real good sense of is how the family feels about this legacy. Because not just Pasqualina, who was in organized crime, so many of her relatives were involved as well and continued to be up until the 80s, at least. [4:00] So the name, was it Albano? Was it got on in the modern times? The last name, was it still Albano? Was there another name? There are a few. Let’s see. I want some more modern names. There’s Mario Fiore. So he is one of her nephews. And then there’s Rex Cunningham Jr., who is one of her grandnephews. There’s the Sentinellos. So Jimmy Sentinello, who owns the Mardi Gras, or he did anyway. It’s a nude club, you know, a gentleman’s club, as they say. A gentleman’s club. We use that term loosely. Oh, boy, do we? Another old term that I picked up from the newspapers that I just love and like to bring back is sporting figure. Yeah, even sporting man. They don’t play sports. They’re not athletes. They’re sporting figures. I know. I heard that when I was a kid. Somebody was a sporting man. Yep. [4:57] This has been a family tradition. It’s something that has been passed down through the generations, and it’s something that I talk about in the book. But mostly what I’m focused on in the plot of the story is about Pasqualea’s time during Prohibition when this gang was turning into something bigger, turning into a part of this American mafia. Yeah. Interesting. And so tell us a little bit about how that developed. You had a Genovese family that moved in and she got hooked up with them. How did that develop? Yeah. More end of modern times. Early on, so 1920, beginning of Prohibition, Pasqualea Albana was newly married to this sporting figure, we’ll call him, Carlo Sinascocci. And I’m probably pronouncing that last name as wrong as well. He also came from a family of notable people who were involved in organized crime, getting into scrapes in Little Italy, New York City. There’s a whole separate side story about his cousins and all the things that they were getting into before Carlo even got on the scene. So by the time he arrived in New York City, he had a bit of a reputation preceding him because of these relatives of his. [6:06] And Pascalina was a young woman in Springfield. And the first question I even had writing about her is, how did she meet this guy? He was a Brooklyn saloon keeper. She was the daughter of a grocer in Springfield, three and a half hours away on the train. Like, why do they even know each other? And so trying to piece all that together, how that was reasonable for them to know one another and move in the same circles, and then for him to immediately, when he moved to Springfield, start picking up with vice because it was before Prohibition. So he was involved in gambling and police violence. And you could see some of the beginnings of the corruption already happening where he’s getting police protection before prohibition even begins. And then once it starts, he is the king of Water Street, which was the main drag of Little Italy. He was the guy you went to if you wanted to buy wholesale. [6:57] Justin, I have a question here. I was just discussing this with who’s half Italian, I guess, FBI agent that worked the mob here in Kansas City. We were talking about this, the prejudice that Italian people felt when they first got here, especially. And Bill’s about 90, and so he said his father told him. His father worked at a bank in New York, and he was told that with that last name, he had a different last name than Bill does. And with that last name, he said, you’re owning and go so high in the bank. And so talk a little bit about the prejudice that those early people felt. And that’s what drove people into the dark side, if you will, to make money. You had these bright guys that came over from Sicily looking for opportunity. And then us English and Irish Germans kept them out. [7:45] And so can you talk about that a little bit? Did they talk about any of that or have you looked into any of that? [7:52] I have. And it’s a theme that comes up again and again. Whenever I look at organized crime in any city, I’m seeing things like that ethnic succession of organized crime that you’re alluding to, how the Irish were controlling, say, the machine in Kansas City Hall or what have you. And they had that same kind of control over politics in other cities, too. And the way that they were getting a leg up and finally getting that first protection of their rackets was from outside of their ethnicity. It was Irish politicians protecting Italian criminals. And then eventually the Italians were getting naturalized where they were born here. And so then they move into politics themselves. [8:31] And that is one of the theories about how organized crime develops in American cities. It’s because you’re poor and ethnic and you’re closed out of other opportunities. And so the bright kids get channeled into organized crime where maybe in a better situation, they would have gone to college. Right. And then Prohibition came along, and there was such a huge amount of money that you can make in Prohibition. And it was illegal. That’s why you made money. But there was opportunity there for these young guys. Yes. And you really start to see a lot of new names in the papers after Prohibition begins. You have your established vice criminals who you’re already seeing in the newspapers through the 19-teens. Once Prohibition begins, now they have all these other guys getting into the game because there’s so much money there. And it’s such a big pie. Everybody feels like they can get a slice. [9:21] Yeah, interesting. Carry on. I’ve distracted you, Azai, but you were talking about Pasqualina and her husband. Of course, I’m not even going to try that. When you talk about discrimination against Italians, one of the things that makes my job really hard is trying to find news about a guy with a name like Carlos Siniscalchi. First of all, I’m probably saying it wrong. I think the Italian pronunciation is… So I’m getting all of the consonant clusters wrong, but I do it with my own name too. We’ve Americanized Cassio. That’s not the right name. How do you pronounce it? It’s Cassio. But we’re Cassio. That’s my grandfather said it. So how do I find Carlos Nescalci in the newspaper when every reporter mangles that name? And spells it differently. Yeah. Everybody spells it differently. How am I going to guess how all these different English speaking reporters were going to mess up Carlos’ name? And so I find it every which way. And sometimes I’ve just had to plain stumble over news about him and his relatives. It just happens by chance. I’m looking for general crime, and then I find him specifically. So yeah, it’s a little hard to find the Italians sometimes because their names are unfamiliar and they get written wrong in censuses and in the news. So we lose a little bit of their history that way. And that’s what you might call, I don’t know, a microaggression because they can’t get that name. Yeah, a little bit. Yeah, yeah. You don’t care enough to spell it. I just, I know the thought process, I have to admit. I’ll just spell it anyway. I understand that thought process. [10:51] So you were asking earlier, I don’t know if you want me to continue this, but how the Genovese family were able to get involved in this thing going on in Springfield. Yeah, connected. Because of her second husband. Okay. Pascalina lost her first husband in 1921. He was killed by a fellow bootlegger. He takes over the gang. She conducts a war of vengeance against the guy who kills her husband and his whole family because they’re gangsters. And that takes years. She’s also pursuing her through the courts. And when that all finally gets settled a few years later, she has a quiet little second marriage to a guy that nobody had ever heard of called Antonio Miranda. [11:28] Now, Antonio Miranda is a small time gangster from Little Italy, New York City, and his brother is Mike Miranda, who is very close to Vito Genovese, and he became this conciliator eventually. So that old connections, going back to the days before the Castello-Moraisi War, when it was Lucky Luciano bootlegging with some of his pals, that’s the time frame in which she formed this alliance by marrying Tony Miranda. And that’s when it starts. That’s the relationship’s beginning between Genovese crime family having, before it was even the Genovese crime family, when it was the Luciano family. And so they’ve had that relationship with the Springfield crew ever since. A little bit like old world feudalism in a way, where one member of a royal family marries a member of another royal family. And I know in Kansas City, we’ve got our underboss, his sister, is married to our boss’s nephew. So, bring those two families together, the Lunas and the Savellas together, yes, very well, like noble families. Exactly. Interesting. Absolutely. [12:31] So that’s how they got together. I remembered that, but I’d forgotten it. So, you went to this reunion with people from Sicily there. So, tell us a little bit about that. How? [12:43] How do people in Sicily view the people in the United States? And they didn’t talk about the mafia. I’m sure there’s no doubt that they’re not going to really talk about that unless you got to find somebody that’s really lucky. But kind of care about the sociological impact and the old world and the new world, and the new world people that, you know, established here. Okay, so Pasqualea and his family are from outside of Naples, and they maintain really close ties to their family back in Italy. Like I am the third generation born in America. I don’t speak Italian. Neither does my father. Neither of us has ever been to Italy. We don’t have, we’re not Italians. We’re Americans. Okay. And the Italians will remind you of that if you forget. We’re not Italian. And like spaghetti and meatballs, not Italian. Chicken Parmesan, not Italian. These are things that we invented here out of a sense of, out of homesickness and a sudden influx of middle-class wealth. We were like, let’s have the spaghetti and the meatballs. I had separate courses anymore where the meatballs are, where they’re both a special treat and I’m going to take two treats with chicken and waffles. [13:50] So being around them, they’re formal. You know, I was meeting like Pasquena’s relatives from Mercado San Sivarino, where they’re from in Italy, they own a funeral home. They own the biggest funeral home business in the town, and they also own some other sort of associated businesses, like a florist and things like that. So I would expect a certain sort of decorum and conservatism of tone from somebody who works in the funeral business and from Italy. But they were also among the only people there in suits, because it was a summer day, we’re outside. Most of us were dressed a little less formally. Yeah. Old school, 1950s stuff. He does those old 1950s photographs, and everybody, every man’s wearing a suit. And there were women’s hat on. Also, that ongoing thing where people in Europe just dress better. Yeah, they dress more formal. I see a little bit in New York City. I noticed it when I moved up from the South. In the South, you go to a funeral and flip-flops, okay? It’s very casual because the weather absolutely demands it. I moved that back up North, and I’m like, wow, everybody’s just wearing the same black coat, aren’t we? And you go into New York. People are dressed a little better, even. You go to Europe, and it’s just another level is what I hear. People, they dress better. They’re not like us where we would roll out of bed and put on pajama pants and some crocs and go to the grocery store. They would never do something. Yes. [15:10] I was in a restaurant several years ago, and there’s a guy sitting at a table, and another young guy comes in. And the guy at the table says, dude, you wore your pajama bottoms in the restaurant. [15:22] People need to be sold. And I’ll have to admit, at the time, I hadn’t seen that before. And since then, I see it all the time now. I live in a college town. I see it a lot. Yeah. So i’ll carry on a little more about that reunion there uh okay so how to describe this so much of it was very surreal to me just being in this place like very fancy house the longest driveway i’ve ever seen like more than a mile i finally like when i parked my car because the track you know you can the parked cars are starting i parked and i get out of the car. And I’ve got this big present with me that I’m going to give to Mario. It’s unwieldy. And I’m like, oh man, this is going to be quite a schlep. And I’m wearing my good shoes and everything. And these two young fellas come up on a golf cart and bring me a ride. So I get in the golf cart and we get up to the house and my friend Gina was trying to point people out to me. Oh, he’s somebody that was in my documentary and you got to talk to this guy. And there was a lot of that. you’ve got to talk to this guy and you’ve got to talk to this woman and dragging me around to meet people. And one of the groups of people that I was, that I found myself standing in, [16:35] I’m talking to gangsters this time. Okay. This is not cousins who won a funeral home. These are gangsters. And I’m standing with them and they’re having the absolute filthiest conversation that I’ve heard since high school. [16:48] And, but the difference is boys in high school are just talking. These guys have done all the things they’re talking about. Wow. What a life is. The lives you would have led. Bye. I’m just trying to keep it. Are these American gangsters or are these? Americans. Okay, yeah. Current gangsters, they’re in the Springfield area with Anthony Arilada there. They’ve all hated him, probably. I’m sorry? I said Anthony Arilada when he’s there, and they all hated him. You probably didn’t bring his name up. Yeah, really. There are different factions in Springfield, it feels like to me, still. bill. And I haven’t got them all sorted. There are people who are still very loyal to the old regime and they have their figure, their person that they follow. And sometimes they can live with the rest of them and sometimes the rest of them are a bunch of lowlives and they want everybody to know about it. Yeah. [17:45] I’ve heard that conversation before. Interesting. Now, whose house was this? Somebody made it well in America. Yes. And I think it was one of his nephews. I don’t know exactly whose house it was. I was invited by Gina’s brother. He texted me and invited me to the party. And people just accepted me right in. The close family members who have seen Gina’s documentary, who have heard her talk about Pastelina and the research and meeting me, they think of me as the family a genealogist. And so I have a title in the family and belong there. Oh yeah, it’s here to document us. As you do, because we’re an important family. And so they didn’t really question my presence there at all. And you were able to ask questions from that standpoint too. That’s what was nice. Yeah. [18:37] And a lot of times it was just standing still and listening because there was so much going on, That was enough. Interesting. Now, her documentary, you’ve seen it, so tell us a little bit about it. Folks, it’s not out there streaming yet. She’s trying to get something going, I would assume. [18:58] Explain her just a little bit, too, in her book. Talk about her and her book and her documentary. Yeah. Okay. Gina’s a part of this big family that has got some wealth still and goes back to bootleggers in Prohibition and has gangsters in it, including her brother, Rex Cunningham Jr. So Cunningham is the name you don’t expect to hear in the mafia. Yeah, yeah. Done by Marietta Beckerwood. I don’t know if he was a member or associate, but at any rate, he was a known figure around here. Sportsbook and that kind of thing. Sportsbook, yeah. Yeah. She grew up with a little bit of wealth and privilege, but also feeling a little bit outsider because her family was half Irish. So among the Italians, it was a, you go to the wrong church, you go to the wrong school kind of vibe. And she grew up into more of a countercultural person. Her family is very conservative politically, religiously. I don’t know if you would expect that of a gangster family, but that’s what I’ve noticed is pretty common, actually. No, it’s pretty, that’s the way it is here. Yeah, real conservative, yeah. Yeah. You have to be socially for the whole thing to work. I can get into that, but And they keep going to the same church and school and everything, and you maintain these close ties with the neighborhood and local businesses and so forth. But she really was like, I’m going my own way. And so she became this free spirit as a young woman. And Gina’s, I don’t know how old she is. I want to say in her late 60s, around 70, about there. [20:23] That’s Gina Albano Cunningham. Cunningham. Oh, Gina. Okay, Gina Cunningham. See, I’m getting mixed up with the names. And Cunningham was… Ask Elena Albanos. Her sister married and became a Fiore. Okay. All right. That’s a little bit confusing. People have to go to your website to get this straightened out. Or maybe you have this, a picture, an image of this family tree on your website. In the book, you can find multiple family trees because I’m working with all these different branches. I’ll take a look if I can’t put an image in here for everybody to get this straight. But the modern woman that did the book and the movie, she’s in her 70s now. [21:04] Yeah. Yeah, and she’s a grandniece of Pasqualina, and her brother and her cousins were in organized crime in this room. Okay, all right, all right. Go ahead, go ahead. She’s absolutely immersed in this life, but she did not want any part of it, and so she left. And there are other people in her family that you can point to that did the same thing, like some of Pasqualina’s children just did not want to have anything to do with the family. Well, they left. They went and moved to another state. They stayed in another place. They didn’t come back. And she did the same thing, but she’s not cut ties. She keeps coming back and she has good relationships with her family members, even though she’s not aligned with them politically and so forth. [21:42] And she’s an artist. I’ve seen her work on a couple of different mediums. I don’t want to really try and explain what her art is, but she’s a feminist artist. And she’s also really been pointing the camera at her family quite a bit. And it seems like film might be a newer medium for her. She’s used to do more painting and sculpture and stuff kind of thing. How’d the family take that? A lot of these people, I’ve talked to some relatives here, and one of them come on to talk to me, but I said, your Uncle Vince, he said, yeah, I know. But then he never would get back to me all of a sudden. So a lot of pressure to not say anything about it. Oh, yeah. Sometimes I will get started talking to somebody and then it’ll reach a certain point where they’re like oh no we can’t don’t be recording this don’t put my yeah anything so yeah news to that but gina was like no this is going to be part of my, political art. I’m going to point the camera at my family. I’m going to expose, some of the hypocrisy that I see there, the things I disagree with. [22:41] It’s a short documentary, and I find it very powerful because it’s a family video. One of the first people she’s aiming the camera at is, I think, one of her nieces. Talking to this young woman who is leaning on her car, maybe in her late teens, early 20s, and this young woman is saying, oh, yeah, I would marry a gangster if I had the chance. And I’m just like, do you not know your family? Do you not know the heart? And later on in the video, you get to hear some of the really just like gut wrenching stories of what pain people in her family have brought upon themselves through their involvement in organized crime and all the things that it entails. And this young woman is, I don’t know, she’s acting because she doesn’t even know this other uncle or this other cousin that she’s got that can tell her these stories. Or is it, I don’t know, it doesn’t matter or something. And that to me was shocking. That’s the kind of thing that needs, that’s somebody who needs their mind changed. And I was like, I hope she watches this video she’s in and changes her mind about how she feels about that life and wanting to be a part of it. But that’s what mafia culture creates more of, is people who want to be a part of that. [23:53] There’s a certain romance to it that started out with Robin Hood, if you will. You get a romance of the gangster, the criminal that maybe is good to some people, good to support people, good to their family. And it continues on to this day to John Gotti. He’s the most recent iteration of Robin Hood and Jesse James here in the Midwest. People love Jesse James. When I grew up, everybody, every family had a story about how a couple of guys came by their house back in the 1800s and they gave them a place to stay and a meal. And they left them like a $20 gold piece, which was like $500 or something. And they said, it was Jesse James. I know it was. It’s the romance of the gangster continues. Yes. We all would love to imagine that we’re on the gangster side and that the gangster agrees. Yeah. As long as we don’t have to go to jail or pay that price. Because to me, I’ve got a friend today that he spent about 12 years and he would give all that gangster life back to get that 12 years back for these kids growing up. He’s turned over a new life today. I had lunch with him and his son not too long ago. And it’s just his son has told him, he said, every time I had to walk away from you in the penitentiary and come back home after our visit, he said, I was just crushed. It’s a huge price to pay for that. But there’s still that romance continues. [25:13] That terrible price, I think, is part of what feeds the romance. If there was no risk, there wouldn’t be that allure. Yeah, that’s true. You met that risk and overcame it and went on, came out on top. It’s what they always like to claim that came out on top of it. So I understand that thought process. I take a lot of risk in my life just from the other side. I said, live to fight another day. Yeah, there really are different kinds of risks that you can take. I was writing about a contract killer in Texas, and one of his targets was a guy who was a grain dealer. And I was like, that’s a really weird target for murder, right? Like, why would you kill a grain dealer from rural Texas? And it was because his old partner had an insurance policy out on him and decided to cash in on it. That was Charles Harrison, wasn’t it? Yeah, yeah, exactly. Sad story. Charles Harrison. Yeah. It was like, these were two guys that took very different kinds of risks, right? You got Charles Harrelson, who kills people for money. That’s a certain kind of risk you’re definitely taking. And then there’s the guy who buys grain and then sells it. So he’s taking these risks for his community of farmers. [26:27] And I was like, that’s really wholesome. And that’s, I don’t know, I feel like it’s a really positive example of masculinity. That’s the kind of risk we’re supposed to take for the safety and well-being of our neighbors? Yeah. Even the farmers, they risk everything every year. Smaller farmer, I grew up in those families and a smaller farmer practically risk everything every year, being in on the weather. That’s why I didn’t stay on the farm. And the markets, you don’t know what the markets are going to do. It’s a gamble every year. That Charles Harrelson, that’s Woody Harrelson’s dad who killed the Judds, famous murder down in El Paso. And he had a business. He carried a card that said he was a hitman. It was his story. [27:10] Bold. He was a crazy bold dude. I did a whole three-part series on that whole Jimmy Chagra marijuana business [27:20] down there on the border. and his connection to it and the killing of Judge Wood. So it’s just a business in these guys. Hey, it’s not personal. It’s just business. Yikes. It’s crazy. But Justin, you got anything else you want to tell us about? Anything you’re working on? And remind guys your website and what you can find there. He has some really interesting stuff about the old early days in Chicago. I know that. I referred to some of that several years ago when I was doing something on Chicago. So give guys a little walk through on your website. It’s really interesting. Okay, so John Gotti is one name I don’t think you’re ever going to find on my website. Yeah, good. [27:59] I’m really addicted to origin stories. I like to find out how the Mafia was already present before that point when we say it started. Yeah, in the 20s. But gangsters don’t come out of nowhere. Gangs don’t come out of nowhere. They evolve. They grow. There are forces to create them. And so that’s what I’m interested in. I like to go around. And I spent a lot of my early career writing about one place and its effect on the United States, Corleone, where my family’s from in Sicily. And that was my first book, In Our Blood. And some of my first posts on mafia genealogy are in that thread. They’re about my family and the Corleonesi. But then I started to get into other [28:42] places and wanting to know about their stories and getting into other parts of Italy as well. So if you go to my website, you’re going to find stories like Charles Harrelson and the two guys that he killed before the judge, or in Chicago about the different little Italys that existed before Capone consolidated everything, or Kansas City I’m writing about, Nick Fatsuno and the Passantino brothers. I don’t even know if you know those guys, but I thought their further stories were amazing. [29:09] Passantino had a funeral home today, but the other names I don’t really know back then. I don’t know much about that or those early days. Did they seem to come from the same little town, the same general area? They didn’t, actually. A lot of them were Sicilian, and they come from Palermo province, but not all from the same town. Not from okay. Yeah. Yeah, I wasn’t able to put—there’s not a strong current there in Kansas City like I’ve found in other places where everybody is from one town. Yeah. [29:37] But not so much in Kansas City. A little more varied. Interesting. So that’s what you’ll find on my website. And then Pasqualina is my second book, and you can buy both of my books at Amazon. Got them behind me here, Airblood, Pasqualina. And Pasqualina is about that prohibition era, and if you like to understand where big-nosed Sam Koufari got his start, it’s in there. And the Shabelli brothers show up. It’s about those origins. I was talking to a friend of mine about this name, Skeeball or Skeebelly. Yes. Who had some relationship back in Springfield, and he just really knew Skeeball when he was young. [30:17] Yep, because it was the spelling of his name. I’m not even sure how they pronounced it. I think it’s Skeebelly. Skeebelly. That probably was. Yeah, Skeebelly. I know somebody named Skeebelly, so probably was. That’s like the name of the body shop here in Kansas City, and it’s P-A-C-E. But really it’s Pache. We’ve got to do it right. And that’s probably short for Pache. I don’t know. I wonder if the family pronounces it Pache or Pace. I think business-wise, but then the person who was talking was close to the family and they said, oh no, it’s Pache. So I thought, okay. [30:53] Interesting. The immigrant experience in this country is really always interesting. There’s always conflict and the interest is in the conflict. And as people try to make their way, and stopping with, oh God, it was an author, T.J. did the Westies. You guys know T.J. that did the Westies. And he said, yeah, he said, and he really was articulate about, as we’ve discussed this, that people come here want an opportunity, because they didn’t have any opportunity in the old country, whether it be Naples or southern Italy or Sicily. They came here, they really just wanted opportunity. And then the opportunity, you have to start fighting for opportunity. That’s the nature of the beast in this country. In any kind, any society, you’ve got to fight for opportunity when you’re an outsider and you come in. And so that was the early development. These people just wanting a little slice of this American pie that they’d heard so much about. The streets are paved with gold over here, but found out you’ve got to dig that old man. [31:52] Some people probably came over here thinking they were going to make an honest living and found themselves, by one step and another, involved in organized crime. And then there were other men who came here from Italy for whom the opportunity was to be a criminal here. Richer pickings. Yeah. And they started restaurants and had your typical immigrant, all the immigrant restaurants, all these Chinese, whatever kind of ethnic food is, they start out with an immigrant who then puts his kids and his cousins and his nephews and sisters and grandmas in the back room kitchen, start those restaurants. And people, us people that are already here like that food and they run them, they do a really good job at it. And so that’s a way to get started in grocery stores for their other fellow paisans. And those were the ways that they made it here, at least now, probably the same way in every city where there’s a large Italian population. Got to feed the other Italians. And so an Italian restaurant is natural. Yeah. And also owning your own business is just really smart for a lot of people. If you’re an organized crime, it’s a great way to hide what you’re doing. [32:59] And if you’re trying to get a naturalization status, especially now, being a business owner is really advantageous. Yeah, I bet. I was talking about that on getting a naturalization process that showed that you’re an entrepreneur and you believe in the system and you’re doing well. Yeah, interesting. [33:17] All right, Justin Cascio, and the website is Mafia Genealogy. He’s got a couple books on there in this documentary. I don’t know. Keep us up on that. Maybe if it comes out, I’ll make sure to get it out on something where people know that they can go out and see it. It sounds really interesting. Thanks, YOL. All right. Thanks, Justin. I’ll do that no more. Thank you, Justin. It’s really a pleasure to talk to you again. Always a pleasure being on your show. Thank you. Great. [33:44] Justin, see, I was going to ask you about something. What? Are you going through a publisher? You got a publisher? No, I’m self-published. You’re self-published? Okay. Yeah. See, I self-published several books, and I’m doing probably my last ones, a story of my life, kind of more of a memoir, my struggles and my moral dilemmas and all that during when I worked intelligence. And then I’ll explain all about the big civil mob war we had here during those years. And I don’t know. I started poking around. I thought, well, maybe I’ll try to get a regular publisher. But boy, it’s hard. You’ve got to get an agent. You can’t get attention of an agent because there’s hundreds and thousands of people out there writing books wanting to do all this. So thank God for Amazon. Yeah. I think if you already have your audience. Yeah. And you know who they are and you’re already talking to them. You don’t need to pay somebody else to do that for you. Yeah. Yeah. I’m paying an editor to go over to… That’s different. That’s no other strengths. But to get it sold out there. Out here making videos every day. The good thing about getting a publisher is you can get, and then you got a chance of getting it into Barnes & Noble and into libraries. [34:59] See, libraries. You might into libraries anyway. How’d you do that? How’d you figure that out? The local library has an interest in the book, so they bought it. Yeah, they did. But I’m talking about other libraries. Yeah, they can all buy the book the same way. Yeah, but how do they find the library buy books? [35:18] I think buy them from the publishers normally. And if your book is self-published and they want to carry that book, because, for instance, about local history, then they’ll buy it. Yeah. I’m thinking about how do they get it out in other New York or Chicago or some other city that will be looking for nonfiction books. Publishers. You have to do every step yourself instead of being massive. Yeah. And then like Barnes & Noble and places like that to get it in, that’s hard too. You can do that locally. Those places carry my books on the website. Who does? They’re buying it from Amazon. Oh, okay. Interesting. Oh, really? Yeah. Because that’s the only place you can get it. I think I sell a couple of my, I’ve seen some people from, I think it’s through at Brafta Digital, I think’s the name of it. That’s another thing that this thing went up on that Barnes & Noble did sell a few copies of it. As a matter of fact, now that you mention it. [36:21] But it’s interesting. It’s fun. How are you ever going to get a screenplay sold if you don’t get their attention? [36:30] That’s why most people I talk to, they’re trying to figure out how to get a movie made from their book. Gangsters ask me that question. They’re like, you figure I know the answer to how to get a movie made from YouTube? and I do not have that answer. Nobody knows that. It’s hard work. Yeah, I tell them nobody knows that, the answer. It’s God. A divine being that strikes you, whether it be the Apollo or the God of Abraham, or Jesus or some higher power reaches out and touches you and says, okay, I bless you, and now you’re going to have a movie made and Robert De Niro is going to play your part. Although anymore, they don’t want De Niro to play him because they hate him now, and they want somebody else. Oh, my God. It’s always a pleasure to talk to you, Justin. Likewise, Gary. Thanks so much. If I can do anything for you here in Kansas City, and as you’re going through your thing, if you’ve got any question or anything, I’ve got that one friend, that FBI agent, that he could maybe help you with if you’re looking for a connection or something. He knows quite a little bit. And somebody else was just talking about that, looking into that, those early days. But if you do have any questions or anything that you’re stumbled about here in Kansas City, be sure and give me a call, and I’ll see if I can’t steer you to somebody. I don’t know myself. I don’t really ever look at it. Okay. Okay. Stay safe. Thank you. You too.

Send us a textHappy New Year everyone ! And welcome to the 5th Annual Year End Review here at the triple FFF. We have a ginormous, star-studded show for you with an all star panel consisting of  a who's who of series regulars Alex Robertson, Roseanne Caputi, David Johnson, Kendrick Wright and all the way from El Paso, Joe Field! Welcome everyone. We're just going to get right into it. So right off the bat, 2025 is the year that didn't make up for the doldrums of 2024 and the pandemic years so we saw a lot of hand-wringing and ruminating online and in the media about the end of cinema. But I contend that my theatrical film intake was the same as it's ever been. I just wasn't blown away by what I saw. Was 2025 the beginning of the end? Find out!Watch the video podcast on youtube:https://youtu.be/h2e4AE-Aao4

On Friday's show: We learn what took place at Houston protests in connection with the fatal ICE shooting in Minneapolis.Also this hour: We find out why the state teacher's union is suing the TEA following investigations into teachers' social media posts last fall.Then, our non-experts consider The Good, The Bad, and The Ugly of the week.And the series Movies Houstonians Love returns this weekend to the MFAH with a documentary decades in the making. The 2023 film Omar and Cedric: If This Ever Gets Weird focuses on Omar Rodriguez-Lopez and Cedric Bixler Zavala, the duo behind the El Paso progressive rock band The Mars Volta. It's culled from hundreds of hours of footage filmed across decades. Houston DJ and producer Gracie Chavez talks about why this film means so much to her.Watch

In this episode of Words on a Wire, host Will Rose speaks with El Paso–based photographer and videographer Christian Iglesias, widely known on social media as @ChristianChurches. Iglesias has built a devoted following by documenting the landscapes, people, and everyday moments of the borderlands.The conversation traces Iglesias's journey from shooting high school football games at Eastwood High School to becoming one of the most recognizable visual storytellers in the El Paso region. With roots in journalism, Iglesias explains how the discipline of photojournalism—speed, relevance, and presence—continues to shape his approach.Iglesias also shares insights into the craft itself, discussing camera gear, lenses, and the enduring belief that great photography is driven by the artist's eye rather than expensive equipment. He reflects on the rise of social media as a platform for documentary storytelling and how the pandemic pushed him to fully commit to sharing his work online.At the heart of the conversation is a deep love for El Paso. Iglesias speaks passionately about the people of the borderlands, the city's resilience, and the quiet beauty that is often overlooked.

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

COURTSIDE MAVERICK feat. @xo.mariza_ & @louis.lit We're kicking off the new year with the OG horny crew! Mariza comes by for a little after party reunion as we catch up with her and her latest move to Dallas. She tells us why El Paso men give her the ick and she tells us all about her throuple in paradise. Follow us on social media @AaronScenesAfterParty

¿Problemas de adicción al #alcohol, #drogas…? ☎️ 915 630 447 ¡LLAMANOS 24H! 🌐 https://bienestar.neurosalus.com/ Solicita ahora mismo información sobre tratamientos de desintoxicación, precios, disponibilidad de plazas… HA SIDO POSIBLE CREAR EL PROGRAMA “LA REUNIÓN SECRETA” GRACIAS A TU AYUDA COMO GUARDIÁN MECENAS. ***** HAZTE MECENAS EN https://www.patreon.com/lareunionsecreta Esta noche vive un nuevo directo de #LaReuniónSecreta​ desde la 22:00​ hora española. Te decimos lo que nadie dice: sin anestesia y sin edulcorantes. ¡La Reunión Secreta somos todos! No se lo digas a nadie… ¡PÁSALO! 🔁💪🤫 🎸 CARLITOS TÍNEZ https://www.youtube.com/channel/UC0eeuxpQ70z-Pe0rHhOq9Fg Conexiones en directo con: - 🎖️ Dr. José Mª Martín-Moreno (Catedrático de Medicina Preventiva, Epidemiología y Salud Pública. Doctor en Medicina y Cirugía. Maestría y Doctorado en Salud Pública en la Universidad de Harvard, en Estados Unidos. Ha sido Director de Gestión de Programas de la OMS para Europa. Forma parte del comité de la Asociación Europea de Programas de Sanidad Pública) - 🎖️ Alfredo Perdiguero (Subinspector de la Policía Nacional. Delegado de ASP) - Rayco Pérez (Exmilitar. Director de DREAM Project Group. Especialista en Gestión de Seguridad. Ha redactado el Plan de Emergencias de El Paso, en la isla de La Palma) - 🎖️ Dr. Óscar Carreres desde Países Bajos (Doctor en "Learning Motor Skills in Dentistry". Profesor Titular de Odontología Restauradora en la Vrije Universiteit - VU Amsterdam. Elegido cómo el mejor profesor universitario en 2017, 2020 y 2023) - 🎖️ Profesor Dr. Ismael Santiago (Economista. Profesor doctor en Finanzas en la Universidad de Sevilla. Es fundador del proyecto AgoBlockchain y OlivaCoin. Es asesor internacional en procesos de Ofertas Iniciales de Moneda - ICO y en finanzas descentralizadas - DeFi. Experto en macroeconomía, ciclos económicos y criptoactivos) - Eduardo Mazo (Químico y docente) - 🎖️ Federico Bossi desde Argentina (Abogado) Con el equipo habitual de La Reunión Secreta: Dr. José Miguel Gaona, Joan Miquel MJ, Carlos Martínez, Lourdes Martínez, Marta Vim, Olga Ralló, Luna de María, Tatiana y Piluca. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ SÍGUENOS EN REDES Twitter: https://twitter.com/lrsecreta Instagram: https://www.instagram.com/lareunionsecreta/ Facebook: https://www.facebook.com/LRsecreta REDES SOCIALES DEL EQUIPO | DR. JOSÉ MIGUEL GAONA | - https://twitter.com/doctorgaona | DIRECTOR | - Joan Miquel MJ - https://www.instagram.com/official_joan_miquel_mj/ | PRODUCTORA | - Lourdes Martínez - https://twitter.com/chicadelaradio | AYUDANTE DE DIRECCIÓN | - Olga Ralló - https://twitter.com/olgarallo | AYUDANTE DE PRODUCCIÓN | - Carlos Martínez - https://twitter.com/Carlitos_Tinez

FSEN Daily (Jan.6, 2026) -- We sit-down with the Henry O. Flipper Chapter of NAAGA to discuss their organization and what it is that they actually do in and around the El Paso, TX community.

This is Part One of Borderly, a limited series by Immigrantly exploring life on the U.S.–Mexico border through history, memory, and lived experience. Before walls, patrols, or policy debates, there was a river. In this opening episode, host Mario Carrillo returns to El Paso to examine how the border came into existence and what was lost when a line was drawn through land, families, and identity. The episode traces the border's origins from the Rio Grande as a shared lifeline for Indigenous communities, through colonization, war, and the Treaty of Guadalupe Hidalgo. Mario reflects on growing up crossing the border freely, leaving El Paso, and what it meant to come back. The episode also features historian Yolanda Chávez Leyva, who shares her border story and decades of research on the El Paso–Juárez region. Her work reveals how revolution, migration, labor, and racial hierarchies shaped the area, and how cruelty and generosity have coexisted here for generations. This episode lays the foundation for the series: the border not as a country's edge, but as a place with its own center, history, and meaning. New episodes follow weekly in January. Join us in creating new intellectual engagement for our audience. You can find more information at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Please share the love and leave us a review on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠to help more people find us!  You can connect with Saadia on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IG ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@itssaadiak⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email:saadia@immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠ Host: Mario Carrillo I Producer: Saadia Khan I Editorial review: Shei Yu I Sound Designer & Editor and Borderly Theme Music: Lou Raskin I Other Music: Epidemic Sound Immigrantly Podcast is an Immigrantly Media Production. For advertising inquiries, contact us at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠info@immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Want to go deeper into your own identity? Download Belong on Your Own Terms, the app helping first-gen, second-gen, and third-culture kids reclaim belonging on their own terms. link below http://studio.com/saadia Don't forget to subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Immigrantly Uninterrupted⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠for insightful podcasts. Follow us on social media for updates and behind-the-scenes content. Learn more about your ad choices. Visit megaphone.fm/adchoices

00:00 Four-Minute Offense 8:00 My Crazy Week 13:00 El Paso vs Phoenix 23:30 Doug's Big One = Bidwill Should Seek Advice 51:40 SUNS: Wow! Beating OKC 1:29:50 UofA 1:44:14 ASU 2:06:32 Vs Vegas

What do you do when you're stuck, uncertain, or surrounded by resistance?In Ezra 8, God's people faced a dangerous journey with no clear path forward. Instead of relying on the easy solution, Ezra proclaimed a fast. The result was divine direction, supernatural protection, and breakthrough that could not have happened any other way.PREMIUM SUBSCRIPTION for WORLD EVANGELISM:• ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe for only $3/month on Supercast⁠: https://taking-the-land.supercast.com/⁠• ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Subscribe for only $3.99/month on Spotify⁠: https://podcasters.spotify.com/pod/show/taking-the-land/subscribe⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠• ⁠Subscribe for only $4.99/month on Apple Podcasts⁠: https://apple.co/4owjo5ZPreached by Pastor Paul Stephens in El Paso, TX, this message calls believers to rediscover fasting and prayer as more than a ritual. It is a spiritual weapon that provokes God's intervention.This sermon explores:• Why fasting accelerates breakthrough• How humility unlocks God's guidance• When fasting is necessary for deliverance• Why the Church must fast to fulfill its missionThis message was preached ahead of our fellowship-wide three-day fast and is especially relevant for anyone believing God for clarity, protection, restoration, or advancement.Chapters00:00 – Why Fasting Won't Kill You (Opening Illustration)01:05 – What Breakthrough Really Means02:25 – Provoking Divine Intervention03:46 – Ezra at the River Ahava05:15 – The Easy Solution vs God's Solution08:35 – Trusting God When Help Is Available10:36 – Why Believers Proclaim Fasts12:10 – Esther, Nineveh, and National Crisis13:55 – Humility: The Starting Point15:23 – Seeking God for Direction17:20 – Not Every Open Door Is God's Will19:48 – Fasting for Protection22:41 – Spiritual Warfare and Vigilance23:50 – Fasting for Deliverance26:10 – Fasting and the Mission of the Church26:56 – “And He Answered Our Prayer”27:47 – Why Fasting Gets God's Attention30:43 – Resetting Your Spiritual Life32:26 – Invitation to Join the Fast33:57 – The Gospel Call39:25 – Corporate Call to the AltarShow NotesALL PROCEEDS GO TO WORLD EVANGELISMLocate a CFM Church near you: https://cfmmap.orgWe need five-star reviews! Tell the world what you think about this podcast at: • Apple Podcasts: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://apple.co/3vy1s5b • Podchaser: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.podchaser.com/podcasts/taking-the-land-cfm-sermon-pod-43369v

BSR S9E2: We sit-down and give our predictions on District winners here in El Paso, TX for both boys and girls high school basketball.

As we kick off a new season, we start by sitting down with not only one of the top female wrestlers here in El Paso, TX but also one of the top female high school wrestlers in the country. Cydney Davis is on a mission to be the best and we explore her journey here.

In this episode of Words on a Wire, host Daniel Chacón sits down with Dr. Roberto Avant-Mier, Chair of the Communication Department at the University of Texas at El Paso and a leading scholar of Chicano film. Their wide-ranging conversation uses Wim Wenders' film Perfect Days as a point of entry into deeper reflections on cinema, music, memory, and meaning. Avant-Mier discusses how music functions as an emotional and narrative force in film, shaping human connection and inner life in ways that often go unnoticed, while Chacón reflects on his own experience of watching the film and the demands it places on attention and interpretation.From there, the discussion expands into broader cultural terrain: punk rock, horror films, Latino representation on screen, and the fundamental role music plays in human identity and community. The episode closes on a deeply personal note as Avant-Mier recounts his roots in Smeltertown, the now-vanished industrial community along the U.S.–Mexico border in El Paso, and his ongoing work volunteering at the community cemetery. What emerges is a conversation about art, place, and history—how they persist, resonate, and refuse to disappear, even when the physical spaces themselves are gone.

Scholar and anthropologist Davíd Carrasco has dedicated much of his career to exploring Mexico's Mesoamerican past. He is also dedicated to telling the story of his father, David L. Carrasco—an El Paso native who became the first Mexican American head basketball coach at a major U.S. university.

We're kicking off 2026 with a look at the character behind the box score. On today's episode of The Valley Verdict, we break down a tough New Year's Eve afternoon for Arizona sports and why the post-game comments in El Paso might be more important than the final score.In this episode:Sun Bowl Post-Mortem: ASU falls 42-39 to Duke in a thriller. We dive into the media room with Jeff Sims, Jordan Crook, and CJ Fite. We react to the powerful exchange between Michelle Gardner (The Arizona Republic) and Jeff Sims—plus, why Kenny Dillingham's public support of his quarterback is the ultimate culture-builder.Suns Road Trip Wrap: A 3-1 road trip is a success by any metric, but the 129-113 loss to Cleveland has the national media talking. We hear from Jordan Ott and discuss the "Sustainability" question.The Howard Beck Verdict: Howard Beck (The Ringer) joins Bickley & Marotta to ask the tough question: Is this 19-14 start for the Suns sustainable or a fluke? We give our take on whether the Suns are actually a Top 10 threat.Kings Preview: Sacramento comes to the Mortgage Matchup Center tonight at 7:00 PM. We look at what the Suns need to do to protect home court and start the New Year with a win.Subscribe to The Valley Verdict and follow us on Facebook [@thevalleyverdict], Instagram [@thevalleyverdictpodcast], and YouTube [@thevalleyverdict] for more analysis.

The 2025 season is officially in the books. As he made his way back from El Paso, Brad Denny gave a rundown of the big takeaways from ASU's shootout loss to Duke in the Sun Bowl, who stood out, and the complicated evaluation of the 2025 season.

We are officially in Tailgate Mode! On today's The Valley Verdict, we prepare for the Sun Bowl in El Paso while reacting to a historic week for the Cardinals and a Suns squad that is finally finding its rhythm as an elite two-way threat.In this episode:Gannon's Guarantee: Jonathan Gannon joined Burns and Gambo on 98.7 FM and was blunt about his future. When asked if he'll be back next year, he said, "Absolutely." We break down the reality of a potential 3-14 season—a mark of futility no Cardinals team has ever hit—and what that "Absolutely" really means for the off-season.Suns Road Warriors: The Suns handle business in D.C., beating the Wizards 115-101 to move six games over .500. With a Top 10 offense and defense, this team is finally showing their ceiling. We react to the post-game insights from Collin Gillespie (with Amanda Pflugrad) and "The Villain" Dillon Brooks (with Tom Leander and Tom Chambers).Whose Got the Beef? [DEBUT]: We debut our newest segment by taking aim at the state of NBA officiating. We're taking the frustration with the whistles to the next level—the flow of the game is being hijacked, and we've got the beef with the refs.ASU Hoops: Bobby Hurley joins Bickley and Marotta to talk about the transition into conference play. We look ahead to the January 3rd home opener against Colorado and what the Sun Devils need to do to find consistency at Desert Financial Arena.Sun Bowl Final Words: Kenny Dillingham speaks to the media one last time before the showdown with Duke. We break down the vibe of the team in El Paso and what to expect from the final game of the year.The Valley Pulse [DEBUT]: We cap off the show by pulsing the heartbeat of the city. We count down our first-ever Top 5, featuring everyone from Jonathan Gannon and Jordan Ott to our #1 heartbeat: The Villain, Dillon Brooks.Don't miss our full Sun Bowl tailgate breakdown and the debut of our brand new segments! Subscribe to The Valley Verdict and follow us on Facebook [@thevalleyverdict], Instagram [@thevalleyverdictpodcast], and YouTube [@thevalleyverdict] for more analysis.

Down in the west Texas town of El Paso...the Sun Devils will meet the Blue Devils. Again. We take an in-depth look at the Sun Bowl matchup, plus we go behind Duke lines with Blue Devil insider Anna Snyder (20:17). We also talk with ASU wide receiver Derek Eusebio (1:02:42) and quarterback Cam Dyer (11:54).

Welcome to the San Antoniooooooooooooooooooooooooooooooooooooooooooooooooooo FanCast Soccer Roundtable Topics:SAFC Fancast Recap:USL Schedule Prinx Tires USL CupUSL League News: Lexington Goes all in; EL Paso new coach SA Soccer Roundtable/SAFC Fancast

The holidays are over and the energy is hitting a boiling point in the Valley! On today's The Valley Verdict, we catch you up on everything you missed during our hiatus, from a dominant Suns run to a coaching manifesto that set the internet on fire.In this episode:The 2-Minute Warning: We hit the ground running with a rapid-fire recap of the last 12 days. From Moe Odum's floor generalship at Pauley Pavilion to Mark Williams anchoring the paint at Mortgage Matchup Arena, we catch you up on the 4-1 Suns streak and the grit of ASU Hoops.The Villain's Billboard: We react to the wild billboard spotted in Phoenix featuring Dillon Brooks vs. Luka Dončić. Is this officially "The Villain's" team now? We dive into the marketing shift and why the Valley is embracing the chaos.Dillingham's $20M Demand: We break down the massive news of Kenny Dillingham's extension and his unfiltered message to the Valley's elite. We feature his viral call-out to "rich dudes" like Phil Mickelson and Jon Rahm, asking: "Are you telling me that there's not somebody out there that can stroke a 20 million dollar check?!"The "GM" of ASU: Dillingham speaks on the evolution of the program and the importance of Josh Omura officially stepping into the role of "General Manager" for ASU Football.The Michigan Truth: We put the rumors to bed as Kenny addresses the speculation head-on, clarifying that an offer from Michigan never even existed.Sun Bowl Prep: We wrap up with the latest from El Paso as Jake Fette joins the Sun Devils for practice ahead of the showdown with Duke, featuring insights from Marcus Arroyo and Brian Ward.Don't miss our full breakdown of the $20 million challenge and what The Villain era means for the Suns' identity! Subscribe to The Valley Verdict and follow us on Facebook [@thevalleyverdict], Instagram [@thevalleyverdictpodcast], and YouTube [@thevalleyverdict] for more analysis.

2 Corinthians 5:17-21

Today, Hunter wraps up 2025 with one last episode! Guest: Resources: Top 10 Episodes of 2025 334 | Was a Former Colorado Public Defender Fired for Raising Concerns over his Workload? w/Travis Weiner 335 | How Sec Def Austin Interfered with the 9/11 and U.S.S. Cole Case Plea Deals w/Allison Miller and Katie Carmon 336 | How the San Mateo Private Defender Program is Trying to Earn Back the Community's Trust w/Lisa Maguire and Harpreet Samra 328 | How the Laken Riley Act Could Get Innocent People Sent to Guantanamo Bay w/Ann Block and Nithya Nathan-Pineau 331 | How the Far West Texas Public Defenders Uncovered a Pattern of Discovery Violations in El Paso w/James McDermott and Paul Chambers 333 | How The American Eugenics Movement Helped Create Habitual Offender Laws w/Daniel Loehr 355 | How Missouri Public Defenders are Leading the Nation In Statewide Holistic Defender Services w/Missouri Public Defenders 322 | The Impact of and the Resistance to Mass Deportation Policies w/Hans Meyer and Holly Lucas 400 | Why the Lawyers Handling 80% of Massachusetts's Public Defender Cases Stopped Taking New Cases w/Shira Diner 316 | The Everyday Cruelty in Westminster Municipal Court w/Alison Gordon Contact Hunter Parnell:                                 Publicdefenseless@gmail.com  Instagram @PublicDefenselessPodcast Twitter                                                                 @PDefenselessPod www.publicdefenseless.com  Subscribe to the Patreon www.patreon.com/PublicDefenselessPodcast  Donate on PayPal https://www.paypal.com/donate/?hosted_button_id=5KW7WMJWEXTAJ Donate on Stripe https://donate.stripe.com/7sI01tb2v3dwaM8cMN Trying to find a specific part of an episode? Use this link to search transcripts of every episode of the show! https://app.reduct.video/o/eca54fbf9f/p/d543070e6a/share/c34e85194394723d4131/home

In this episode, we talk with Dr. Kyle Wiley, Assistant Professor of Sociology & Anthropology at the University of Texas at El Paso, about how social and traumatic stressors during pregnancy become biologically embedded and shape maternal and infant health. Kyle shares his path into biological anthropology and discusses his biosocial research on perinatal health disparities in the United States and Brazil. We explore his work on interpersonal violence during pregnancy in São Paulo, Brazil, focusing on how trauma affects maternal and infant cortisol regulation and what this means for fetal programming and intergenerational health. We also discuss his recent research on pica among Latina pregnant women, which takes a novel approach by examining stress hormones and inflammation rather than micronutrient deficiencies. The episode closes with a look at Kyle's new faculty role at UTEP, his current projects, and how he maintains work–life balance as an early-career scholar. ------------------------------ Find the work discussed in this episode: Wiley, K. S., Gouveia, G., Camilo, C., Euclydes, V., Panter-Brick, C., Matijasevich, A., Ferraro, A. A., Fracolli, L. A., Chiesa, A. M., Miguel, E. C., Polanczyk, G. V., & Brentani, H. (2025). A Preliminary Investigation of Associations Between Traumatic Events Experienced During Pregnancy and Salivary Diurnal Cortisol Levels of Brazilian Adolescent Mothers and Infants. American Journal of Human Biology, 37(2), e70004. https://doi.org/10.1002/ajhb.70004 Kwon, D., Knorr, D. A., Wiley, K. S., Young, S. L., & Fox, M. M. (2024). Association of pica with cortisol and inflammation among Latina pregnant women. American Journal of Human Biology, 36(5), e24025. https://doi.org/10.1002/ajhb.24025 ------------------------------ Contact Dr. Wylie: kwiley@utep.edu ------------------------------ Contact the Sausage of Science Podcast and Human Biology Association: Facebook: facebook.com/groups/humanbiologyassociation/, Website: humbio.org, Twitter: @HumBioAssoc Chris Lynn, Host Website: cdlynn.people.ua.edu/, E-mail: cdlynn@ua.edu, Twitter:@Chris_Ly Courtney Manthey, Co-Host, Website: holylaetoli.com/ E-mail: cmanthey@uccs.edu, Twitter: @HolyLaetoli Cristina Gildee, SoS Co-Producer, HBA Junior Fellow Website: cristinagildee.com, E-mail: cgildee@uw.edu,

Hear stories surviving 4 days with no food in Patagonia, landing in a Honduran jail, and driving Bolivia's “Death Road” _____________________________ Subscribe to The Maverick Show's Monday Minute Newsletter where I email you 3 short items of value to start each week that you can consume in 60 seconds (all personal recommendations like the latest travel gear I'm using, my favorite destinations, discounts for special events, etc.). Follow The Maverick Show on Instagram ____________________________________ Emmy-winning filmmaker and motorcycle adventurer Alex Chacon traces the roots of his life on the road, beginning with his upbringing on the U.S.–Mexico border in El Paso and the identity questions that shaped his early years. Alex shares how soccer, motorcycles, and a deep sense of not fully belonging pushed him toward long-distance travel at a young age, including a solo cross-country motorcycle journey at just 17. He recounts leaving medical school to ride from Alaska to Argentina with paper maps and no cellphone, and reflects on formative experiences across Latin America—from corruption at border crossings and getting lost in Bolivia's salt flats, to life-or-death moments in Patagonia and the Darien Gap. Throughout the episode, Alex explores how travel became a vehicle for self-discovery, cultural reconnection, and a deeper understanding of inequality, education, and human resilience. FULL SHOW NOTES WITH DIRECT LINKS TO EVERYTHING DISCUSSED ARE AVAILABLE HERE. ____________________________________ See my Top 10 Apps For Digital Nomads See my Top 10 Books For Digital Nomads See my 7 Keys For Building A Remote Business (Even in a space that's not traditionally virtual) Watch my Video Training on Stylish Minimalist Packing so you can join #TeamCarryOn  See the Travel Gear I Use and Recommend See How I Produce The Maverick Show Podcast (The equipment, services & vendors I use) ____________________________________ ENJOYING THE SHOW? Please Leave a Rating and Review. It really helps the show and I read each one personally.  You Can Buy Me a Coffee. Espressos help me produce significantly better podcast episodes! :)

Kate Adie introduces stories from Syria, Ukraine, the USA, China and Germany.Syrians took to the streets to celebrate one year since the fall of the Assad regime, but in the background post-war reconstruction has been slow and sectarian violence is on the rise. Lina Sinjab has been travelling the country and reflects on the challenges ahead.Despite the constant threat of drones and missiles, many Ukrainians are finding ways to carry on with their lives - including the country's artists and musicians. Marcel Theroux recently visited Chernivtsi in western Ukraine, to attend the opening night of an unexpected musical gem.Just a few years ago, the city of El Paso in Texas declared a state of emergency as local shelters struggled to cope with the influx of migrants crossing the border from Mexico. Today, the picture is very different with the flow of migrants now a trickle. Bernd Debusmann looks at the impact of Donald Trump's immigration crackdown.China's mighty Yangtze river is one of the world's busiest shipping lanes, but the wildlife living in the river is struggling for survival with many native species already extinct. Stephen McDonell met a team of scientists trying to save the endangered finless porpoise.The German city of Chemnitz is currently a European Capital of Culture, and among the celebrations is an exhibition of a cultural icon - the Trabant. Adrian Bridge explores the history of East Germany's car culture - and how it provided some welcome respite from the spying eyes of the Stasi.Series Producer: Serena Tarling Production coordinators: Katie Morrison and Sophie Hill Editor: Richard Fenton-Smith